#just wanted to add my 5 cents

[olgsecond]

Dunno if at the point of the last screenshot there was this oh so tragic backstory for Sunji. So dunno.

Also I'm not sure everyone else on the ship keep the hierarchy. If Zoro has to remind them to respect the captain and his decisions. Sanji understands it when reminded, but he doesn't accept Zoro as the first mate, I think. And there's this whole thing about Oda never calling Zoro Luffy's first mate. So, does anyone in the crew would accept him as such? They follow his lead sometimes, but is it because he's the first mate or because he's the only one with a plan at the moment.

But Zoro maintains this hierarchy as he can. And he's the one Luffy can trust to follow his orders no matter if Zoro agrees with them or not. Like you know, let some weak pirates beat them or saving an anemy, see Smoker in Alabasta.

Some of Zoro's teasing Sanji is him making a joke. Like the prince one is genuinely funny.

Sanji: Call me prince

Zoro: Prince

Sanji: >:-(

Zoro when making a joke doesn't expect anyone else to get it. He's joking for himself. Like when he said that they ate Usopp, and then laughed, like it was the funniest shit out there.

I feel like Zoro mostly starts fights making fun of Sanji's actions because it annoys him. And Sanji is making fun of Zoro's intelligence just because.

Like, absolutelly uncalled for.

There goes how could you not predict unpredictable situation:

And whatever this is:

I know I'm super biased, since I dislike Sanji, but I feel like it's not exactly fair to Zoro.

I'm speedreading pt manga rn. And I noticed that Zoro more often starts verbal quarrels with Sanji mostly poking on his masculinity. And Sanji more often stars physical fights. I haven't actually made any calculations, it's just an impression I got.

What do you think about it?

definitely my impression as well. i’d have to comb through but to me it feels like Zoro is doing some friendly teasing. like to him its bonding. and then sanji will take it very seriously and escalate

i dont have many examples bc i dont have much time but

like they will have a conversation, zoro will make a comment and sanji will start screaming and then throwing hands (or feet as it were)

i need to do deepdive i dont have many sanji panels saved lol (go figure)

its a communication issue i think. they cant tell what the other means and interpret it wrong

[into-the-feniverse]

Birb

(available as a sticker set on Redbubble! Until they take it down)

[always-a-slut-4-ghouls]

I just looked at the price on the back of a book I’ve had for a bit over a decade and it was four. fucking. dollars. Just four with no taxes. No extra 97cents or something before taxes. Just a round number that you would add taxes to.

I googled the price of a new edition and it was almost thirteen! Not an even thirteen, it was like 12.96 or something. Close enough that it’s basically thirteen but if you’re adding multiple items together to try and get the price on a purchase with more items it would add more confusion.

[jinjeriffic]

DPxDC and OOC

I've had a couple of posts cross my dash recently where people lament that a lot of the dpxdc fandom writes characters very OOC and how we're proliferating these characterizations among each other. I figured I'd add my own two cents.

I think the fundamental discrepancy comes from trying to reconcile two canons with vastly different tones.

Danny Phantom is a comedy superhero show operating on cartoon logic. Why do ghost experts Jack and Maddie never realize their own kid is a ghost? Why is the status quo restored at the end of every episode? Why does Danny shoot an ectoblast out of his butt that one time? Because it's funny. It's cartoony action fun where the plot is resolved in 22 minutes, there's never any lasting consequences and it's aimed at kids.

DC meanwhile wants to be taken Seriously. Heroes get beaten within an inch of their life, traumatized, killed and even the good guys do messed up things (often to each other). Yes there's action and puns, but also horrific violence, actions have consequences and it's (mostly) aimed at adults. When a main character dies the comics show their family and friends mourning and things are very dramatic. Even though at this point we, the audience can pretty much expect every death to be undone within 2-5 years of publishing, but I digress.

So how do we, the fanfic/fanart creators reconcile these differences when we make our crossovers? We either make DP more serious and somber, or we make DC more comedic.

Suddenly we have a DP verse where the Fentons' bumbling obliviousness is elevated to serious neglect or outright abuse. The GiW are no longer a minor annoyance, they are a serious threat with genocidal plans and a desire to vivisect the protagonist. When actions have consequences, we imagine Danny as dealing with serious PTSD from having to be a solo superhero and witnessing his family's death that one time (and maybe also getting vivisected). Danny is not just a teen superhero, he's now the Ghost King with serious responsibility on his shoulders.

On the flipside, if we make DC more comedic we tend to exaggerate character traits for comedic effect, focus more on the interpersonal dynamics (especially the Batfam) and have the characters act more casual and silly. Suddenly the Batfam goes from a group of seriously messed up individuals who have trouble communicating with each other and fight all the time to Batdad "Kids if you don't stop killing criminals you won't get dessert ffs" Bruce. Violence is played for laughs instead of taken seriously. Yeah they fight, but they still Love Each Other.

And THIS IS PERFECTLY FINE. It's transformative work! And trying to reconcile these disparate fandoms is hard! Fandom is a labor of love. We do it for free. We do it for our own entertainment. And no one is forcing you to read fics you don't like. DLDR and all that.

[goldenbunniesxo]

sorry for how long what I add here is but i really liked this post and wanted to add more of my thoughts of how light differs from akechi signficantly - but also how they have a few interesting similarities. I do agree with practically all of this honestly, I do think goro akechi and light yagami are fundamentally very different characters. however, as a big fan of both, i definitely think there's something very interesting about the way masks/personas play different roles in their lives, and how they both have this persona of being a gifted, perfect student. in light's case its a lot more effortless, to the point of it being boring. whereas although i think akechi is very intelligent, i believe that due to his background he needs to put a lot more effort into maintaining that appearance (and juggling being the detective prince + an assasin while light is just doing school like a normal kid - again, privilged.) however, i think the way they both put so much stock into the way they are percieved and crave being Seen so desperately, and navigate social interactions as games to be won in which their natural charisma makes them very adept at is super interesting. ultimately akechi is like, dripping with the desire to be seen but is terrified of it (the horror of being known yadda yadda) and so he gives pieces of himself with every conversation despite his best acting but also contradicts his character at every turn because he's a fractal of masks and persons and never got the space to fully figure out who he *is* (which on a different note is another way that he's such a good contrast and parallel to joker - but i digress). light on the other hand, has a pretty stable sense of self, even though that self signifcantly warps throughout the course of the series, you get the sense that you never lose the fundamentals of what light yagami is (unlike how you are constantly puzzling out akechi's "true nature" altho part of that is bcs we never get to directly be inside his head). light meeting L is the only time he ever gets truly "seen" in death note imo, but the tragedy kind of is that he will literally die if he shows part of his true self (kira - i say part because i dont think kira IS light's true self but just a part of it), so then L is still confronted with light's many masks and his obsession with kira makes you wonder if he could ever see light for all that he was. and like. as @casuistor 's yotsuba light analysis showed, light was also still pretending/acting during the yotsuba arc, that wasn't his whole genuine self, so yk. light is very much an icarian protagonist - a tragedy, a victim of his own making, if you will. things would have always ended up this way for light imo because of the nature of who he is and what he grew up around, and he honestly would have been genuinenly unfillfiled and unhappy in a no death note universe too. light is obsessed with proving to himself that he is a Good Person, and that he did not fail, because when Light accidentally killed two people it freaked him out so bad that he decided he'd become god because god decides what's good or bad, and cannot be judged. the mental gymastics he does to justify his actions to himself is quite frankly hilarious. light is aware althroughout that murder is wrong and bad and that what he's doing is evil but he believes himself a martyr, and justifes bloodying his hands for the sake of Greater Good.

goro akechi never fancies himself a good person. i think even though he doesn't regret killing any of his victims, i think he fundamentally believes that he is a bad person, and goes to great lengths to never excuse or justify his behaviour - which also means just omitting his reasons for it too. akechi doesn't want to be percieved as a victim at all because he hates his agency being taken from his actions. which loops back around to their main difference - akechi's desire for agency, which trumps his desire to be seen, and light's desire to be good, which trumps his desire to be seen.

