#it’s an important facet it both stories

[jamiesfootball]

I wrote about 2500 words tonight, half for the post-season thing and half for the sleepy jamie Pavlov thing

Only problem is I hate everything I wrote today.

But at least I wrote something and there will be a better tomorrow where I can look at it with fresh eyes and go, ‘Oh, there’s the problem. Now let’s take a crack at it.’

[gooeykit]

the only IPs i want to play with are ben 10, reboot and popeye BASED ON THE FUNDEMENTALS of them being disrespected by their own continuations and reboots....... TEEN ERA BEN 10 WAS NOTHING BUT DC/MARVEL RIPOFFS TO THE POINT OF CHANGING IDEAS THAT ROCKED INTO SHIT THAT SUCKED. SEASON 4 OF REBOOT SUCKED NGL AND WAS CANCELLED MIDWAY THRU. POPEYE DESERVES TO BE IN THE MODERN EYE AND IT NOT BE LIKE YOIUTUBE KIDS BS.

[butchvamp]

okay i've played a bit more and i have a lot of thoughts about Taash and the way gender is being handled overall in this game...

first i will say the positives which is that i do really appreciate the attempt at incorporating trans characters both in the world as companions and allowing us to make those options in the cc. and as someone who also writes dark fantasy stories with trans characters i do understand how difficult it can be to incorporate these identities into a world that doesn't necessarily have the same language as we do; but overall the way they've approached this feels very... i've seen some people call it unpolished but i actually feel the opposite. it's almost clinical (therapy-speak in general has been a main criticism of this game) and it's way too polished, in my opinion, which is what makes it so jarring to see.

there has been a trans character established in game previously, there is already a precedent for these identities to exist in this world, and they have never used this language before. the way Iron Bull talked about Krem felt far more realistic and integrated into the world of Thedas comparatively. was it perfect? no, of course not, but i chafe at the idea that it needs to be perfect, anyways. this is another problem the game has; past characters have had their flaws completely ironed out (Isabela is now a paragon of friendship and returns cultural artifacts instead of looting them, Dorian has multiple codex entries wallowing about how he used to defend slavery, the Crows have suddenly become a big found family-- on and on and on) and while i have my criticisms of some of these flaws (Dorian's pro-slavery rant in inqusition still makes my eyes roll) i dislike the way they're handling these changes and just expecting us to ignore all of the lore and worldbuilding from previous games. and all of this "political correctness" only for the game to still be so racist.

which brings me back to Taash.... Taash is very strange character, lacking agency around both their gender and their culture. they are simply a mouthpiece for the writer. while yes, it should always be made undeniable that your character is trans or gay or xyz, Taash really does only exist to be nonbinary. and to be clear, a nonbinary character like them could be very interesting, if their writing wasnt so... white. we know that the Qun has different ideas about gender than Rivain (and elsewhere) and this could have been a very interesting exploration of that; however, it is obvious that the Qun (and Taash's mother) are meant to be depicted negatively, and ultimately it ends with the player (not Taash) choosing between their two cultures. their gender is clearly far more important to the writer and the only facet of their identity they seemed willing to explore, which makes me question why even make this character qunari to begin with...

Neve and Rook are also the two that spur Taash into exploring their gender. this, on the surface, is not a problem for me. i'm playing as a trans Rook and while the dialogue was again very overpolished and clunky i found it kind of endearing. but the way Neve is used as this "foil" for Taash really rubbed me the wrong way. this assumption that Neve has no complicated feelings about her gender or being a woman (which i highly doubt considering the world she lives in & how misogynistic it is) and the implication from Taash that she only dresses the way she does for her mother/other people (which Neve doesn't even get to challenge) is extremely narrow-minded. Taash is the Only character that acknowledges gender; so far, even when flirting with other characters, it's only been Taash that i've been allowed to specify with that my rook is trans, despite Taash already knowing that from our previous conversation (i hope that this changes once i lock in with a specific character so feel free to correct me if it does).

but no one else really seems to have an opinion except that Neve drags Taash around to meet Maevaris, and we get the very goofy note that's just a list of modern gender identities and their definitions. i do partly sympathize with the writers here; again i've had to find a way to incorporate lgbt identities in my own writing and it can be difficult depending on your audience. i understand wanting to be very clear and concise. but this is... just goofy. and this desperation to be so correct around gender while simultaneously writing such an offensively racist narrative is really frustrating.

there's also an inconsistency that comes from this with Taash's character-- they are portrayed as this rough but awkward character that is bossed around by their mother, they are bashful with flirting early on and are almost child-like in comparison to the other characters. and then suddenly you get a scene with them where they very directly ask if you want to have sex and suddenly pin you against the wall. this scene was so jarring to me i referred to it as a jumpscare because WHERE has this character been this entire time? i want to see more of this, more of this character who takes what they want and knows exactly who they are (which they even say multiple times when you first meet them... but then need Neve and Rook to hold their hand about it?)

i do really like Taash, i like the idea of them, of this very self-assured and almost cocky character who is also a little silly, this person who is so sure of who they are but has to deal with their mother undermining them while also navigating a culture they feel disconnected from, and i also like that the player can help them through it... but the execution is awful, shallow, and racist. the idea that someone can only choose One culture is so offensive and also a laughable conclusion when compared to their coming out as nonbinary. the writer clearly understands that people don't exist within these little boxes when it comes to gender, but can't wrap their head around it when it comes to someone's culture-- which is also a very important part of a person's identity and often contributes directly to their gender and how they feel about it. all of these different characters have different experiences, come from different places, Davrin and Bellara are Dalish and even have differing opinions on what that means for themselves, but the game doesn't touch on any of it. all we get is a lecture from the writer that is completely removed from the world it's presented in.

i wish i could understand what it was this character was meant to convey. i stand by saying that it doesn't need to be perfect; i know there are people that had problems with Krem in inquisition, but at least Krem was his own person. Taash doesn't even get that here... i harp a lot about character agency when i give writing advice on my other blog but it really is so so so important for marginalized characters-- both gay, trans, and especially characters of color-- to have their own agency around their identities that is completely separate from the player & player choice, that allows them to exist as their own person within the world you've created, and i think Taash's character and story is an unfortunate example of exactly what not to do.

[yuyusshinelight]

Dad thoughts feat ATEEZ

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♪ This post is about how I think they would be as parents; just that, some thoughts. This does NOT represent any of Ateez's members in any way.

♪ English is not my first language so sorry if there's any mistake.

Note: Hi my shining stars! Here I come with ATEEZ!dads because I have always loved kids (I have baby fever and Wooyoung being so extremely adorable with them doesn't help it) and I really like parenting headcanons. I hope you like it and enjoy your reading. Love you all!

SEONGHWA

✰ Proud dad of 'the cutest four years old girl in the world'.

✰ Seonghwa works so hard day by day to be the best father he can be to that little girl, strengthening their bond to the point that now your daughter is a daddy's girl who wants to marry her dad.

✰ Daddy-daughter time every day at 8 pm until bedtime when he's not on a tour or live in which they play with their respective Legos while singing whatever comes from the playlists on Seonghwa's phone.

✰ And talking about music, obviously his baby has a playlist with her favorite songs on his phone, and in yours too. Both you and Seonghwa have almost the entire Shinee and Mamamoo discography on your phones thanks to this girl. Although her favorite song is 'Star 1117' and she always asks both mom and dad to play it.

✰ Pajama parties every weekend, even if he has a concert the next day because spending time with the apple of his eye is much more important.

✰ Has it already been mentioned about incessant Lego afternoons that end in "A little more, appa" from his daughter that makes it too hard for Seonghwa to resist? But in the end he stands firm and does not give in. Schedules must be respected, routine is very important.

✰ One of his favorite parts of being a father is bedtime stories because Seonghwa has the pleasure of having his little star snuggled in the crook of his arm hugging her own Ddeongbyeoli while he reads her a story in the dim light of that little moon-shaped lamp.

✰ Seonghwa is at a crossroads. On one side, his concern for his daughter's safety and privacy prohibits his from uploading any type of content related to the minor's life, even minimal details like that time a butterfly landed on her finger while she was playing in the park; but, on the other hand, as the proud father of that beautiful little girl, there is a need to show the world the reason why he gets up every morning, the reason for his joy.

✰ In the end, his overprotective father facet has more weight so, although the world knows that he has a daughter, everything related to her is confidential, Atiny only knows that she is a four-year-old girl who likes lego like her father because once, while building a set in a live, he mentioned how his little girl had accidentally mixed up the pieces from both their sets the night before.

HONGJOONG

✰ It's not a surprise that Hongjoong doesn't like kisses, or at least that was until he started dating you. He would plant an innocent kiss on your cheek and didn't look like he was being tortured when you gave him one. Well now with your son he spends all the time giving him kisses on the cheeks, forehead or head and asking him for kisses too. Hongjoong loves when those little hands hold his face and those mini lips peck his cheek like a little bird.

✰ He gets emotional because his 'almost foud yeads old' boy wants to do everything by himself because he's already very old although he clearly has a different sock on each foot and one of them is backwards.

✰ Of course his son can record a song for their new album, but it's a very very exclusive song that only the family, and maybe his seven non-biological uncles if Hongjoong is feeling generous, can hear.

✰ Tours are always difficult. Leaving your home for so long... But now it's torture for Hongjoong. Seeing how his son's face turns red while it becomes wet from the exaggerated amount of tears caused by the fact that his father is leaving... Hongjoong tries to be strong for both of them, he knows that if his son sees him crying it only will get worse, but how can Hongjoong avoid it if his baby asks him not to leave between sobs? Hearing him say that he wants to be with his dad breaks his heart. There's nothing Hongjoong wants more than to be able to bring him to any travel he has but, bad luck, that's not always possible.

✰ Can be found sleeping on the couch with his son in one arm and a tiny blanket covering his chest in an ineffective way after coming home really late at night.

✰ His camera is full of pictures of his son doing literally anything. Eating a tangerine, looking at a snail, sleeping in his car seat, putting on dad's headphones. Anything.