I feel like when people compare Akechi to Light Yagami, they fundamentally misunderstand his character. Their similarities really end at their designs, and Light is the kind of person Akechi would despise. Light Yagami lives a pretty privileged life at the start of Death Note. He has a stable home, with two parents and a sister who care about him. He's a successful student. There isn't really inherent tragedy to his life. The whole reason he starts using the Death Note is a mix of curiosity and a jaded worldview, and when it works it empowers him, very quickly goes to his head, as he believes he is one who can be a god of a "new world" once the shock of his initial kills wears off. While his first kill was to help someone, that altruism didn't last. He is in charge of his choices, while Ryuk mostly vibes and maybe eggs him on a little. Fundamentally, Light has something Akechi lacks: agency, and a comfortable life he took for granted. Meanwhile, Akechi is someone who lived on the bottom rung of Japanese society. His very existence is shameful there, between his mother being a sex worker, his status as an illegitimate/"throw away" child, and his mother's suicide. Years languishing in a foster system that is notoriously inhumane, in a country where 90% of the adoptions are grown men for inheritance and patriarchal reasons, while very few children in the system find permanent homes. When Akechi awakens his power, he approaches Shido not because he wants to kill people but for a stupid revenge plan cooked up by a traumatized child who's been nudged along by a malevolent god. He wants to build Shido up so that at the height of his power, he can expose him for the monster he really is, while another part of him genuinely wants to be useful to Shido, as Cogkechi later calls out. His feelings are a mess of contradictions, and so it's no surprise that Shido was able to mold him into his assassin at only 15 years old. It's also worth noting that Akechi only approaches Shido with his ability to cause psychotic breakdowns. Shido is the one who teaches and instructs him to do shutdowns. He's still complicit, very sunk cost with his revenge plan, but as I spoke of here, even if he wanted to quit, he couldn't alone. Shido's cleaner and control of the law and ability to effortlessly turn him in would render the Metaverse his only safe haven. I think people look at 11/20 Akechi and Akechi in the early parts of the engine room and assume that's just his "true self," when in reality it's another mask. Royal makes it very clear because in Rank 7, he outright warns Joker of what's to come via a pool metaphor and offers an out (though he's MUCH happier if you don't take it/stick to your principles), and in Rank 8, he goes on that big "I hate you" speech... while Sunset Bridge is playing. Y'know, the song that plays at the end of most confidants to reaffirm bonds. So when he smiles as he shoots what he assumes to be Joker, that doesn't mean he's genuinely happy. More likely, he's an emotional clusterfuck, given he also is disoriented enough to namedrop "Shido-san" over the phone, and in the subsequent meeting with Shido, tells him not to kill the Phantom Thieves and that Morgana is "just a cat." Yes, he says they'll make them fear for the rest of their lives, but remember, he's talking to Shido. The things he says are likely all incredibly calculated to sound appealing to Shido. And when you consider that he planned to utterly destroy Shido's reputation after the election, the "delay" makes even more sense.

Later, Akechi goes on about how the people he induced shutdowns on were deserving of their fates, but I don't think he believes it so much as it's the only way he could convince himself that it was worth it, and given how much society failed him, and given how many of the people he targeted were likely rivals/competitors or rich fucks, I think he'd be less inclined to assume good faith. Kunikazu Okumura was not an innocent little victim, after all. He was one of the people who requested breakdowns and shutdowns the most. I think Akechi enjoyed killing him not because of how it'd hurt Haru, but because of catharsis. Because Okumura is just as monstrous as Shido, so why should he feel remorse? However, I don't believe he feels the same about Wakaba, as when he discusses her with Shido, he mentions how her fate was because she refused to willingly work for him. It's another justification, but I personally think Wakaba's death was the most painful for him because he was effectively making Futaba just like him. That's why I think his reaction to Sae threatening Sojiro's custody was genuine. Anyway, evil grinning Akechi is just another mask, as I said. Keep in mind, this is someone who laments not meeting Joker years ago, someone who Morgana outright points out is lying about his hatred. And that's the thing. Light Yagami, while a really fascinating character, is not someone who had all this childhood suffering or lack of agency. He does not regret his actions in the slightest and goes down due to his own hubris in both the anime and the manga. While you can argue that Ryuk set him up by dropping the Death Note, Light was the one who picked it up and chose to use it. Any nudging from Ryuk didn't coerce Light into doing it because Light seized the opportunity. No, if Light Yagami is like anyone in Persona 5, it's Masayoshi Shido, not Goro Akechi. Both believe they are god/god's chosen, that they are the ones who will reshape the world to their ideals, and to be frank, both use and abuse women to serve their own purposes. Goro Akechi goes down sacrificing himself for the Thieves and pleading with them to stop his father and again in Maruki's reality when he refuses to let Joker accept a gilded prison of a world for his sake when he knows better than anyone what it's like to have no true freedom. If you max his confidant, you see him in the postcredits, leaving his survival entirely possible, and I think it works because at the end of the day, Akechi was meant to be a victim and a foil. Light is a villain protagonist and a cautionary tale. Though its his POV we follow, he isn't someone we're meant to root for, but I definitely don't think enjoying the character is a bad thing at all. He's really interesting! I just think that a lot of the Akechi and Light comparisons are surface level at best.