✰ Hongjoong tries to hide his jealous side in front of his son after having been scolded by you several times because your child thinks it's a good idea to imitate dad. That comment about not looking at other children, too similar to the one his father usually tells atiny about not looking at other idols have you worried about his reaction if you bring him a sibling.

✰ And talking about imitating his dad, Hongjoong is also scolded for you and his mother for not being careful with what he says in front of the child. A four-year-old child swearing may be funny at times, but it is certainly not vocabulary for a kid.

✰ Obviously Hongjoong respects his son's privacy so he never publishes photos of his child but that doesn't stop the little boy from sneaking into the room when his dad is recording a video/audio for atiny so the fans end up hearing his little voice. Hongjoong is very quick when it comes to hiding his son from the cameras.

YUNHO

✰ There's nothing Yunho loves more than being greeted at home by that little three and a half years old photocopy of him jumping around him wanting to tell him everything he has done that day and that little baby girl with three hairs collected in two microscopic pigtails crawling to where her dad is just to sit on his foot and look at him with those big eyes she has.

✰ Those kids have his DNA, he knows their potential for destruction very well so no, they don't play video games with dad.

✰ While the eldest sleeps curled up in a ball between both his parents, the youngest decides that there is no better place to fall asleep than on her dad's neck. And don't get Yunho wrong, he loves that his daughter wants to sleep with him, it's just that he likes to breathe too.

✰ Of course his fans know about his puppies. Yes, puppies. Yunho has read a lot of interesting things about him for years so he calls them puppies on camera to see atiny's reactions.

✰ It's no mystery that Yunho has a passion for photography, and it only increased after the birth of his first child. Always with his camera or phone in hand ready to immortalize every little moment with his children.

✰ And talking about photos, he clearly has his phone full of photos of his children, photos that he goes through over and over again every time he is traveling or can't go home for work. The photos he like the most? When you or him have your kids in your arms. He can stare at them with that pretty silly smile for hours without getting tired.

✰ One of his favorite moments is family walks. Running with his children, playing airplane, ball, eating anything his son has begged him with those shiny eyes for, ending up in a park pushing the swings or helping them go down the slide because they are still very small... He tries to treasure and enjoy every second to the fullest for how rare these moments are due to his busy schedule. On the way home he always ends up carrying one of the children on a piggyback ride, in his arms or in his daughter's baby stroller together.

✰ He usually admires the size difference between him and his children, their little hands look even tinier between his own. Many times he ends up crying with the memory of how those same little hands surrounded his finger for the first time.

YEOSANG

✰ He is the last of the group to be a father, his little princess has resisted a lot but he has her in his arms already.

✰ Yeosang is at a very big crossroads. On one hand, he can't wait for his little girl to grow up so he can do with her all those things that his friends do with their children but, on the other hand, he doesn't want her to grow up that fast because that would mean that she would stop being his baby.

✰ At first he was afraid to pick her up, she looked so small and fragile that he was afraid of hurting her in any way. Six months later Yeosang has become a kangaroo dad, he always carries her in the baby carrier or in his arms.

✰ Yeosang is very innocent, he doesn't find any malice in all those questions he receives on lives from his fans about his daughter, so he ends up answering the most general ones such as "Has she started walking yet? " or "What was her first word?".

✰ He's going to go from driving drones to driving remote-controlled cars for when he goes out for a walk with his daughter and she can sit alone. Now she's too small for that.

✰ If not spending the night at home with you and your daughter is really hard for Yeosang, he doesn't want to think about his first tour far away from his lovely little bird. He has seen how sad his friends get when they have to go on tour, only being able to talk to their children through a screen, without being able to hug them and give them kisses. And what about those tearful "I miss you" from the kids? Thanks but no thanks.

✰ Yeosang is usually quiet and calm, something his daughter has inherited. Good and bad. Good because she makes the task of parenting not stressful or exhausting but... a six months baby who makes no noise and barely moves? Yeosang is always worried. What if something has happened to his little bird? But when he checks on her, he finds the baby looking at everything with those big shiny eyes while she eats her little hand or sucks her pacifier with overwhelming parsimony.

SAN

✰ He may arrive exhausted after a hard day of training, tired from an event or sleepy, but as soon as San crosses the door of his home and hears the voices of his two daughters and the babbling of his son, happy because their father is home, all traces of fatigue disappear. At least until it's time to relax on the couch with the three kids on top.

✰ San really appreciates that his children want to support him as an idol, but no, he doesn't take them to concerts or let them watch videos of ateez either, not after hearing his eldest daughter confessing him how much she liked uncle Seonghwa in certain performance with certain bandages in his mouth or after finding his middle daughter on a chair in the middle of what he though was an attempt to imitate certain dance step of his. They are children, they don't have to see those things yet. Much less from their father.

✰ San is a permissive, understanding and very attentive father, always smiling at them and treating them with all the love in the world; his face shines with pride and happiness every time he is with them. But, even if San doesn't want to get serious with them, he has to do it sometimes; when his two eldest don't want to do their homework, when it's bedtime and they don't want to get in their beds, when they act capriciously... They are kids, he understands that these behaviors are normal, and it is not like he yells at them or speaks badly to them, never... San simply explains things to them a little more seriously than what his children are used to.

✰ He can't help but laugh when he gets home and sees that his two youngest children are arguing with you because they want dad to bathe them, but, as I mentioned before, he gets serious with them because they have to understand that they can't wait for dad to get home to shower them every night. You already have had problems with your kids when San have spent the night away or is traveling.

✰ Atiny knows about his children and they know about dad's fans but there is no contact between them as the children of the other members because San is a very protective father that would never expose them to the Internet where a thousand of dangers lurk every minute.

✰ He may have uploaded in his Instagram stories a photo holding hands with his children but never more than that.

✰ San always tries to come home as early as possible to do all kinds of activities with his children and fulfil his duties as father of those kids.

✰ One of his biggest fears as a father is to end up being an absent father, one of those who apologize with a gift because they have missed an important event in their children's lives because of his work while all the responsibility of parenting falls on you. Many nights you have had to console him for it. 'Magically', the next morning your children appear jumping on him to give San lots of kisses and hugs while they tell him that he's the best dad and how much they love him.

MINGI

✰ Mingi loves his twins but he can't hear another of their incessant questions about everything that crosses their little minds "Why parents can't choose the color of their children's eyes? How do you know there isn't a chick in that egg? How does the music come out of the cd? Are we going to be tall like you or short like mom? Do Martian parents force their children to eat vegetables? Who do you love more of the two of us?".

✰ One of the most common things in the Song residence is to see Mingi sleeping with both kids because he can't let them sleep alone, without their dad to hold them through the night. More than once you have found your 1'84 husband sleeping with them in one of their tiny beds with his feet out and one child in each arm.

✰ When he's at home, Mingi and the children are the ones in charge of cooking because he thinks it's an entertaining and beautiful way to strengthen their bond.

✰ Mingi feels betrayed because his son is Carat and his daughter is a Stay madly in love with 'his future son-in-law ' Lee Know. She is five years old. Isn't every girl's first love supposed to be her dad? And if he also asks them who their favorite Ateez member is, his son says Yeosang and his daughter San.

✰ In Mingi's eyes, his children are growing up too fast and he doesn't like that. Two days ago they were new borns wrapped in their blankets between his arms and look at them now, fighting to make room on daddy's lap because they are already too big to be both at the same time, although they fit perfectly together, it's just that they want more space than the other.

✰ As his best friend, this man loves to see the size difference with his kids. It's common to hear Mingi talk proudly about how cute his twins look when they fall asleep on his lap or get emotional and ask daddy to hold them, also looking tiniest than they already are.

✰ It's not strange at all to see how one of his children's heads comes out of his hoodie while he's wearing it.

✰ Mingi may be one of the few members who does post photos with his children but always covering their faces or in strategic poses so that they remain anonymous. Atiny couldn't miss how adorable his kids looked following that duck or the smallest fix-on's in the history of his iconic phrase on his children nails matching with his.

WOOYOUNG

✰ This man was born to be a dad.

✰ Kisses are the order of the day. On the forehead, cheeks, head, hands... Before going to work, when they get up, when they go to sleep, when they show him their drawings, while helping the eldest with his homeworks, while they bathe with him, while they watch a movie, while he feeds the youngest... Wooyoung can't and doesn't want to stop giving his babies kisses all the time.

✰ Cooking time with his six year old son where Wooyoung teaches him small kitchen basics, always supervising that everything is safe and ensuring that it's very entertaining for both of them.

✰ Cooking time with his two year old son where Wooyoung cooks while having his kid in one arm away from fire, knives and other dangerous things; dancing and playing with the kid from time to time.

✰ Always, always, always has one of his kids in arms if not both. Wooyoung is dependent on his children, he needs to have them with him all the time.

✰ Wooyoung loves his job but since his eldest was born he no longer likes to go on tour because that means he can't be with his children. If he hasn't managed to bring his family with him, then he spends all his free time making video calls to talk to you and your children or looking for gifts for the three of you.

✰ He takes many photos with his children but only publishes those in which their faces do not appear, he wants his little babies to stay anonymous yet. Obviously he lets them record audios for atiny.

✰ One of his favorite activities to make his children laugh is to jump on the bed hard but carefully to make them fly. The laughs of both children often makes him have to take a few seconds before doing it again because of the laughs that it takes from him.

JONGHO

✰ Have you seen those videos of babies running around in cute sleepers like bears, stars, dinosaurs, etc...? Well, as soon as his son started walking, Jongho started uploading videos of the intrepid adventures of his little bear.

✰ There can't be apples in his house because his son loves to see how dad breaks apples with his hands. It seems to be so funny for the little boy that when they go to the supermarket he manages to pick up an apple to give it to his father to break it.

✰ OBVIOUSLY Jongho is the one who sings your child to sleep, not because you don't sing well or you don't like it, both your child and you prefer to listen to him sing for obvious reasons.

✰ Like happens with Hongjoong, his dislike for kisses ended when you started dating and now you and that little bear you have as son are the only ones Jongho lets give him physical affection, except those slobbery kisses every child usually gives, he leaves those for you. Jongho really appreciates that his son wants to leave his mark on him to show the world that he's his dad, but that's what the random bites he gets or the tiny nail marks are for.

✰ They are accomplices in crime, the moment Jongho appears in the kitchen with your child in arms you already know that whatever you are preparing to eat is going to reduce if not disappears like usually happens with your sandwiches, drinks or fruit.

✰ Jongho has bear-shaped a full body pajama that match his son's, and so do you. The very first moment he knew about your pregnancy he got the idea, wanting to be a bear family.

✰ People may think that now that he is a father Jongho handles his fear of bugs a little better, but no, if he sees a bug near his child he is not going to throw it away, in fact, he is not even going to go near that bug. He calls his son to go with him and runs away with the kid as far as possible. The problem comes when the child is sleeping. In that case, Jongho bites the bullet and, avoiding the bug as best he can, grabs his son and, again, runs away.

[lillymakesart]

mizu's origin story in ep5 can have multiple interpretations

mama and mikio betrayed her - this is the one that the writers are pushing, and it's honestly already great. mizu's turmoil is grounded in internal chaos and her immediate connections. her onryo is fueled by self hatred and the reality of the world that she will never be accepted, not even by the only two people closest to her that know her as her full self. she has no paths left here. her only path is violent revenge and self annhilation.

mama betrayed her and mikio is innocent - this one fuels her onryo via external influences. mama's only M.O. is her opium addiction, which was introduced by the white men that poisoned the country with their opium imports. it shows that even here, in the countryside, away from everything and everyone that would hate her as a half breed, bridled next to her first love whose relationship is only just beginning, even here she cannot escape the white man's influence. her onryo is fueled by hatred of the white men that ruined her life so thoroughly and completely, even when all odds were in her favor.

mikio betrayed her and mama is innocent - this one fuels her onryo via self hatred. mikio, her first true love and guardian of her trust, tosses her aside and means to kill her after seeing the last facet of her identity as a warrior. here, she has failed so astronomically as a woman that it brings her life to ruin, shattering her heart into pieces and leaving nothing left of her. she hates herself, hates that she was born this way, and embarks on a grandiose suicide mission to end the white men that created her, but the underlying motive is simply self destruction (but make it fashion)

bonus interpretation:

mama and mikio are both innocent, but both are useless in her time of need - maybe a passing messenger saw her and took the opportunity to turn her in for a quick buck. the experience is traumatic, but no one is helping her. mikio runs because he is a coward, mama can only think of herself because she is narcissistic and can't spare any empathy. they are both squabble among themselves but no one is raising a hand to hold her, love her, care for her in the way she needs to be cared for. her onryo is fueled by nihilism and silent betrayal. what's the point of living when this is as good as it gets? why play into the charade of society when there is simply nothing left for her? might as well exercise her artistic capability to its highest form of expression (fighting, killing, exacting revenge) and call it here.

every interpretation is sad, there's no respite anywhere for our mizu send post

[gffa]

Here's why I enjoyed this scene so much: there is so much mutual respect going on here. There's teasing that is good-natured and makes people laugh, there's consideration and compliments being made, but most of all, everyone is listening to each other. They might rebut a point here or there, they discuss it a bit, but they're honestly and genuinely listening. This scene also comes with the context that, even though it's Qui-Gon who issues a "challenge" (and ultimately the scene where Qui-Gon explicitly admits that he did it to prod the Jedi Council members into taking a vacation), it's the Council themselves who come up with the idea to go to Kwen and have an outreach celebration on a personal level. This scene comes with the context of how an earlier scene had a callback to mentioning that Qui-Gon was asked to join the Council, a plot point from Master and Apprentice where they directly said they wanted him for his different point of view on things. But mostly it's a scene where both the members of the Council and Qui-Gon very clearly respect and like each other. The Qui-Gon of this book, the Council of this book, point out that they are thinking about others, just on a bigger scale, and that that's important. That that is helping the galaxy be better, lighter, more balanced. That this isn't about the Council not caring, it's about the Council being so busy saving entire planets that they don't have time to do something smaller scale for themselves. And that it's not about a lack of care or that Qui-Gon cares more, just the direction of that care. I can vibe with a Jedi who had gotten caught up in helping people on a galactic scale (that it's better to help a thousand people than just one person, if you can) because that's what this is. Not a lack of care, just a gentle reminder to get back to one-on-one helping, not because it's somehow "better" for the galaxy, but because both are good. Honestly, I've always been on the hill of, "one of the Jedi's biggest problems is that they believed their actions would speak for themselves and thus had absolutely terrible PR because they thought people would look into the truth of the situation" and I think that's one facet of what's going on here, it's about PR and getting the stories of their good work out, more than it is saying that the Jedi weren't doing good work. Of course they were, but this was a nudge towards spreading the word of that. This scene felt honestly good faith addressing that to me. It took care with understanding why each side's motivations were valid and important, along with making it clear that this was coming from a place of community and love, that Qui-Gon respects his Jedi family and they respect him. So I was totally down with this. (Star Wars: The Living Force | John Jackson Miller)

[inbarfink]

I wanna go a bit full-circle with a post I did right after the first two episodes of ‘Fionna and Cake’ dropped - about the nature of Simon Petrikov’s sense of identity. And more specifically, with how his titular episode centered around the ways his deteriorating mental state and the new context of his life has really torn away at everything Simon used to define himself as. 

Because Simon Petrikov used to be a lot of things. He was an antiquarian and an archaeologist, a man deeply fascinated by the concept of Magic and the supernatural in a mundane world that ridiculed him for it at every turn, an adventurous outdoorsman, and a deeply caring and fatherly man.

But when we meet him at the start of “Simon Petrikov”, he has lost all the passion for his job - especially as he now has to perform it basically as a living museum exhibit. He is now stuck in a word filled with Magic and feels like the only mundane thing in it. He is unable to handle the sort of dangers you would find in an Oooian camping trip. And he made a little girl cry.

And there’s one more thing Simon used to define his identity as, and that is the one he ended up clinging to more than anything in that one episode, even though it was just as decimated as every other facet of his old identity, and the one that ends up jump-starting the plot. And that is being Betty Grof’s other half.

So now, looking back at this second episode at the end of the series, it really feels appropriate that throughout his adventures Simon managed to rediscover these old elements of his personality, that all these aspects of his identity managed to get reinforced and validated…

For most of the series he was basically doing his old job again - travelling around, trying to discover and uncover an ancient artifact.

And you can really see how he regains his excitement for research. 

And by the end of the show, he ends up really rediscovering a passion for his work (and also realized that this Living Museum Exhibit set-up is not conducive for his mental health, which is also a step in the right direction).

 

And he gets to show-off his understanding of Magic

And by the end of the show, Simon doesn’t feel like such an outsider in Ooo anymore. Probably helped by the fact his cellphone connection with Fionna gives him that little connection to 'normalcy' he was missing.

And he got to go on an adventure again, and handle it better than his Camping Trip Funtimes with Finn. Probably because he was around Adventure Novices Fionna and Cake, who were a bit closer to his ‘level’ than a crazy-seasoned adventurer like Finn

And by the end of the show, you can see him seeking thrills on his own terms.

And his ability be kind and fatherly and comforting was validated both by his constant interactions with Fionna - who isn’t a child, but is still a younger person who often needed his emotional support

And also by a very grim reminder of how truly important he was for Marcy.

And by the end of the show, he has managed to make a connection with Astrid, despite them starting out on such a sour note.

But 'Simon Petrikov, Betty Grof's beloved'? That aspect of himself did get some validation, via him getting to share their love story with Fionna

But it was not entirely validated, was it? That was the one aspect of himself that was actually challenged - the one part of himself was clinging to like a lifeline when he felt like he was falling apart, that was the one part of himself that he had to both recontextualize in his head and eventually realized he had to finally let go off…

[sweetteainthesummerx]

THE LOVE LASTS SO LONG (9)

In which Aubrey gets interviewed...

series masterlist

★・・・・★・・・・ ★・・・・★

ellemagazine posted

ellemagazine Our June edition features Aubrey Yang on her directing debut, the trajectory of her career and new friends in Formula One. Full article linked in bio.

tagged: aubreyyang

liked by formula1, olliebearman, mckennagraceful and 80,944 others

view all comments

user1 ON MY HANDS AND KNEES BARK BARK SHES SO FINE

aubreyyang thank you for having me Elle! always a blast 💋

-- aubberieloverss MOTHERRR

dior.n.goodjohn ILY UR SO BEAUTIFUL AND ETHERAL

-- aubreyyang stawpp ur making me blush

formula1 thank you for the shout out! hope to see you in the Ferrari paddocks soon 🏎️

liked by aubreyyang

-- f1wagsupdates BAHAHA f1 admin ur brave for that one

lilymhe prettiest girl

-- aubreyyang me and dior miss u tons! can't wait to see u soon

mvertsppdudu can ollie fight ill catch him in the paddocks

ELLE MAGAZINE

NEW ISSUE

INTERVIEW WITH AUBREY YANG

Aubrey Yang, the multi-faceted actress debuts her talent and grit for directing and screenwriting in her short film Pelt, winning the Best Screenplay and a notable nominee for the Best Film during London Film week. Since we've last seen her at Elle New York, she has turned 18, nearing 19 now, and made some drastic changes to her life.

Since her film, Yang has not been in any other production as talent, but teases us with a new project "that's coming soon, don't worry". She adores her new found love for being a creative, and is scouting to get her hands on more projects in Hollywood on that side of the camera.

Her studies continue at New York University and she is set to graduate early, next year. When asked about her ability to balance school and work, she smiles knowingly and tells us that "it's important to take breaks, but more importantly, I've chosen things I love to do".