[r1elle]

for my peace of mind i want to live in the belief that miya atsumu has AT LEASTTTT got to be a candidate in the “pretending to be nonchalant but horrendously failing at it” trope.

like can you just imagine ..

a just freshly out of the change room miya atsumu, —who, by the way, has his brothers clothes on. (he wants to make a cool impression, and unfortunately, it’s his brother who always has the better outfit choices between the both of them. though he’d rather die than admit it.) anywho, he’s outside of the gym on standby to see if you had already walked past the building at your usual time. (he knows because he’s timed it.)

and when he realizes you already did, and that he had missed to take advantage of that one time slot in your routine, he’s BUMMED. he’s bummed out like a bum in bum central. but it happens as much as it doesn’t, so he still can’t figure out why he’s so dejected whenever the outcome turns out to be the former. (maybe cause he’s just so in love with you like that ?? duh)

but anyway, cmon now. you really didn’t even stop by to see if you could catch a glimpse of him setting ?? serving ?? heck, even spiking ?!?! because he couldn’t care less whether or not you knew which position he played, or what move he often did on court—…okay, well, maybe he cared just a bit. but screw all that. he can just tell you all about it when he’s finally able to call you his ! because what’s most important right now, is you seeing him during the times when he looks his “absolute coolest”.

but goodness gracious you should see the complete 360 his expression does when he sees you laughing along with your friends near the vending machine, indicating you hadn’t fully left just yet. he’s basically grown dog ears, and they’re raised HIGHH. osamu just wants to throw up, especially even more so as he sees heart eyes practically being etched onto his twin brothers dna, and he could only hope it wouldn’t apply to him as well.

with this profound opportunity, atsumu suggests that maybe they should buy something from the vending machine using their remaining coins. (“their” as in osamu’s. atsumu has .99 to spare, but he thinks he’ll save it for another day. perhaps to buy you those 50 cent candies at the nearby 7/11?).

“i’m thirsty. are ya not? c’mon. let’s use ‘em remainin’ cents.” though, anyone can see that it wasn’t a suggestion. it was a demand. (atsumu has never loved the “i was born 5 minutes before you.” card so hard in his entire life.)

osamu can’t help but feel the obvious desperation radiating off of his brothers anticipating expression, so he feels bad and says yes. atsumu internally thanks his brother, thinking that maybe telling him that ‘he should’ve ate him in the womb’ a couple of days ago was a bit mean.

but now that he’s infront of you, what should he do? the boy can physically feel his critical thinking skills melting away.

and so, with little time to actually prepare, he settles on nodding his head towards yours as a greeting (? if it can even be called a greeting), avoiding eye contact as he poorly executes his cowardly advances. he internally wallows in doing so, because that was NOT what he wanted to do. gosh….why couldn’t he be as smooth as he was on court ?!?! what he wanted to do was,—

“hey,” [add in a lazy but still oozing with confidence expression. whatever looks nonchalant and cool!] “want this? i was gonna buy one for myself,” [handing off his coins with one hand while his other one goes off to casually brush his blond hair to the side,] “but eh. dun’ really want it. take it, if ya’ want.” [finishing off with a low-key but proud sniff as he shoves his hands onto his pockets.]

but no. that was not what had happened. at all.

instead, he’s now completely focused over to the vending machine, his eyes directly staring onto the drink he had caught glimpse of you already drinking. (how could he not? it was the whole reason his plan backfired.)

well. at least he was able to give out a (puny) nod at you.

before he could even do anything else to salvage this already weak pursuit of his, atsumu hears you and your friends’ conversation exit out of his earshot. assuming that you were now further away from him, his knees seem to find themselves giving in.

one may think it was due to the exercises coach had given for todays practice.

but miya atsumu is a star volleyball player who yields the magic of ‘athleticism’. so surely, the runs up the mountain during todays agenda should hardly be the reason of any damage caused on the blonds already well maintained physique.

and surely,

heated cheeks, rapid beating of the heart, growing sense of frustration, and a yearning for some sort of impactful interaction with you..

wouldn’t qualify as side effects of hard practice, right?

“stop leanin’ on the vending machine like that, ya’ idiot.” osamu snidely comments, and his ‘face-mushed-to-the-vending-machine’ twin brother can only groan in response.

——

the walk back home is surprisingly quiet, until a low grumble decides to finally greet the silence.

“i was supposed to talk to her.”

“maybe that lame nod told her all that ya’ needed to say.”

“it ain’t my fault she already had a drink in her hand!”

“yeah, yeah. sure. ya’ still looked lame, though. i almost felt bad.”

“shut up! ya’ don’t know what it’s like to be a man in love!”

“…..….”

a silence.

a silence from atsumu who’s now just truly realized how doomed he was.

a silence from osamu who wonders if the person behind them had heard atsumu’s rather flamboyant confession.

“love, huh? didn’t know you were that deep into her.”

“ARRRRRRVHHHHGGGGGGGGGH! SHUT YER’ TRAP, SAMU’!! I DIDN’T SAY ANYTHIN’ !!!”

and of course,

a silence from you, who couldn’t help but just take the longer way back home, all because it meant getting to walk a few steps behind him. (even if he had always failed to notice you doing so, every. single. time.)

i was thinking of ryu sunjae from lovely runner while making this … i hope most ppl will see the vision 💔💔 I JUST LOVE LOSER MEN WHO JUST LOVE THEIR PARTNERS SO VERY MUCH !!!!

[buggachat]

seeing a lot of talk of the season 5 finale, which is fun, i get that it was controversial (honestly the fact it was really risky is kind of one of the things i like about it lol) and wanting to add my two cents but can't think of much i haven't already said before

but something i do want to emphasize is that season 5 ending on Marinette telling the biggest, boldest faced lie she's ever told (that goes far beyond "protecting her identity") to kick off the Lila arc is by far the coolest thing they could've done imo, because I was not at all excited for the Lila arc before but now I'm totally invested. Now Lila isn't the Evil Liar to be taken down by Good Marinette. Marinette is the liar to be taken down by the very liar that she took down. It's not a story of "defeat that freakishly evil girl" anymore, but instead a story of "Marinette's own actions and decisions coming back to bite her". And the lie itself (WHICH LILA KNOWS IS A LIE!!) only exists because, and is most impactful towards, her relationship with Adrien, which is the core of the series!! I CARE about their relationship, and that's the stakes!!!

I just cannot get over how cool that is, and how much I didn't expect it. I know we all were expecting a big fight with Ladybug and Chat Noir just defeating Gabriel and then watching Chat Noir cry or whatever in the few remaining minutes of screen-time and then it's all over and done with, but that's a series finale. This was a season finale. And they did something really unique and unexpected with it, while making sure it's a juicy season-finale conflict that leaves me actually excited about season 6

also, a side note— I think the framing of the finale made this confusing so I totally get why discussions about it are kind of all over the place, but... 90% of the post-wish stuff we saw had nothing to do with Gabriel at all. It was all Mayor Bustier, who was already running for mayor and wanted to enact green laws and projected to win (she was up against D'Argencourt, the character whose schtick is that nobody ever votes for him in elections). I don't think Gabriel's wish included "Please, Gimmi, I want my son's school teacher to win the mayoral election this year" lol. So a lot of talk of "why is Gabriel's World presented in such a positive light?" is kind of weird to me. That's not Gabriel's World. That's Caline Bustier's. All we know so far about Gabriel's World is that Nathalie is in it and he is not. And frankly, the fact everyone is so happy and cheerful and living it up after his death is more a roast than anything

( also, just a reminder that the presentation of Gabriel's statue— the only scene discussing Gabriel in a positive light by someone In The Know— was done by Tomoe Tsurugi, a series antagonist, vowing to continue his work, with a song in minor key playing in the background. i feel like the question of "was this meant to be unsettling or triumphant?" is pretty obvious. just wanted to remind everyone. also by definition characters cannot celebrate gabriel as a "hero" without in the same breath celebrating monarch's, aka gabriel's, death. yknow? )

[acowboynamedasa]

Ok I know I already made a post about watchertv and how it’s a horrible idea and no have not had a change of heart about that- but I really just want to get into the math of everything because like, they we’re making a LOT of money.