During these breaks, Yang is often seen with fellow young actress Dior Goodjohn and international pop sensation Olivia Rodrigo. But 18 has brought a new hobby: Formula One.

"I met Lily [Muni He] and Alex [Albon] at a gala, and we hit it off. They're like my parents" she answers adoringly. She has been seen multiple times in both the Williams and Ferrari garages visiting with fans and learning about the mechanics of racing.

"I've met some wonderful people; I never really got to be a regular teenager because I was working and going to university early. They've really helped teach me about having fun and letting loose."

Next year when we inevitably feature her lovely face again, we'll see the new changes to her life.

MESSAGES

ollie

I read ur article it was great

sad I didn't get a shout out tho :(

aubrey

sorry boo

PROMISE TO GIVE YOU ONE NEXT YEARR

ollie

okay :)

anyways r we still on for the trip?

aubrey

yes mr. bearman

ollie

I was thinking Charles and Alex might want to go w us

aubrey

YESSS MY FAV MONAGESQUES

ollie

gotta go but talk later? ☺️

aubrey

kk cya bearman

ollie

bye yang :)

MESSAGES

alex 🖼️

cou cou chérie!

(hey dear)

aubrey 🎬

AHH ALEX J'avais l'intention de t'envoyer un texto ! On part en voyage en Europe ?

(I was meaning to text you, are we on for the Europe trip?)

alex 🖼️

yes but I have smth to ask

aubrey 🎬

um not the English what's wrong

alex 🖼️

DO U LIKE OLLIE

aubrey 🎬

UM BYE WHY

alex 🖼️

bc I have to watch him text u and its dégoûtant

(disgusting)

aubrey 🎬

bro idk

dior thinks we like each other

its just hes becoming such a good friend

he makes me smile

and hes so sweet and kind and gentle

hes not like any other guy ik

alex 🖼️

its going to be such a long trip 😔

aubreyyang posted on their story

olliebearman replied to your story

cute 😊

aubreyyang

ikr shes my cousins baby

olliebearman

oh

very cute

wanna play 9 ball on message

aubreyyang

YOURE ON

bearyfast_04 posted

bearyfast_04 I think im ready to be a father

liked by alexandrasaintmleux, leosdad and 10 others

leosdad fatherhood is hard

-- landoakabob u have a dog

-- leosdad u take that back hes my son

pastryboy SIR U ARE 21 WDYM CHILDREN

-- bearyfast_04 but look at her 🥰

-- arthuranddw another fallen soldier

★・・・・★・・・・ ★・・・・★

Taglist: @callsignwidow @iloveyou3000morgan @honethatty12 @taygrls

© sweetteainthesummerx.tumblr. all rights reserved. unauthorized copying, translation, or claiming of my writing or any works as your own is strictly prohibited.

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part One

For Xiantober Day One: Genius… albeit stretching the prompt so it refers to MXTX and MDZS itself, but at the end of the day it’s still about WWX – so no harm done!

(Part Two | Part Three | Full version on AO3)

The narrative is a very active player in MDZS’ story. How it presents information, what it chooses to show and omit, often reflects important facets of its themes and characters – Nie Huaisang, for instance, is so good at hiding behind his mask that not even the narrative can hold him accountable; the present day’s storyline as a murder mystery and the slow reveal of information about the past both prompt the reader to think critically about the truth of events, when the importance of thinking critically is an important theme; and the dangers not thinking critically (and instead basing conclusions on rumours without much evidence) are shown by tricking unquestioning readers into the very same trap the cultivation world falls into, as the information given by the title, summary and in-universe rumours – which contradicts how we see actually Wei Wuxian act – turns out to be false.

But nowhere do I love this trait more than in its treatment of Wei Wuxian – and, more specifically, in its way of emphasising his agency. We’re not just told how much his active choices define his character, and we’re not just shown this in-universe through his personality, worldview and the events he causes. I’d argue that this aspect goes a step further, and shapes the structure of the out-of-universe narrative as well.

There are two main ways this happens: one, in how the aspects of Wei Wuxian’s life that are shown and hidden directly tell us what’s important about his character (which is good writing but isn’t necessarily tied to this shaping of the narrative), which is what we’ll explore today; and two, how what’s shown and hidden reflects what Wei Wuxian himself prefers to dwell on, resulting in the narrative respecting his own thoughts and feelings on matters (which very much is tied to it). We’ll explore this at a later date.

But as for now – let’s explore my favourite aspect of MDZS.

(Here, narrative agency will be considered the ability of a character to meaningfully influence their events and the story they’re in.)

Tragedy, Circumstance, Choice

If we simply look at Wei Wuxian’s backstory in a vacuum, it seems almost typically tragic. His  parents died in circumstances beyond his control, he was left alone as a child with nobody to care for him, he was forced to grow up fending for himself on the streets, he was faced with abuse when he finally was taken in… as with all typical woobies, everything simply happened to him, and none of it was good. It’s just another example of the lack of agency being used for sympathy points, right?

…Except there’s one problem with that idea. We don’t actually see any of this.

It would’ve been easy to start the flashbacks during these times. We’re telling the story of Wei Wuxian in (largely) chronological order, and these are likely important experiences for him! But instead of starting in his street days, or evenat the moment Jiang Fengmian took him in*, we start at the lectures in the Cloud Recesses. That’s not even something mentioned in, and therefore something that’s able to disprove, the rumours at the start of the novel. So why is this the case? 

Well, there are multiple reasons – the main one being that MDZS is also Lan Wangji’s (and Wangxian’s) story, and having the flashbacks open with their first meeting is very satisfying. But I want to focus on something else.

This period doesn’t have to be shown, because what happens to Wei Wuxian, especially out of his control, isn’t what’s important about his character.

We’re not even at Lotus Pier here, where Wei Wuxian certainly has more agency than he would’ve had as a young child, but where the harm caused by Madame Yu is still completely out of his control. Here, he has agency! Though there are consequences, he is free to act, and what happens to him is a result of those actions and not of circumstance. Yes, he gets punished more than others who also take those same actions (due to classism); yes, it’s not his choice to be picked on by Lan Qiren in class (yet look how he responds, twisting the situation to his advantage and ending up tricking Lan Qiren into letting him leave, which is what he wanted to do. He is not at all helpless here!); yes, these choices have been influenced by his learned mindset from Madame Yu that punishment is arbitrary and will happen anyway, so you may as well do what you want regardless. But there is cause-and-effect here. It’s not circumstantial tragedy.

Therefore, instead of our first impression of past!Wei Wuxian being that of an unfortunate woobie, it’s of someone who has the freedom, ability and will to choose and act (and that’s after these initial tragic events have taken place). This is compounded by the fact that before we see any of his backstory, we get a similar impression of him in the present day.

If the purpose of his tragic past was to earn him sympathy points, to make us pity him due to how much he was influenced by events out of his control, this would’ve been a terrible way of going about it… and it’s this that betrays the true reason for its existence. Because now, the flashbacks instead show us how little these tragedies define who he is! From the very start, Wei Wuxian isn’t someone defined by circumstances out of his control, but rather by who he is as a person and by what choices he makes in the present day (which is both a mindset in-universe, and a nice little out-of-universe detail that lines up! Because out-of-universe, this means he’s not defined by sympathy points from a backstory, but rather by his great character writing… aka, by who he is as a person and what choices he makes). And this refusal to be defined by tragedy is a conscious choice on his part, too – but we’ll explore that more later. 

The important thing is that this idea of Wei Wuxian isn’t because of what exists in his past, it’s because of what parts of his past are shown to us (as well as what he chooses to do, with agency, in the present). 

Now, if this relationship between what’s displayed and what’s omitted was just a one-time thing, I might’ve considered it a cool detail or a nice way to establish a character, but not something the narrative is actively focusing on. But it’s a pattern that continues throughout the flashbacks. What, arguably, are the two other most important times in Wei Wuxian’s life where he doesn’t have enough agency to meaningfully influence his circumstances? His three months in the Burial Mounds (before escaping – he managed to assume some control of the circumstances but not enough to substantially reduce his suffering in his time there), and his loss and death during the First Siege. And we’re not shown either of them! We skip to when Wei Wuxian has emerged from the Burial Mounds and is torturing the Wens, or we skip to the present day – both times he has agency once more, because, again, what he’s like without it doesn’t matter enough to be shown. 

Furthermore, I’d argue this does actually contrast the other tragic events we see in Wei Wuxian’s later life. Things do go horribly wrong, but it’s either due to choices he knows the consequences of (see: rescuing the Wen Remnants in the first place), or instances where he still has some ability to act in the situation and influence it within the limitations. If he’d had no ability to influence circumstances at Qiongqi path, he would have died in the ambush; if he’d been unable to do that at Nightless City, he would’ve died then, too (of course Lan Wangji helped him escape as well). The attention drawn to him losing control of his actions in both instances is very interesting, but intentional or not, it’s still his actions influencing the plot. And that influence happens to be detrimental. The very ability to act and influence, at a base level,  is not taken away (though, of course, that doesn’t make these events any less tragic).

So, so far, the narrative seems to be telling us that the ability to act and choose is key to Wei Wuxian’s character. And it’s doing it through omitting his moments without agency in favour of instead showing us his moments with it. 

Let’s see if this is echoed in the text itself before we go further – because even with this pattern, nothing would end up mattering if Wei Wuxian’s agency wasn’t actually that important to the story itself. But thankfully it is, and that first impression we get of Wei Wuxian in the Cloud Recesses turns out to very much be accurate! Though there are defining circumstances out of his control that occur, such as the massacre of Lotus Pier, the majority of the important events of his life are due to his own choices. He didn’t happen to be forced to cease traditional cultivation and solely use guidao, didn’t happen to lose his Golden Core in a fight with Wen Zhuliu or due to some force in the Burial Mounds, it was his own choice to give it and his spiritual powers away. He didn’t tragically happen to get targeted by the cultivation world, it was a result of him acting on his morals and protecting the Wen remnants (a choice which he was fully aware of the implications of). He isn’t a protagonist to whom things simply occur, and that activeness and agency is my favourite thing about him. 