(Full disclosure this post has been edited to be more accurate with help from commenters)

Patreon: they have 12,000 supporters, but only 5,900 paying supporters (at the time of me checking today. Many definitely unsubscribed when this video dropped). The tear options are 5, 10, 25, and 100 dollars. Assuming that most people are in the 5-10 range, I’ll average it at about 7 dollars. Witch is 41,300 a month.

Merch sales: they have a very devout fan base that buys a lot of merch, they sell a plastic paper weight for 36 dollars. All of their hoodies are 80 dollars. Their shirts are 35-50 dollars. They sell a pack of 7 patches of their different show logos for 65 dollars. The posters are 80 dollars. To my knowledge They do not publicly share what they make from merch sales, but I know that they have sold out of certain styles, witch means that people are buying these. The merch is without a doubt at a very steep profit margin- no where in the world will it cost 80 or even 40 dollars to make these- so we can just assume that whatever assured total we come too, it will be higher by 10-20 thousand(just an estimate, I’m not an expert on YouTube merch).

Sponsorships: (this info is from moist critical who runs a company who specialize in setting up brand sponsorships with YouTube channels.) watcher is/was a very big and successful channel, with 2 minute sponsorships adds on every video I could find- they are with out a doubt making 20-30 thousand dollars from every one of those sponsorships. They post weekly, meaning they make about 100,000 a month from that. This doesn’t include any money they received from discount codes either, only about 2% of viewers use discount codes so it’s fair to say they receive a few thousand dollars from that, we can just total it to about 101,000 to be conservative.

views: YouTube has always been very hush hush about what they pay. Different YouTubers have stepped forward and said what they make on views alone but watcher is not one of these channels. With watchers average views being about 800,000 per video (very ‘about’, some get 3 million and others only reach 500,000) and YouTubes policy being about .018 cents per view we can say they comfortably make 14,400 per video, 57,000 a month.

Add cents: add cents and views are a different thing, for every add that is seen in a video you get a adicional .018 cents, watchers content is very monetizable, and with it being long form content 30-45 minutes, they have a lot of adds. Let’s just assume 1-2 mid roll ads on every video and that’s an additional 20,000 per video, 80,000 a month.

Adding ALL of that together

Watcher makes 279,300 dollars a month. Flat out, no merch added.

If you think you can’t afford to pay 25 people a month with 279,300 dollars- I literally don’t know what to tell you.

[qs63]

I've seen many posts about the way Riza and Roy address each other, and I wanted to add my 5 cents as someone who is learning Japanese and reading the Japanese manga as part of that process (it's been fun and informative!).

There are two particular scenes I want to discuss in this post:

The first scene is their conversation under the tunnel on the Promised Day.

貴方は そちらに 堕ちてはいけない･･･!

You must not fall into that…

If you've been around here for any amount of time you probably know that Riza breaks protocol in this scene and calls Roy "貴方" (anata, you). You might also know that in Japanese people don't usually address each other as “you”, preferring to use someone's name and/or title to address them. So Riza calling Roy “anata” would sound too rude or too intimate (as this is what a wife might call her husband).

HOWEVER, anime and manga don’t use conventional Japanese. Any Japanese person will be quick to tell you that anime’s Japanese is not proper. It's often exaggerated for comedic or creative purposes. This phenomenon was once also common in English comics.

Think of all the cringe lines in the old Batman TV shows and comics. I even remember reading a note from Stan Lee in a 1960s Ironman comic saying: “We know people don't talk like this in real life”. So yeah…

The use of the many forms of “you” is common in anime/manga even if it's not proper Japanese. Fullmetal Alchemist is no exception to this.

Here is Riza calling Rebecca anata:

And Winry:

And even Barry (lol):

Riza addressing Roy as “anata” is not exactly special or a sign of them being close to each other. That's just how she normally addresses people.

Well kind of…

FMA does follow its own internal formality logic. The way the members of the military address each other is very well defined. Riza not calling Roy — a superior officer — by his official title or by “Sir” IS breaking protocol. It's not how she usually addresses him, nor how she should be addressing him.

The reason why she does this here — to my still in-training Japanese eye — is not because of closeness, or kinship, or whatever. I read this as a plea from Riza — not Lieutenant Hawkeye — to Roy — not Colonel Mustang.

Arakawa actually goes out of her way to preserve a sense of distance and propriety between them by using the kanji form of "anata" (貴方) — which can be read as more formal or stiff — instead of the commonly used kana form (あなた). This is the only instance where we see the kanji form in Riza's speech (see Rebecca, Winry, and Barry above), so its use here is VERY intentional. To me this is Arakawa's way of showing the reader (not to Roy because he will hear "anata" regardless of how it's written) that even though Riza is using an improper, somewhat familiar, way to address him, she is still trying to be proper and show reverence to him as her superior officer.

In a sense this line is actually the opposite of Riza showing a sense of closeness to Roy. What it does show is just how much she looks up to him, and how serious she takes both of their roles.

貴方はそちらに 堕ちてはいけない･･･!

You must not fall into that…

Is both an order and a plea to the man that carries her and her father's dream.

The second scene I want to discuss is the one time Roy calls Riza by her first name.

リザ！！

Riza!!

Again, this might look somewhat weird or overly familiar. Calling someone by first name without any honorifics is usually a no, no in Japanese.

HOWEVER, Amestris is not Japan. Like I said, FMA follows its own formality system, which seems to align more closely with what you would expect in an Anglo society than in a Japanese one. The use of honorifics is not overly common, especially for honorifics like “chan” which may be the one expected from Roy in this scene.

In FMA “Kun” and “Chan” are pretty much exclusively reserved for children. And its use seems to be more of a form of endearment than a social protocol. For example, Riza and Fuery both use "Kun" for Ed and Al, but the rest of team Mustang does not.

Winry using “chan” with Elicia.

Roy knows Riza's name, she's not a small child, they're of a similar social status, and she's not in a position of authority. There's no reason why he should call her anything but Riza.

This btw doesn't indicate any closeness between them. Just like someone calling you by first name wouldn't necessarily indicate any closeness in an English-speaking country.

Here are some examples of people calling each other by first name right after meeting:

Ed calls Rose by first name.

Winry calls Paninya by first name right after introducing themselves.

Al calls Ling by first name shortly after meeting each other.

More interesting than Roy calling Riza by first name, is Riza calling Roy “Mr Mustang” in return.

Riza calls Roy "マスタングさん" (Mr Mustang).

“San” (Mr/Mrs/Miss) is by far the most common honorific used in FMA, just like “Mr” would be in English. But regular people don't usually go calling each other “Mr last name”, especially not outside of a formal environment like school or work. In FMA “San” is mainly used for older people you're not very close to (The Elric brothers call many of the adults as "Mr Last name"), and for people with authority (Knox calls Roy “Mr Mustang” despite Roy being significantly younger).