That’s not to say that the times Wei Wuxian doesn’t have agency, or feels like he doesn’t have any, don’t exist at all, either – but they are rare enough to have attention directly drawn to them in his internal narration:

Or else what could he do? He could do nothing. He was powerless. Lotus Pier had been destroyed, both Jiang FengMian and Madam Yu were gone, and Jiang Cheng had disappeared as well. He was the only one left, alone, with not even a sword in his hands. He didn’t know anything, he couldn’t do anything! For the first time, he discovered how little his power was. In front of something as large as the QishanWen Sect, it was the same as a mantis trying to stop a chariot. - Chapter 59, EXR translation

(And even in this circumstance, note that he still does force himself to act – to carry on searching for Jiang Cheng, to place his faith in Wen Ning – and does accomplish his goal (albeit with the help of others)! So even in dire situations, he isn’t simply passive. This is actually also the case with his time in the Burial Mounds, almost certainly the First Siege, and even his days on the streets as well (Chapter 20: he did actively fight with dogs to get food despite their danger and his growing fear of them, rather than just waiting and hoping to somehow receive some more). He can’t influence or immediately influence his circumstances, but that doesn’t stop him from trying.)

Overall, although they do influence him, Wei Wuxian is very much who he is in spite of his circumstances, not because of them. We’re shown the importance of his agency both in-universe by the major impacts his choices have on himself and the plot, as well as by narrative presentation – important periods where he lacks the ability to meaningfully influence anything are often mentioned but not directly shown, which suggests that such moments and circumstances aren’t as important to understanding Wei Wuxian’s character as moments where he does have this agency are. And I’d argue this works very well. Depending on the version of the story you consume, you may end up having different interpretations as to how much circumstances were at play nearer the end of his life – but nobody comes out of MDZS thinking about Wei Wuxian, the poor bearer of yet another generically tragic backstory.

(Part Two | Part Three | Full version on AO3)

—

*We are shown this moment in more detail in Chapter 23… but even then, it’s through the framing of Wei Wuxian remembering Jiang Yanli’s narration, not through a flashback proper or even him remembering the experience itself!

[windienine]

the best game of 2024 was an hour-long visual novel demo, and i can't tell you how it ends

attack and dethrone god.

okay. oh my god. soul of sovereignty by ggdg (of lady of the shard & deltarune fame) is discounted for only a few more days, so i need to get this one out while the iron's hot.

so: i'm inviting you along on another journey. we're following a polite gentleman of the wizardly inclination (loïc) who is approached by a sickly woman in dire need (ysmé). all she requests, in her plea, is an escort to guide her to the nearby temple. his decision to support her may turn out to be the most important choice he ever makes.

... have you ever enjoyed the kind of narrative that traps two people with heavily contrasting motives and personalities together in an unbreakable contract? do you like stories of absolute devotion?

i could look at this shot forever ngl

... are you compelled by immersive speculative fantasy worlds where the use and study of magic heavily influences the rhythm of people's day-to-day lives?

(really intriguing magical linguistics system going on here)

... do you ever promise too much of yourself to others, sometimes, even when it's a bad idea?

... if it was possible -- if you could -- would you abandon your humanity for the power to change your world forever?

and, whatever you may feel in your heart about the above...

do you want to see behind the eyes of a hot trans girl as she bullshits her way into a truly volatile level of power and influence and gets everything she wants?

(+ her pet dilf lovely assistant)

if even one of these elicited a "yes," i think you'll love this story.

i'll go out of a limb:

i think, if you open up your heart, you'll find yourself falling for both of the leads. It's a game that really wants you to look at it from every angle, take it apart, and ask questions about loïc, ysmé, their stories, and what they believe to be true about the world and one another. subtext -- especially the charged subtext this story throws at you and hopes you'll piece together -- is a beautiful thing.

the number of talksprites in this demo is kind of staggering

the jrpg-inspired world of the mosaic and its surroundings is as vibrant as it is profoundly lonely, color folded into every facet of its character as you move through it. appropriately, it's really invested in a lot of questions that arise not just from high fantasy as a genre, but from the modern fantasy sensibilities of jrpgs and the interrogation of what divinity even means in a world where the gods are forces you can interact with and draw power from, however indirectly.

what can i even say? that gg and toby fox's collab score for the prelude is downright heavenly and made it onto my work playlist right alongside the deltarune ost the day it came out on bandcamp? that gg's art, especially their use of light, conveys every scene with vivid beauty?

i wouldn't be posting so much of it if i didn't want to eat every CG. oh my god. he's so pretty. it's not even fair

beyond all of that, i think the game's main resonance point with people is that gg's writing is genuinely thoughtful. they use art detail and deft character writing to convey everything about the leads, using the limited time you get with it to paint layers and layers of information on who these people are and why they make the decisions they do. soulsov's roughly an-hour-and-change of text, expressive talksprites, and lush CGs is infused with so much heart and so much horror and so much intrigue that it leaves you feeling like you're a part of this world, carried along for the ride right alongside the two leads. gg clearly really adores these two, and that level of passion makes everything loïc and ysmé do shine even brighter. in spite of (or perhaps because of) all their friction and flaws, they're easy to love.

(it's really fun to read aloud as a script, too! ysmé's a hoot.)

i hope you experience it with high expectations and an open heart. i don't think it will disappoint. it is, perhaps, just a little bit magical.

i hope you see it through to the end!

[physalian]

Writing Exposition (Or Turning a Textbook into a Story)

Exposition concerns every facet of your work from character descriptions, backstories, and relationships, to world history, geography, religions/faiths/superstitions, politics, and current events. Whenever the author takes an aside to say “Joe, Bob’s second cousin, said ‘hello’,” the exposition is establishing that Joe is Bob’s cousin.

So shaming a story for its poor handling of exposition is like shaming a movie for bad visual effects. Yes, some of it is probably bad, but I guarantee that you did not notice every single VFX shot in the movie, and you weren’t supposed to.

Most examples of bad exposition occur when the following happens:

Informed Character A exposits to Informed Character B and tacks on “as you know” with full sincerity

Random Important Detail gets dropped in conversation that does not fit the tone or direction of conversation

Character suddenly monologues about The Thing unprompted

Convenient Breaking News Alerts

Character, out-of-character, begins monologuing about The Thing even when prompted

The pacing screeches to a halt so the Exposition Train can thunder past

Exposition exists to give information, and in order for a reader to understand a story, not all of it can or should be agonized over making perfect. Settings have to be established. Character names and relationships have to be understood. “Telling” over “showing” is, in my opinion, perfectly fine when the “showing” would take more lines, effort, and priority over a single inconsequential sentence. Heck, sometimes the “telling” is better than the “showing”. The trick to understanding when, how, and to what degree to give exposition is making it motivated.

What is motivated exposition?

See this post about character descriptions and the plight of the cliche “mirror” trope for unmotivated exposition.

Motivating your exposition means giving it a reason to exist where it does, prompted by the story you’re telling. Citing the “mirror” trope: I can have my character wake up and describe themselves to you, but in doing so, that rarely tells the audience anything more than just what to picture as they read. Or, I can have my character description spread out as those details become relevant. They’re describing their hair color and texture as it begins to irritate or distract them, telling us both what it looks like, and what our character thinks of it, and a little bit about their personality in how they treat it.

I can open the first chapter with a long-winded editorial about the long lost king destined to unite the shattered kingdoms, or I can wait until the tale becomes important to my characters to tell.

I can spin tapestries about politics before you’ve even met your hero, or I can wait until those politics begin to cause the hero problems and then invite the hero to talk about why those politics cause problems.

See this post about pacing and ensuring your scenes always do at least two things at once. Motivated exposition takes bland information’s singular purpose (to inform) and gives it flavor in coloring the personalities of the characters who give and receive it.

When to give exposition

Caveat: Not all front-loaded exposition is poorly-handled. Everyone loves the Star Wars title crawls because they’re a part of the episodic movie experience. Whether it’s a cheap way to deliver information is irrelevant.

Most prologues exist to front-load exposition and, because I love using Lord of the Rings as my shining example in every post, the trilogy opens with a lengthy speedrun of the main villain, some of the important pieces on the chessboard, the importance of the ring, the smeared reputation Aragorn must live up to and repair, and an idea of the stakes should the heroes lose. Not only is it a prologue, it’s a narrated prologue. There’s an impressive amount of information given in not a lot of time.

Last Airbender begins every single episode with a reminder about the 100 year war and the aggression of the Fire Nation and the purpose of the avatar.

With that said, prologues and title crawls are their own tangle of weeds.

As I said above, exposition should be given when the story gives it reason to exist. Don’t talk about the politics until you have a scene where discussing politics is relevant.

If you need to establish your cool, unique magic system, wait until you have a character using that magic and give it in little chewable bites. That character likely isn’t using every trick in the book right then and there. If they wrote Last Airbender as a novel and started explaining the other three bending styles the second Katara levitated some water, it would read sloppy and slog.

Or, leave the exposition as a mystery to be told later. Make your audience crave the hero’s backstory, piecing together little hints throughout the narrative until just the right moment comes along where your hero would realistically start spilling the beans about themselves. Have other characters frustrated at the lack of information. Have other characters missassume and be wrong about the information they think they know.

Have your characters crave knowledge about their world as much as your audience does.

How to give exposition

Exposition can be given three ways: Via the narrator, via dialogue, or via images or texts observed by the narrator (think news broadcasts or the front page of the paper, books, letters, videos, diary pages).

No matter which avenue you give exposition through, the less random it is, the less “hand of the author” the audience sees. Characters given a lucky break by a convenient breaking news alert is a mini deus ex machina —- the heroes do not earn their victory, it’s just given to them. They are not active in the plot making decisions, they are being railroaded by information as it falls into place before them.

Narrated exposition

The narrator’s internal monologue will interrupt the story to explain whatever needs explaining in that moment. The difference between it reading like a textbook and reading like a story is whether or not this information is important to the narrator.