The combination of first name (Roy to Riza) plus Mr last name (Riza to Roy) tells us that the relationship between Roy and Riza is NOT that of equals. In Riza's eyes Roy is in a position that warrants the use of “San”. And it makes sense, he's older, he's a Warrant Officer, and judging by Roy's questions about her family, and her “Do you remember me?” during the war, they're not too familiar with each other at this point.

Yeah… the way Roy and Riza address each other throughout the series is distant and proper of their station and rank. In terms of Roy's relationships the way Roy and Hughes, Chris and Roy, and even Knox and Roy, address each other is way more unusual than the way Riza and Roy do (I could make a follow up post about this if anyone is interested).

As a Royai fan I must say seeing this made me a bit sad. I can only wish and imagine a future where these two can finally address each other on equal footing and with the closeness their devotion to each other deserves.

[nikkotinamide]

my observations and take on some nuances not conveyed in translation

my drawn out summary part 2!

*Disclaimer: I'm not critiquing existing translations, I think the translators have done a phenomenal job! Just wanted to add my 2 cents worth.

Part 1

Language Use in Kiseki

Ep 4 Cont

More tears. This scene hurts so bad. Ai Di actually says "Blind or what? Having followed him for so long, it's not as though unaware of whom he likes..." It's difficult to translate these lines because there are no first person pronouns used. On one hand, it's Ai Di scolding himself for holding on to his unrequited feelings for Chen Yi (seen in the translation above). On the other hand, he is also scolding Chen Yi for the same thing with regards to CDY.

Ep 5

Time for some comedy to soothe the angst. Our boy really went to school punning and naming himself Edison (and I think the intent was with Thomas Edison in mind lmao).

Ep 8

There's so much we don't know about Ai Di. Here Chen Yi actually asks if Ai Di wants to return to school. Coupled with how Ai Di deflected and told him to stop joking around, and how he told Zong Yi he doesn't need to attend school because he's a genius, it suggests that Ai Di has some regrets about not having the normal life peers his age lead.

Ep 9 💔

This was the most heartbreaking scene imo. Here Ai Di says "你再怎么喜欢他，你再怎么努力，他看的永远不会是你。" - "No matter how much you like him, no matter how hard you try, the one he looks at will forever not be you." While it's clear it's directed at Chen Yi, to a degree it's also Ai Di directing it at himself.

He goes on to say "会看着你的他妈只有我。" 他妈 is a vulgarity (essentially meant to insult someone's mother) which the subtitles and translation have censored, and this line translates into "The only fucking person who will look at you is me."

Let's make it angstier. Ai Di says "只有我，从小看到大。我蠢，我猪。", which has been translated into "Only I, for all my life...I'm such a stupid fool". The translation is fine but it doesn't reflect just how vulnerable Ai Di was in this moment, as though he heart was breaking right alongside Chen Yi’s. My translation would be "Only I, since I was young till now when I am old, have been looking at you. I'm naive. I'm foolish."

This is the line that has made me tear every single rewatch. Ai Di isn't stupid but he is aware that he is being foolish, chasing so desperately all his life after someone who doesn't see him as anything more than a brother .

Ai Di regrets and he says "这件事我帮你扛，抵昨天晚上的事情行吧。我说行就行。" which has been translated into "I'll take the blame for you to make up for what I did to you last night. It's a deal." I felt it was more of a resigned question Ai Di poses, "I'll carry the blame for you, to make up for yesterday night's affair, alright? If I say that's fine, then it's fine."

I was surprised to see this! Here, because Ai Di will not follow willingly, Chen Yi picks him up, and he purposely steps over the pot of burning coal on Ai Di's behalf. I'm not too sure if it's a Chinese thing or religion thing, but in my home country, some Chinese (esp the older folks) say that upon returning home after incarceration, one has to step over burning coal to wash away the bad luck. Very neat that they included this custom!

The same thing Ai Di tells Zong Yi not to say "再见" - see you again; they wouldn’t want to see prison again (which has been translated into goodbye).

This is why people think ChenAi switch, also courtesy of Hsu Kai who pointed this line out. Ai Di says "做回来就不欠啦" which translates into "Do it back and I'll no longer owe you". (more context in comments)

Ep 10

Matt Lee's character who was Ai Di's friend at the bar before jail mentions that Ai Di even dyed his hair blonde upon going overseas to further his education. Meaning, Ai Di's friends were told that he was schooling overseas when he was actually in prison 😢

Ai Di tells Chen Yi "应该多培养一些人在你旁边了，被开枪的时候，才有人帮你垫背" which translates into "You should cultivate relationships so more people will be by your side, so that when the gun is fired, there will be someone to take the bullet for you". Ai Di's done it once, he doesn't want to do it again. And Chen Yi smiles weakly after Ai Di says this because Ai Di just confirmed that he went to jail in Chen Yi's stead.

Ep 11

Like Xiao Jie says, Chen Yi really sucks at wooing someone, so much so that even Xiao Jie is better. On receiving the signature, Ai Di asks if Chen Yi thinks he is BTS (bangtan) and that he can sell his autograph 😂

Ep 12

Chen Yi says "我是在你离开之后，我才发现自己真正喜欢的是你" which has been translated into "It's true I realised you are the one with whom I'm in love while you were gone." I would prefer if it had been "It was only after you left that I realised the one whom I actually love is you". Keyword 真正 - really/actually.

Ai Di uses more heart-rending words. Instead of "Don't make me your rebound just because you can't get the one you love", it would be better translated as "Don't randomly use anybody as a substitute just because you couldn't have the person you love."

Cake scene translations

The most heartbreaking line of this scene. 再 - again. Ai Di actually says "Never again will I step aside for anyone." Implicitly, he was previously going to give up on Chen Yi for CDY.

ok this was a longass post but I wanted to keep most of the angst here

[songoftrillium]

Project Update 09/01/24

Hello, Kinfolks. We're a little under 60 days from releasing Book 1: Cliath, and I wanted to give you all a quick update, provide a few book facts, and hope this lets you share the excitement the rest of us have been feeling!

Book Layout

As you might've seen from our previews, writing is transitioning from writing to copy editing and book layout! If you haven't yet, check it out! The first two chapters are done, and chapter 3 is well underway. Outside of my work on Hearthbound, this is my first major book project, the largest book I've written, and the insights I've gained are ones I think might help future community content partners publishing work on Storyteller's Vault.

On Bluesky, a few months ago, I commented that you should "plan to take as much time doing layout as you do for writing." Even if one writes the book inline right in the desktop publishing program, annotation will still add time. With a WtE book we want to not just provide an adventure and a crash course on the Tellurian, but to also be a roadmap for Storytellers, new and old alike. This has happened on three fronts. The first and most important is we're taking the time to properly index everything in a way that'll let you look up specific book information quickly. The second is how we streamline information through the liberal use of cross-referencing in footnotes. In early chapters, you read truncated summarization, and in the footnotes, you can find book sections that expand on the information you're looking for and let you tune out the things that may not be so important for you to know at the moment. The third and most important feature, however, is where able, we cite our sources for our information. Should a Storyteller wish to learn expanded information on topics, they have a direct book and page citation where they can find deep lore to help construct their chronicles.