Meaning, what does my hero feel about this new information? Katniss Everdeen in Hunger Games exposits the entire book because she’s alone for a fair chunk of it with no one to talk to, and she’s no stranger to the politics and history of her world. And yet, she has such strong feelings about everything she says that it doesn’t feel like she’s just giving information for the sake of informing. Everything she says and how she says it reflects on her personality and how she views her world.

Dialogue exposition

When Katniss is clueless about the tribute parade process and all the nuances of Capital life, how she asks about this information and how Effie, Cinna, and Haymich tell her also speaks to their personalities and biases about what they’re saying. In essence: Their exposition is in-character, and, thus, services their characters.

This is the complete opposite of when two informed characters exposit to each other information both already know for the sake of the audience because the author has no other way to give said information. A prime example is the hero happening to overhear two minions discussing The Plan dropping lines like “as you know” (which makes it worse every time).

The only time “as you know” works is when it’s in character. As in, the villain expositing to their minion they think is stupid and the minion reacting to that assumption appropriately. Or, the heroes are gathered to discuss The Plan and the leader of the meeting goes “as you know” because that happens in the real world. Bonus points if some characters are irritated by the redundant recap.

Exposition via dialogue also opens the door for lies, half-truths, and characters simply being wrong or blinded by their biases. Or, characters simply being ignorant of the world they live in. In Lord of the Rings, Gandalf is like 3,000 years old and has been all over Middle Earth. It doesn’t break the plot to have Gandalf exposit because he would realistically have witnessed or have deep knowledge about historical events and politics. Aragorn, too, is 87, and has ranged all over the place. He’s the future king and thus had better know his history and politics. Aragorn expositing makes sense.

Say what you will about Last Jedi but it has a prime example of nuanced exposition: Kylo Ren and Luke Skywalker have incredibly different perspectives on if/how Luke attempted murder on his nephew. There’s 3 sides to every story and the audience is never shown the truth. Had this been given in the title crawl, it would have lost much of its potency.

Dialogue also nurtures the relationships between the characters talking. Telling stories brings people together. If a character is sharing their backstory, why are they telling the narrator, and what does this mean to them as they tell it? If a soldier is sharing his grizzled leader’s backstory around a campfire, how does his relationship with his leader impact how he tells that story, what language he uses, how he sounds, the expressions on his face?

Third party exposition

Information given from an object can be incredibly hit or miss, depending on how hard the heroes worked to obtain it, and whether or not the object in question is meaningful to the heroes.

In the Assassin's Creed games, you abandon the gameplay in whatever historical era you're playing in to watch cutscene after cutscene of exposition (specifically referencing the Ezio Trilogy) by characters no one cares about, giving information that no one cares about, when we'd all rather just keep playing the game.

You can literally have a character read from a textbook, logbook, or daily minutes. What matters is how that info reads, and how the character responds to it. Is the information prejudiced or saturated with bigoted language? Is the mere existence of it where it is horrifying?

In the Mines of Moria (Lord of the Rings) Gimli learns that all his kin have been murdered by goblins once he sees their corpses all impaled with goblin arrows. Later, he finds his dead cousin’s crypt containing a dead dwarf cradling a book that tells of the downfall of Moria. The log entry isn’t finished, and the penmanship rapidly degrades as the dwarf writing it likely dies from his wounds, ending with the ominous, “We cannot get out, we cannot get out, they are coming.”

Had Gandalf warned Gimli ahead of time that all the dwarves were dead, or had they never found the crypt or figured out the owners of the arrows and simply were told “oh yeah we’re about to be attacked by goblins, I suspect they’re the reason Moria is a ghost town” that would have lost all emotional impact, and character development for Gimli.

This doesn’t have to be just objects, get creative! Have the hero watch a parody retelling of the Big Event. Have someone tell it like a ghost story around a campfire. Have it be a crazed rant all across live TV that no one takes seriously. Have six different characters remember it differently and all argue over who’s right. Have someone tell it poorly, thinking it “just a stupid rumor”.

When to withhold exposition

Satisfaction is the death of desire and sometimes uncovering the details of an enticing tidbit of information ruins whatever the audience had imagined to fill in the blanks. In terms of “showing” vs “telling” concerning worldbuilding, deciding whether to have a character speak about the information, or actually writing the scene they’re referring to, is entirely dependant on the story you’re telling.

If you are going to write a flashback, or describe a video of the event, that flashback and video has to be *packed* with as much information as you can cram in there as artfully as you can. Flashbacks and dream sequences take up space and entire scenes and settings need establishing so the audience isn’t floating in the ether trying to follow along. Which tends to mean that the meat of the flashback is barely half of the words you’re now forced to read.

Decide how important it is that the audience sees the incident as it happened, versus told in the aftermath through the biases and flawed memory of another character.

Sometimes the fewest amount of words pack the biggest punch. You can have a shattered soldier describe the battle of which they’re the last survivor in gory detail, or you can have them simply say “it was hell” and let the oomph hit in their expression, how their voice cracks, how vacant their eyes look. The injuries they sustained, the traumas visible in how they hold themselves. At that point, the audience can imagine whatever hell they want. At that point, what you are "showing" (the emotional and physical toll taken on the speaker) is likely way more important than the battle itself.

Concerning pacing — no matter how hard you worked on designing your politics and royal lineages and fantasy geography, odds are if that information isn’t important to your characters, it isn’t important to your readers. It’s not motivated.

I love trivia and fantasy maps as much as everyone else, but I like them on the wikis and next to the table of contents, not interrupting an engaging story.

And, give your audience credit where credit is due. How many fan theories stand on the basis of a few scant lines of narration or zoomed-in snippets of background characters (R+L=J anyone?) and pieces of costume? The mystery is what makes it fun, and I just watched the criminally disappointing second adaptation of the Lightning Thief completely robbed of that mystery every chance they had.

—

In short, the amount of exposition isn’t what makes it well or poorly handled, it’s how and when it’s delivered. Inception is my favorite sci-fi movie and the entire script is exposition, but the way it’s given is entertaining. Motivating your details to exist for a reason, to be given exactly when the time is right and not a moment before, is the spoonful of sugar helping the medicine go down.

Make it timely

Make it relevant

Make it important to the cast

Make it earned by the cast

Make it entertaining

[lolli-popples]

The Missing Link in Scott's Characterization

(Wrote this in a random document and I think it's good so I'm loosely transcribing it here)

These are some of my thoughts on a crucial facet of Scott's character in the Life Series that I think is overlooked by the fandom.

From my personal viewpoint, people put a lot of emphasis on Scott's caring about his allies over everything else. I think this is an important characteristic. However, I think this being shown as the most central trait is a detriment to how people read his involvement with the overarching narrative. It might be less of a problem if he wasn't directly involved with the final fight of nearly every Life Series.

Because of this combination of things, his main interaction with fans' reading of the final fight is being willing to do anything to make sure his friends win. It gives people the tendency to attribute some victories partially to him, which upsets people who want main read of the story to focus entirely on the winner. But this also has meant that one of Scott's main traits is overlooked.

Just as much, and often, more than Scott values his allies, he values fairness. To showcase this, let's look at Limited and Last Life, where he had the most control on how the final fight took place.

In Last Life, when it's down to the final four, Scott *could* have teamed up with Pearl, his ally all season, to kill Martyn and Ren. That aligns with wanting either your or your allies to win, no? But he doesn't. He suggests they split to the 4 corners of the map and have a fair fight on equal footing. Very fair.

With Limited Life it's even more apparent. Scott and Martyn have an impressive amount of time. They could both still die multiple times. Impulse is running out, and there's a numbers advantage. They could have killed Impulse and Scott could have let Martyn win, or Scott could have given Martyn his time to fight Impulse alone. But instead, he suggests they all go down to the same amount and have a fair fight.

In both situations, Scott puts fairness *over* an alliance victory. Even though Limited Life didn't end up ending fairly, that had nothing to do with Scott.

Double Life certainly has the strongest claim on Scott "letting someone win". That his death is an apology for abandoning Pearl.

But if you listen to what Scott says in the finale, he never apologizes. He says he didn't think they'd get this far, he says she deserves this more than him, and then he says the iconic "Tilly death do us part."

Scott didn't fight Pearl. But I don't think it came out of remorse. I think that too, came from a sense of fairness. Which is that Pearl, by all accounts, DOES deserve this win. If they fought it would basically be up to a draw. To chance. Scott has every chance of winning. But if you go over the events of Scott's final episode, he mostly runs. He survives. While Pearl 1v2'd two separate pairs and won! The only reason Pearl hasn't killed Scott already, who has been her enemy all season, is because they were randomly assigned to be soul-linked. A concept Scott has fought since the very beginning. He knows that while he never hurt their chances, Pearl is the reason they are here, and Pearl is the reason he is here. It wouldn't be fair for Pearl to lose to what is basically a coin flip. So, he doesn't leave it up to random chance.

So yes, Scott is loyal and does care about his allies, he proves that again and again. But the way he is involved in how the series end shows that his sense of order and fairness are equally important. Also, I think viewing his contributions from this angle help remedy some of the reasons people don't like his usual characterization because of how it effects the agency of other characters.

[lazy-sixteen]

I was thinking about the themes of One Piece, and what differentiated out characters we see as good versus bad, especially in a work that takes a really accepting view of different moral standpoints and values (Coby and SWORDS's justice is very different from Sabo and the RA's justice but they are both presented as good guys we'd want to root for).

So like, why do we root for Luffy following his dream to be Pirate King, but not Teach?

What about hating Crocodile who wanted to create an ideal society free of the WG but not the RA who want something similar for whole the world?

Big Mom who wants to create a place where all sentient are equal and get along versus Koala and/or Otohime who dream of that same thing for humans and fishmen?

I mean the obvious answer is that protagonists and their allies tend to be likeable - they are usually drawn prettier, have less kick the dog moments, and we get more time with them as an audience. They have to be on some level, or no one would read the manga.