Cracking the Bone: now in coloring flats stage

For those that haven't been following, we are returning to old form. The moment you open Book 1, you'll be greeted with a fully illustrated and colored 22-page comic book showcasing life in the Age of Heroes. This story is centered around Dante (he/they,) our protagonist, and his first steps towards his First Change as a Bitten Homid Philodox. Throughout the book, we'll follow his journey towards becoming a Cliath, forming his pack under Earwig and his first mission as a Zedakh in a pack of other Queer Garou. In successive books, you'll see him transition from a scared baby gay Cub to a respected Elder in the Eastern Concordat! We're all absolutely thrilled to follow them on their journey. Illustrating this comic is the highly talented @mekanikaltrifle, who has partnered with us to bring Dante's story to life. I have a single pane I'd like to show you, bearing in mind these are just a first pass!

Book Pricing Information

We've also finalized some of our possible pricing on this book. On Storyteller's Vault, Community Content is priced on a per-page basis. The average is considered to be 12 cents per page. I did some early market work by releasing Hearthbound on a pay-what-you-want model with a recommended pricing of $2.99, totaling roughly 8 cents per page. I advertised exclusively here and on other social media platforms to queer audiences to help gauge a fair price for materials explicitly marketed to that audience. Of those that decided to pay for copies of the book, readers paid an average of 5$ per copy for an average of 14 cents per page. Given the voluntary nature of the release, we on the team have agreed that we'll be charging a rate of 14 cents per page for this release, which puts us on par with pricing for similar releases with a matching pagecount. With layout underway, we're currently looking at a book length of around 200-250 pages. 50% of proceeds go to the publisher, and the remainder will be split equally among all contributors, myself included. I and another artist have pledged to donate the entirety of our shares toward preserving the Kalapuyan language.

Book 1: Cliath releases on Halloween day!

I'd like to give a shout out to @a-boros-named-seamus, @madamebadger, The Bohemian, @peltofash, @ar2456, and Durodragon for supporting me on ko-fi, through yours and the donations of other ko-fi sponsors, we've managed to hire cultural consultants to review about half of what's been written. Because we weren't able to review all of our written words, we've narrowed our focus onto some of our most sensitive subject-matter, and believe that what we have coming out will be the inclusive Werewolf: the Apocalypse Quickstart you've all been waiting for. Thank you! It means so much to us that we have our own sept of Kinfolk out there who believe in this project!

If you'd like to help sponsor this project, subscribe on ko-fi to help us pay Cultural Consultants to work with us! We have some cool perks for subscribing, including access to book and setting previews, the ability to give feedback on game content we're producing, personalized advice for your own tables, and can even get a shoutout right in the book.

[randomnameless]

Why do the FEH devs insist on ignoring Nabatean lore so much?

I recently had a surprisingly cordial discussion on redshit with someone about the "nabateans = colonisers" take, and one of the main points raised was that the game was purposedly foggy around Nabateans/Sothis/their story because it would obviously favor a certain narrative (and thus make another narrative look, uh, not that marketable anymore).

To be honest, we still ended up with a product that had a lead go "this race and its blood* is the reason why the world sucks" and yet that lead is still marketable enough to have raunchy cipher cards and 5 FEH alts, so I actually wonder if, while pissing on that lore had that purpose, it was ultimately pointless since Supreme Leader can still sell goodies despite her incarnation in FE16.

And not only Supreme Leader - but the entirety of WC where we basically have 70% of the cast crying/complaining about their "mixed blood" or lack of and basically adding their 10 cents to the "this race and its blood is the reason why the world sucks".

I mean, can you imagine Sylvain selling any goodies and alts if Flayn replied to his "wah wah people only are kind to me and want to fuck me because I have Nabatean blood :(" by some uncharacteristic "good for you, I have to hide my ears, had to dye my hair, have to lie about my family because if the truth is found out about my identity, I will be hunted and vivisected like an animal and harvested for parts by people who call my kin abominations - just like what happens in the game where the same people who call my kin "abominations" ally with a classmate who calls me a creature and pretends I am incapable of human feelings based on my race".

FE Fodlan's main selling point is its cast of students, for various reasons, but even if I tried to kid myself, Nopes and FEH made it clears : students are the main selling point.

If you spare more time and attention to the Nabatean plot/lore, the students either grow from "likeable" to "despicable" or worse, you won't gaf about them because yeah sure, Hilda might be upset because people expect things from her due to her crust, but it would feel like a "peanut" compared to Seteth's irrational (granted, it's not so irrational since GW exists) fear that Flayn's newest friends would dissect her if they learnt she was a Nabatean, and being conflicted by finally letting her have human friends and form bonds she crave, or protect her due to the trauma from the genocide of their species.

Don't get me wrong, I love peanuts, I mean, not everyone can have a tragik of loaded backstory!

And yet, given how this verse's DNA is "can you fight against the red emperor who uwus about you", they had to add copious amounts of Earl Grey to their games so there's no clear-cut factions :

The "Your alien blood and its influence on the world corrupted it, so I want to reform it under my command" vs "I don't want to die and you oppose me due to my race and side with the people who genocided my kin"

is turned to :

"Your alien blood Crests and its your church's influence on the world corrupted it, so I want to reform it under my command"

"I don't want to die and you oppose me due to my race and side with the people who genocided my kin"

Sprinkle with the cast's hammering here and there that the "reforms" might be needed - but never develop on what they are - and add a few baseless and groundless takes as a toping (basically everything Claude says about tolerance and the general "isolationism/foreign policy" stuff) and you get FE Fodlan where the Red Emperor's war isn't seen as the catastrophe it is in the other entries from the series!

Now, for FEH...

FWIW, the F!F!Billy's trailer had them try to explain that Sothis was a bit pissed about her slaughtered/massacred children when Nopes never gave any reason about why she was pissed - maybe on Billy's behalf bcs Jerry's dead, but come on, she would indeed deserve the medal of the worst parent in the franchise if that was the case, since Billy can murder her daughter without Sothis taking over ! - but given that they cannot write/go against the source game those characters are from.

They tried a bit, with B!Supreme Leader and Hegemongard's FB, but then it stopped (because she had no "new unit" released since then lol) and I can understand why : Hegemongard came out before the Supreme Emblem, and Hegemongard hates dragons who are seen/perceived as gods by some of their human followers. Come FE17, and now Supreme Emblem accepts Alear because they are "one of the good ones". We can come up with HCs and details and talk about what are emblems or if Hegemongard's views were only hers at the end of AM all day long... But imo, Doylist wise, it still feels it's a retcon because the devs from the main games tried to scrap and remove the most "controversial" traits she had.

For the other characters... Well, you see what Marianne is in FEH (but even in her base games), she's one of the few characters who reacts - in a way - to the partial history about relics and demonic beasts and all... only to give sad uwus to Maurice.

FE16 (and Nopes) refused to have any "student" character react to the Nabatean lore/reveal, about what are relics and all. There are no lines, Claude shared some knowledge in the explore section of VW's last chapter, but we don't have anyone muse or think or even talk about what are relics, what are crests, and what kind of fuckery their ancestors or the ancient humans of Fodlan did.

With that in mind, FEH can't do much : either they write Marianne in a retcon-y way like what happened for Hegemongard (and they're not afraid to piss on characterisation, look at Lyon!), or they flanderise her "character" and develop her around 3 lines she had in the game in her paralogue, and continue to give sad uwus about Momo when he was at best a guy who slaughtered and murdered so much that he abused the Nabatean turned into a relic to the point where he turned in a demonic beast even if he had a matching crest, or at worst, had been part of Nemesis's piñata party in Zanado and was something of a genocider.

Tldr :

Why FE Fodlan never gaf about Nabateans : earl grey + the marketable cast has to stay marketable and you can't sell peanuts at the same price you'd sell swordfish

Why FEH dgaf about Nabatean lore : they can't afford to retcon characters + they have to sell peanut alts with the same seasoning they had in their base game.

For what it's worth though, I think FEH is more daring than the base game(s) given how they gave more lines and screentime to Rhea - through her different alts - than GW. And they even designed her Halloween!alt's lines to piss on some of Claude's assertions, while the various FB involving members of the church also - indirectly - reply to some accusations thrown their way in FE16 when, FE16, never gave them an opportunity or lines to explain that those takes were full of dung.

*"but random, maybe she doesn't know that the crests she often decries is "dragon blood"!"

It's highly debatable, especially given what she and Hubert throw to Billy in CF - but even if she doesn't, Doylist wise we still have a character who, knowingly or not, says "this race and its blood* is the reason why the world sucks" and who is never called out on her prejudice. That's more of an issue regarding the general writing though, she has to be a red emperor and took pages from Ashnard's book, and yet, the player must still feel bad and want to romance her, so her mindest/goal cannot be looked at too closely, because, I guess, even the devs thought it would be difficult to romance her (thus sell goodies!) if more light was shed on the "blood from this race corrupts our people" schtick -> which in turn would also make characters whose backstory and gimmick rely on "crying about crests" be way less likeable, thus marketable and able to sell goodies.

[maskedmenmakemeferal]

Hey sexy

Simon wasn’t used to flirting.

I mean,Soap was very flirty,but that was friend flirting,not romantic flirting.

So,even 5 years into your marriage,he still gets caught off gaurd by your flirting.

“Hey sexy.” You bite your full lip,looking up at him and smiling.

He looks down at you,confused. “Lovie,are ya havin’ a stroke?”

You laugh,tossing your head back a bit. “I’m not,honey,I’m just flirting.

“We’re literally married,Lovie.” He holds up his ringed and scared hand.

“But you are sexy.” You playfully slap his ass.

He looks down at you with a playfully annoyed expression,eyebrows furrowed.

“You love me.”

“Your goddamn right I do.” He kissed you,taking away any flirty comments from your lips.

“Good,good.” You smile and whisper against his lips.

Based off this, because I love it so much I wanted to add my 2 cents

[average-mako-enjoyer]

Mass Effect LGBTQ+ representation issues and some headcanons

I've seen a few Mass Effect posts about the sexuality of the trilogy's characters, and I'd like to add my 5 cents, since none of those posts take into account the whole xenophilia aspect of canon relationships. And some of us are here for it. For the aliens. I am here for them. I'm not sorry.

Also, I have to acknowledge the fact that Bioware has made some very questionable choices, and the in-game representation is bad. Like BAD-bad.

I.E.(this list is going to be looong):

All Male Shepard/Kaidan Alenko dialog for ME1 and ME2 was written and fully voiced, but NOT INCLUDED in the final version of the game. And I know that the same thing happened to FemShep/Ashley, but that a bit different because...

The only "gay" romances in ME1 and ME2 are for femShep, and either with a female-representing human-like aliens (who like to dress in tight clothes that emphasize the size of their breasts), or with the equally feminine Kelly Chambers in ME2. Because, you know, guys who buy this game will be more tolerant of two "hot chicks making out" (insert a bunch of mods that make your femShep wear only lingerie and look like a TikTok e-girl) than a more realistic same-sex romance.

Especially when this romance is between two guys. Because ew. Right, Bioware? But you also wanted to sell your games to LGBTQ+ folks, so you installed a…

… so-called "gay button" into your games.

Before ME3, no one except for "hot chicks asari" states their sexuality. You can go through two entire games as a straight character completely surrounded by other completely straight characters. Oh, maybe Kelly likes aliens a little too much, but "who doesn't like asari", right? Even asexual salarians are into them. Sure, a straight woman like femShep…

"Hot chicks making out" really sells those game copies, I guess.

If you think ME3 is better, think again. The only two gay characters in the game are Cortez and Traynor, and they are both supporting characters, who are not even in your squad!

Cortez and his whole "I lost my husband" drama is conveniently placed on the lowest deck of the ship, so if this story offends your bigoted sensibilities, you can just ignore him along with the "dumb jock" Vega who is really unpopular with the players. Is it because he's really friendly with an openly gay character? Oh, who knows?

Meanwhile, Traynor is either mocked (oh, she found EDI voice hot and commented on that! what a shame! awkward lesbians, amirite?) or fetishized (don't get me wrong, Donnelly is funny, but his remarks about Traynor are even more yucky than the way he talks about EDI and lube).

But don't get mad about all this, because all the women in the trilogy are fetishized and heavily sexualized. The best example of this is Samara, whose character design is a war crime.

Bioware made Benezia look horrible (she tried to make Saren change his ways not with her power or wits but with those giant bazooms and the cleavage, I guess), and then they doubled down in ME2 and gave a warrior samurai nun a boob window. A FUCKING BOOB WINDOW. Because boys buy games, and they love boobs, y'know.

Oh, and any inappropriate remarks made by NPCs in the game are directed only at the femShep. Just like the MShenko romance, the male version of the dialog is fully voiced, but conveniently excluded from the game. Because guys can't tell other guys that they look hot in "that soldier getup". That can make bigots uncomfortable.

And let's talk about bi representation, because Bioware apparently hates bisexuals as much as straights and some queers do (trust me, as a bisexual I've experienced both types of hatred, and it's ugly). The only bisexual characters in the game are Kaidan and Diana Allers.

If you're a bigot playing as the maleShep, you can "safely" kill Kaidan on Virmire in the middle of the first game and not have to deal with his uncomfortable love confession at all!

So, yeah, Bigots: 1, Representation: 0. The bisexual is successfully killed, congratulations!

If you play as femShep, you won't even know that Kaidan is/was bi. Because who wants a bisexual guy who is comfortable with his sexuality? You can't sell that kind of romance to the good ladies who buy this game.