But from an in-story perspective, I think its a an under looked facet of Luffy's character, for him chasing his dream is more important than obtaining it. It's why he turns down Rayleigh straight up offering to tell him where Laugh Tale is, and what is on it. What is important to Luffy isn't so much becoming Pirate King, it is being free, having fun, sailing with his friends on the journey to be Pirate King.

It's why he helps Vivi in Alabasta, Cricket in Skypiea, Shirahoshi in Fishmen Island, and the Wano crew in uhh Wano (the journey wouldn't be fun if he'd abandoned his friends to do it)

It's why he takes dangerous detours to places like Little Garden or Sky Island or Punk Hazard(the journey wouldn't be fun if he didn't get to explore)

It's why he risks his life against Arlong for Nami and declares the entire world his enemy for Robin and literally threatens to starve to death to get Sanji back ( the journey wouldn't be fun if he can't do it with his crew by his side)

All of this is why, Luffy isn't afraid of dying either. He can die at any point on his journey to being Pirate King, and feel no regret because the journey itself was the important part.

Compare this to two other D.'s Law and Blackbeard.

Law's also relentlessly pursuing his dream when we meet him (stop Doflamingo to avenge Cora), and he is miserable.

Law in trying to achieve his dream whatever the cost keeps putting himself in situations he hates.

He leaves his beloved crew behind because the mission is basically a suicide run. He cozies up to the Government he hates and hands his heart over to a morally bankrupt mad scientist he's obviously disgusted by. He plans to get Doflamingo in trouble with Kaido, which mean 1) he likely won't get to punch out Mingo himself, 2) there is a high probability of civilians getting caught in the crossfire/dying horribly.

This journey sucks. If Law had died during any point of this he would have been the world's most pissed off ghost.

It's Luffy and the Strawhats busting in and transforming that journey that puts Law on the path to success with his dream and with not being so goddamn miserable.

Like screw Caesar, let;s have Luffy kick his ass and then you fix the children he was experimenting on. Screw playing nice with the government, do what you want and call us your allies instead. Screw Doflamingo, you and Luffy go beat him up and the rest of us will pull his government/crime family down around his ears.

And it works! Law's grumpy and annoyed and cursing Luffy out, but he tells Mingo he believes Luffy can pull out a miracle and looks more at peace watching Doflamingo and Luffy brawl - knowing that he'll die or succeed with his ally/friend - than he ever did with his fool-proof plan.

The journey before destination thing is also why Blackbeard feels like a special type of evil in OP despite there being technically worse/more evil villains, because Blackbeard always prioritizes his dream over how he gets it.

He'll stay in the shadows for 20 years to increase his chances of success (wouldn't it have been more fun to be a captain like he obviously wants?)

He'll kill his crewmate, turn his commander in for a reward, then kill his captain (wouldn't it have been more fun to stay friends, he never indicates he hates/dislikes them?)

He invites strong people - and strong seems to be the only criteria - to join his crew, though tbh their personalities often suck. I don't recall any panel of his crew just hanging out or joking around which even Baroque Works, Buggy's crew, and Kaido's Beast Pirates get (wouldn't it have been more fun to recruit people he can befriend, not just people he can use)

Like obviously Blackbeard feels like the antithesis of Luffy - even though they are both all about chasing their dreams. Luffy's all about the chasing, and Blackbeard only cares about the results.

[wingedblooms]

How do you interpret "A thing of secret, lovely beauty" in the bonus chapter? The first time azriel used it to describe the necklace. But the second time it was used to describe gwyn's happy smile.

Hello there! I feel like this is a trap. But as I’ve discussed before, readers interpret this differently and that’s wonderful. Interpretations can also evolve over time after rereads and new information. Mine has mostly remained the same (except for some specifics surrounding the second usage 😆). Part of my interpretation drifts into theory. As a reminder, theories are predictions of what might happen based on patterns of evidence in the text. No theory is guaranteed and it’s important to read any new books in the series with that in mind.

That said, Sarah is a fairly predictable and repetitive writer, so I try to pay close attention to her patterns. Many of my theories are based upon those patterns. For example, one of the most apparent patterns is that fate comes in threes. There are three faces of the Mother. Three sacred sister peaks that are barren and thrumming with power. Three stars that shine above Ramiel, the heart of the Night Court, each spring. Three blessed sisters who have been marked by fate and Made fae. Three winged males who found each other and are drawn to the three blessed sisters. There’s more evidence, but I think you get the idea. It can be helpful to use patterns to interpret and predict what Sarah has planned (e.g., the first and second sister have had their stories told, so it would follow that the third is next; there is also strong evidence that what she contributes to the narrative is needed next).

You’re probably wondering how this relates to my interpretation of the phrase secret, lovely beauty. Before I connect it to another clear pattern, I want to put it in proper context. When we first see the phrase, it is used to describe the necklace Azriel gifts to Elain. The setting in which this occurs is romantic: faelights dimming to cast little pools of gold amid the deep shadow of the longest night of the year. Put plainly, this is Sarah setting the mood. 😂 Azriel, who feels lonely despite the company of his shadows, finds himself suddenly moving into the foyer and there she is:

The Faelights gilded Elain’s unbound hair, making her glow like the sun at dawn.

On the longest night of the year, Elain glows golden like the sun at dawn. Like a pool of gold amid the deep shadow. This description follows a pattern in their imagery together, and it is lovely.

Their interaction is also raw and vulnerable, and therefore distinct in this bonus. When they come together, Azriel allows himself to feel and those feelings run deep enough to question his people’s traditions later on. Unlike every other interaction in this bonus, he doesn’t feel the need to put on a show for Elain (i.e., a cold mask, fake smile, or lying repeatedly to avoid emotional topics). In other words, he is himself with Elain. They share a quiet understanding and powerful attraction.

Now that we have this context in mind, we can move onto the the necklace and its chaos-inducing phrase:

The golden necklace seemed ordinary—its chain unremarkable, the amulet tiny enough that it could be dismissed as an everyday charm. It was a small, flat rose fashioned of stained glass, designed so that when held to the light, the true depth of colors would become visible.

A thing of secret, lovely beauty.

“It’s beautiful,” she whispered, lifting it from the box. The golden faelight shone through the little glass facets, setting the charm glowing with hues of red and pink and white. Azriel let his shadows whisk away the box as she said softly, “Put it on me?”

Notice something interesting here? Both Elain and the necklace glow with their true depth of color—golden and rosy, like the dawn—when faelight shines upon them. Dawn is when first light appears (pun definitely intended) and the world reawakens. Elain is linked to the rose amulet, and that follows a pattern of imagery she has already established in the text. This is the pattern I mean:

“I painted flowers for Elain on her drawer,” I said, sawing and sawing. “Little roses and begonias and irises.” (acomaf)

She was a rose bloom in a mud field. Filled with galloping horses. (acowar)

Even in the middle of winter, she was a bloom of color and sunshine. (acofas)

She plucked another figurine from the mantel: a rose carved from a dark sort of wood. She held it in her palm, its solid weight surprising, and traced a finger over one of the petals. “He made this one for Elain. Since it was winter and she missed the flowers.” (acosf)

Her gaze shifted to the carved wooden rose she’d placed upon the mantel, half-hidden in the shadows beside a figurine of a supple-bodied female, her upraised arms clasping a full moon between them. Some sort of primal goddess—perhaps even the Mother herself. Nesta hadn’t let herself dwell on why she’d felt the need to set the rose there. Why she hadn’t just thrown it in a drawer. (acosf)

This gift not only reinforces the pattern, but it also holds a secret message that has become central to Elain’s arc: the rose (like Elain) has hidden depths. The Feysand bonus echoes this theme. Elain’s outburst stunned her family and Rhys suggests there is more to her than they’ve seen thus far.

“I think she’s kind, and I’ll take kindness over nastiness any day. But I also think we haven’t yet seen all she has to offer.” A corner of his mouth tugged upward. “Don’t forget that gardening often results in something pretty, but it involves getting one’s hands dirty along the way.” (Feysand)

Feysand then agree to help Elain after Nesta, which is Sarah’s way of reinforcing the other pattern she put in place (fate comes in threes—first Feyre, then Nesta, and now Elain).

With Elain’s character arc in mind (and the fact that she herself has suggested she doesn’t feel seen), Azriel’s gift is actually incredibly insightful. He gave her something that says, I do see you, and he knew she’d be able to appreciate its meaning. Even the words that describe her gift—secret, lovely beauty—refer to specific things we learn about Elain in the text.

Secret: Feyre compares Elain’s ability to learn and keep secrets to Azriel’s own secrecy (one of many parallels). She is a seer, after all. What other secrets might she know and keep hidden from others?

Before Feyre could reply, Azriel said, “What about Mor?”

Feyre smiled. “Elain was the only one who guessed. She caught me vomiting two mornings in a row.” She nodded toward Azriel. “I think she’s got you beat for secret-keeping.” (acosf)

Lovely beauty: We learn from Nesta that their mother predicted Elain would marry for love and beauty, which I think @juusworld5728 observed sounds a lot like lovely beauty:

My Nesta. Elain shall wed for love and beauty, but you, my cunning little queen…You shall wed for conquest. (acosf)

This last phrase, love and beauty, is connected to the rose Papa Archeron carved for Elain. It is a symbol of love and beauty and goodness in the world, and for such a simple carving, it has unexpected weight just like the rose amulet has unexpected depth (Sarah hit this theme hard).

Her father had died for her, with love in his heart, and Nesta held love in her own heart as she pulled the small, carved rose from her pocket and set it upon the gravestone. A permanent marker of the beauty and good he’d tried to bring into the world. (acosf)

Why does this little rose matter? It is also linked to Wyrd. In acosf, Nesta felt the need to place Elain’s rose next to a figurine of what we now know is farseeing and benevolent Wyrd. Wyrd, the higher force of the universe, found Elain so lovely that she gifted her such powers and purrs like a kitten in her presence. They even share the same blooming imagery. Over time, Wyrd became known as a goddess (probably because she uses female forms as vessels, if I had to guess based on the evidence), but she is in fact a force, a mother to all, a cauldron brimming with creation. Now, where have we heard those terms before?