Diana Allers romance, meanwhile, is laugh-worthy. If you play as maleShep, you won't even know that she's bi. And if you're femShep, this romance is as insignificant as the one with Kelly, you won't even get an achievement for it! You can also kick her out of your ship without any consequences, so she will be KIA offscreen. You will find about it via fucking email. Bigots: 2, Representation: 0. Both of dirty bisexuals are successfully killed, congratulations!

The bi-xenophile Kelly suffers the same fate: no achievement for her romance, you cannot continue the romance after ME2, and she will either take a poison pill and die or be killed in the Collector's Base/Citadel offscreen in ME3. If she survives both the base and the Cerberus attack, you won't even get to say goodbye to her before the final battle of the game. Bigots: 3, Representation: 0

9. And I almost forgot about Omega DLC that kills the only female turian in the game. Who's also into asari. God, they did her dirty.

"Those were different times," you might say, but all of this could have been fixed in 2019, when the Limited Edition was released. Instead, we just have fellow modders changing the design of Benezia and Samara, restoring MShenko (one of the most healthy, respectful, and mature romances in the entire trilogy) and other gay romances in the game, making all NPCs flirt with your character, adding female turians and krogans to the environment, etc., etc.

Still, I think these games are great. The characters, the cinematics, some aspects of the writing, great! I love that canon. But the LGBTQ+ representation in those games sucks. Big time. But that doesn't stop me from having a bunch of headcanons. For the sake of convenience, I'm going to separate out all the characters for the games in which they debut.

Mass Effect:

MaleShep/FemShep: Both are canonically bi. Both don't mind the alien physiology thing and polyamory. Both are "married to your job" type, so they were okay with casual sex and one-night stands, and only mellowed out while in charge of the Normandy crew. Because of convenience, both had more hetero than same-sex hookups.

Ashley: Straight as a plank and xenophobic, but not homophobic. She's definitely into maleShep, but more into the idea of him as a sole survivor/war hero/butcher of Torfan than an actual person.

Garrus: He likes turian and quarian women. And both fem and maleShep. But with maleShep, he's more busy with the whole "flirt him to death" aspect of their bromance, so there's really no time to get on the floor and get dirty.

I also feel that turian society in the game is very patriarchal, so Garrus has a bias towards femShep and feels less restricted by her rank. With mShep, I think he would have only acted if mShep had specifically pursued that relationship. But mShep is also more interested in just flirting with Garrus.

Kaidan: Canonically bisexual (more into women) and demi. Not into aliens, but not xenophobic. Not a stranger to casual sex, but would really prefer to go steady because #introverted and has enough problems already. "How can you flirt with all these people, Shepard, it's exhausting…"

Liara: She's into both versions of Shepard. And maybe a bit into one drell. Classic demi/asexual. Also, imo, all asari are agender and Liara is not an exception.

Tali: Is a mess and can definitely go cross-species (her romance with Garrus is canon, after all). She's also a massive nerd and a bit kinky. I think she's into human/turian/quarian males, but maybe this femShep really is THAT SPECIAL.

Wrex: Krogan women - that's his sexual orientation. Real bros with mShep, more cautious with femShep because bias. Another "married to his job" character.

Joker: Straight and nerdy. #Irony. Too cool for homophobia.

Chakwas: More married to her job than anyone on this list. Cool lesbian aunt.

And this post is already so long that I'll make a separate one for ME2 and 3.

[hunter470]

Ok aspiring writers, do not use this show as a roadmap on how to craft good coherent stories.

In my opinion, this show has failed at a lot of the basics for a good television drama, which should includes several key writing elements:

1. **Compelling Characters**: Well-developed, multi-dimensional characters that audiences can connect with or be intrigued by. Their motivations, flaws, and development arcs are crucial. The audience needs to see themselves in the characters. Don’t create characters that audience members connect with and then throw them aside for no reason.

2. **Engaging Plot**: A strong, coherent storyline that captures viewers' attention. This includes a clear structure with rising action, climax, and resolution, often incorporating twists and turns. Follow through is key. You have to make it make sense. Story beats are important. It’s not enough to just string together a bunch of ideas that sound good on paper with no plan. Have a plan on how you will move things forward.

3. **Conflict**: Central conflicts drive the narrative forward. These can be internal (within a character) or external (between characters or against societal issues). Conflict is essential but conflict for the sake of conflict with no resolution is wasting your audience’s time. Viewers want closure and leaving them to wonder what happened or why didn’t the character do this or that is confusing and frustrating.

4. **Themes**: Exploring universal themes like love, betrayal, morality, and redemption adds depth and resonates with viewers on a personal level. Find a way to connect to your viewers. If you want to tell a compelling LGBTQ story then don’t use stereotypes that will alienate your audience.

5. **Dialogue**: Natural, engaging dialogue that reflects the characters' personalities and advances the plot. Good dialogue can also reveal relationships and tensions between characters. Use dialogue that makes sense for the character. Having a character making random comments out of character is confusing.

6. **Pacing**: A well-measured rhythm that maintains audience interest, balancing moments of high tension with quieter, reflective scenes.

7. **Setting**: A well-defined world that supports the story, whether it's realistic or fantastical. The setting can significantly influence the mood and tone of the drama.

8. **Character Development**: Characters should evolve over time, reflecting their experiences and the events of the story. This growth or decline can be a focal point of the narrative. Having a character stagnate or continually make the same bad choices is the kiss of death and boring. The audience wants to see progress.

9. **Subplots**: Secondary storylines that complement the main plot can enrich the narrative and provide additional layers to character relationships and themes. Don’t leave your characters out on their own island. Find a way to bring them together to share their lives and experiences. No one wants to watch two characters on their own with no interaction with the other key people in their lives.

10. **Visual Storytelling**: While primarily written, good television dramas consider how visual elements—such as cinematography, lighting, and editing—enhance the storytelling.

These elements work together to create a captivating and emotionally resonant viewing experience.

Anyway, just my two cents. Take it or leave it.

Happy writing!

[kellykswift]

Happy 1 week ttpd. what ive learned so far

1) you cant get fucking sick of this masterpiece

2) rep (my all time fav) is chased at the finish line but my hopes for those lowercase letter vault tracks are like 🌶️

3) nothing seems like we get from „just“ reading the lyrics. dig deeper. get a dictionary

4) at one point we all tortured poets

5) taylor is fucking mad, as she should be!

6) maybe i ve spent too much time in this asylum (kaylor tumblr)

7) just because you hear ttpd in your head all the time doesn’t mean there is actual music playing

8) fuck the mainstream - this is so much deeper/ bigger

9) i am a writer and drank more wine than usual but i am not that wine mom!

10) taylor do whatever you want as long as you deliver like a bitch post mortem goddess man poet!

11) iykyk we love the muse and perspectives of some songs.

aaaaaand mark as many tortured poets as u like! i need all of ur opinion!

so feel free to add ur 2 cents @kwyw @kaylorfossil @9w1ft @theprologues @corneliastvendor @chosetherose @daisyswift3 @industryhearts @iwanthermidnightz @bettys-cardigan143 @spade-riddles @chickawah23 @rainbowdaisy13 @roamertv