Gwyn huffed a soft laugh. “In part. We honor the Mother, and the Cauldron, and the Forces That Be. We have a service at dawn and at dusk, and on every holy day.” (acosf)

Gwyn’s words nearly echo the Under-King’s in hosab and hofas. The priestesses worship Wyrd. Let’s look at the description of their worship:

The music was pure, ancient, by turns whispering and bold, one moment like a tendril of mist, the next like a gilded ray of light. It finished, and Merrill spoke about the Mother and the Cauldron and the land and sun and water. She spoke of blessings and dreams and hope. Of mercy and love and growth. (acosf)

Elain’s strength lies in finding beauty even in dark chapters. She is a rose bloom in a mud field—the embodiment of blessings and dreams and hope and mercy and love and growth. The priestesses, including Gwyn, honor that benevolent force and seek to bring it into the world with their services. They are the voice of the Cauldron. And in this world, we know like calls to like. Now that we’ve read hofas, it’s highly likely that the ancient, spell-like music the priestesses perform is ancient summoning magic, which is magnified by the properties of the cavern (ahem, witch glass) in which they sing. So, is it a surprise that Azriel had every intention to return Elain’s rose amulet, a symbol of love and beauty, and found himself at the library during their worship of such things instead? No, it actually makes a lot of sense.

Azriel expressed no forethought in giving the necklace to Clotho for Gwyn. He did not select it for her and did not intend it to be a romantic gesture, which is why he tells Clotho to give it to Gwyn or any other priestess who might appreciate it. The setting and interactions in this part of the bonus are not described romantically because they are not intended to be romantic.

Clotho, who is observant like Elain, can see the shadowsinger’s sadness despite his deflection and offers him comfort in a dark moment:

Clotho’s pen moved once more. She deserves something as beautiful as this. I thank you for the joy it shall bring to her.

Her words spark hope in him and for whatever reason, he is able to picture Gwyn’s eyes lighting upon the rose amulet in his mind. The vision is a thing of secret, lovely beauty.

Some interpret this moment, a vision of Gwyn described as a thing of secret, lovely beauty, as an indication of Sarah shifting romantic pairings. I think this interpretation falls short of the full context, especially since days (in acosf) and months later (in hofas), Azriel is still upset and refuses to even discuss the topic of mates.

Rather, I think that—like the sister caverns, which are linked in song and dreaming—Elain and the priestesses (especially Gwyn) are also connected. They are part of the solution to the problem that was introduced in the first half of this bonus as well as the overarching plot. Like @silverdreamscapes, @silverlinedeyes, @offtorivendell, @willowmeres, and others I’m sure, I believe Elain—a seer chosen by Wyrd—will work with the priestesses that worship her (the most logical partnership in the series, when you think about their respective powers). It wouldn’t surprise me if a dawn service, especially if it involves groundings, helps Elain push the limitations of her powers like the dusk service did for Nesta.

I also agree with many (notably @silverlinedeyes and @merymoonbeam) who think Gwyn’s voice holds magic and, depending on what we learn, relates to being a lightsinger. That is likely the hidden depth (a thing of secret, lovely beauty) that was hinted at in the image since her eyes light upon Elain’s rose amulet. I believe @silverdreamscapes and @silverlinedeyes have suggested her voice, which summons and pierces during the dusk service, could clear mist and shadow in a vision if needed. I also think it is interesting that Gwyn is the first to sever the Valkyrie ribbon, a string tied not to a rib, but a post. Perhaps she and the priestesses could help Elain sever an unwanted bond and weave a different fate for herself, one that binds her to someone she loves? That would be the most epic end to the near-constant arguments over ships.

[fl00mie]

tw: suicide

thinking about how The Truce comic is not simply a self-discovery of error and ink and a primary introduction to xtale, but explores other facets of the characters such as hopelessness to the point of wanting to end their lives. i've known about this comic for years but i never paid enough attention to this type of topics and i just used to interpret it as fun interactions between these two idiots (i don't want to proclaim this as canon, i'm just looking to analyze jakei's interpretations of these characters)

on the one hand there's ink, who clearly looks more desperate than error and externalizes it in order to control it

although we can know more about his perspective of the situation by being the narrator of the story, i feel that "talking to himself as if he were writing a funny diary" fits perfectly, in addition to staying calm by doing any type of activity or physical movement self-talk helps him with this

of course it would be much better for him if he had someone to talk to, and he does! but it's error we're talking about so thinking about it, ink probably bothered him to feel company by getting scolded by him (unintentionally or not)

on the other hand there is error, who, as we know, is completely accustomed to the void so it's easy for him to stay calm at first. what seems to make him lose his mind is not having the freedom to move (much less with ink, or in general another person next to him) or to leave that place, so he chooses to try to have it all to achieve a minimum of satisfaction or self-sufficiency

we notice how ink is losing his sanity more as time goes by, he notices error is also having an internal struggle but knows how to hide it (this really says a lot about the character, whether due to pride, trauma or any other reason, he doesn't like to look weak under any circumstances)

i always find the interpretations that many give to the emptying ink vials quite ingenious, in this situation it clearly represents the loss of hope and the no escape from the mental and emotional hell in which they find themselves

they both seem to regain some consciousness as they literally see their reason for existing in front of them

but are totally incapable of doing anything about it

this, in a subtle way, ends all the hopes that could still exist within both of them

error makes the first move and, strangely, is "cordial" with his companion for the last time before literally ending his life, they start a small conversation in which they say goodbye (in a way). it's interesting how this situation seems to be of no importance to error, he knows what's coming next and yet he doesn't seem upset at all

as well, error does not seem to have incited ink to do the same as him (on the contrary, it's as if he stopped him from doing it in case he had considered it but said it in a very crude way), however, ink takes it as a free pass to "catch him later"

this is how ink gives his last message to those who once helped him, to those who allowed him to continue living in the first place. he tries to call them for help (it's important to emphasize that he also, consciously or not, sought to help error, whether for "selfish" reasons such as staying active and energized in his multiversal journey, having a purpose in his fight more than just protecting, or any other)

and instead of an answer to his prayers..

the only thing he achieves is witnessing a nightmare incarnate, his world shatters in a couple of seconds with no chance to stop it

it's a mix of feelings unique to him, something he's never experienced before, everything he longed to protect all this time didn't seem to have borne fruit, what kind of torture was that?

that was the straw that broke the camel's back

error, having witnessed this, feels fulfilled at first, without lifting a single finger he has achieved what he had always (from what he remembers) longed for.. and still, he doesn't seem to care about the situation at all, what good is a small drop of satisfaction in a sea of ​​hypocrisy?

the roles seem to have reversed, and even though error wasn't that hopeless anymore, he continued with his initial idea and this time, both of them say goodbye, ready to proceed and "get this over with"

[piratecaptainscaptainpirates]

Regarding this post (https://www.tumblr.com/piratecaptainscaptainpirates/750832838350340096/okay-so-theres-one-thing-that-im-kind-of-tired), the racism of Stede having the crew members of color acting as servants was clear, but I always thought he did that because that's what Badminton and his officers would expect. If he had had everyone sit at the table, or even if he'd had the "servants" be both white and PoC, that would have given the ruse away. I saw it as Stede pulling off his first fuckery before he even knew what a fuckery was, and creating what he thought would appear to Badminton as "a bunch of upper crust lads trying their hand at the seafaring life". In other words, he was well aware that it was racist but asked his crew to go along with it so they could get Badminton and his officers off the ship as quickly as possible. Had Wellington not been such a blatant racist prick, they might have succeeded, but Jim was never gonna let that behavior slide. Quite right too.

Now, in S1E2, him and Pete thinking that the tribe were cooking and eating their hostages was incredibly racist and they absolutely deserved to be called out on that. But I never got the sense, even in those early episodes, that Stede treated his PoC crewmembers any differently or worse than he treated his white crewmembers. And especially with Olu and Jim, he valued their advice and counsel, and Olu had no issues speaking his mind to Stede, which to me meant that he never felt threatened by Stede or worried that Stede would abuse him or anyone else on the crew.

If I've misinterpreted Stede's actions, please let me know. I'm white, so I know I don't see a lot of the micro aggressions that you see every day, though I have been working on actively listening and learning.

Hey there! I don't disagree with any of your points here, but I think there are wrinkles!

Was Stede just falling back on the easiest option to allay suspicion? Absolutely! Was it still a racist move? You bet!

See, I think Stede's first fuckery is the "ghost of the forest" bit in s1e2, and this is more...him leaning back on established social hierarchy. He fails to think outside the box in a way that would allow all of his crew members to feel respected. Think about how Frenchie gets himself and Olu onto the party boat - by thinking up a creative story. Stede thought up backstories for his white crew. His crew members of color could have been African royalty, rich benefactors, envoys from distant lands...the possibilities of avoiding suspicion are endless, and they could've even used these exoticizing tropes their guests were unlikely to see through as a way to boost the Revenge's apparent prestige for their guests.

The important thing to remember here, I think, is that Stede's plan in the pilot fails not in spite of the racism of it but because of that. If their guests had known that it would be not only inappropriate but a social faux-pas to insult the crew members of color, then there never would have been a need to fight back against an escalation in racist language.

And I don't disagree that Stede doesn't treat his crew members of color differently! My point is rather that his racist biases are an important facet of his general ignorance of the lived experiences of others - like, he genuinely doesn't really get that most people are pirates because they have no other choice (there's a huge racial component there, no coincidence we hear it from Olu), he doesn't realize most of his crew will be illiterate, he fails to account for the differences in lived experiences he's enjoyed thanks to his relaive privilege. In these early episodes, he talks at the crew, not with them.

I love Stede and his journey so so so much! And every time I rewatch the show I love seeing all these ways that he's grown and learned.