#like if you don't like the western genre you can always try this one which makes fun of the different tropes

[faceglitchsworld]

It's almost the same pose 😭

[therealvinelle]

I want to get into old movies (say 1930s to maybe 1980s) because I watched Casablanca and it was really good, so I followed it up with Sunset Boulevard (1950) which was also really good. Then a friend recommended Night of the Comet (1984) which was very different but really good too. I think the old movies which survived this long were better written then most of the stuff that comes out now.

Sooo... do you have any favorite old movies? Or just general recommendations (would also be interested in Muffin's recs if she's got any)

This is my third time typing this out for you... browser keeps reloading.

I do love older movies, you have come to the right place, @theoriginalcarnivorousmuffin loves older movies too (I'm saying "older", not "old", since 1980's movies aren't old and I refuse to believe they are).

I'll give you my recs by genre, not decade.

And this list is really a list of the movies that came to mind as I sat down to type this, so please, please come back with a more specific request as 1930's-1980's really covers... most of the movies that have been made.

Action

Jaws Very famous movie, this is Henrik Ibsen's Enemy of the People but with sharks.

Terminator What do you do if you lose the war, but you have a time machine? Travel back in time to kill your enemy's mother before she can birth him. Meanwhile in the 1980's Sarah Connor is having a very bad day.

Epics, romance, biographical and historical (yes, I'm lumping these together)

Amadeus About a man who is not Mozart, and upset about the fact.

Bridge on the River Kwai One of my all-time favorite movies: man is torn between loyalty to his country, and building a great bridge (this is a misleading summary: he's not torn at all, bridge wins hands down). The ending is parodied in Tropic Thunder, if you've seen that movie.

Dangerous Liaisons (1988) Sexy French aristocrats conspire to ruin each other's lives with sex.

Doctor Zhivago By my favorite director, this is a love story that really feels like Lawrence of Arabia if Lawrence was a woman and they were in Russia.

Godfather I and II Not overrated.

Lawrence of Arabia Man keeps trying to quit his job because sometimes all desert and no break from desert makes Lawrence a homicidal boy. Allenby says "Nonsenese, chap, you're doing wonderfully!" Cinematic history is made.

Horror and thrillers

The Exorcist I sometimes wonder if this movie should not have been made, because lesser movies have tried to recreate what Exorcist managed so well for decades, and all they've done is make bad movies that make me wish I was watching the Exorcist.

Nosferatu The year was 1922, no real precedent for copyright infringement had been had, and the producers of this movie which is definitely not Dracula by Bram Stocker were shocked and appalled they were... sued?? For theft of intellectual property? No!!! Coincidentally the most faithful adaptation of Dracula by Bram Stoker in existence. And free literally everywhere since it's 102 years old, you can watch this movie on its wikipedia page.

Sunset Boulevard While it's a well-known fact that a lot of silent movie actors and actresses were unable to adjust to the change when "talkies" were introduced, and they subsequently lost their careers, the window for casting one such washed up actress has long since closed. Sunset Boulevard, released in 1950, was able to do this however which makes it all the more meta and delightful.

Whatever Happened to Baby Jane? The only two people who hate each other more than the sisters this movie is about, were the actresses who played them. To the point of Joan Crawford sabotaging the movie's chances with the Oscars, because she hated Betty Davies that much (Betty Davies called her a stupid idiot for doing this).

Musicals

Fiddler on the Roof Just watch it.

My Fair Lady "The rain in Spain falls mainly on Henry Higgins because he's stupid."

Westerns

Butch Cassidy and the Sundance Kidd Fun romp about two charming criminals, and how good things don't always last.

The Good, the Bad, and the Ugly I frankly forget what the plot was for this one, I just remember having a great time watching it.

Foreign section

Det syvende innseglet (The Seventh Seal) A knight plays a game of chess with Death.

Jean de Florette + Manon des Sources French accountant moves to the countryside to farm rabbits, this does not go well for him. In the sequel, his daughter has gotten interesting.

La vita è bella (Life is Beautiful) When we watched this in Italian class I had to leave during the first half to go the school nurse, came back during the second half. Greatest whiplash of my life.

Ladri di bicicletta (Bicycle Thieves) Some poor fool looked at Italy after WWII and thought "I bet people want a depressing movie about poverty". The movie bombed, but it's very good and I recommend it.

Ran King Lear, but in Japan.

Veiviseren (Pathfinder) First ever Saami movie, based on an old legend. Strongly recommend.

Bonus: TV shows

Columbo (first two seasons only) Sometimes you're the cleverest little criminal in the world :) but there's a stupid man in a stupid coat who won't stop asking you stupid questions about things he shouldn't be so obsessed about because it's making you look guilty (which you are but he's being rude!)

I, Claudius Fantastic about the imperial Roman family in the Julio-Claudian dynasty. And available for free on youtube!

The Prisoner Unnamed man tries unsuccessfully to leave a beautiful village. You can watch the episodes in any order you like, doesn't matter, he's not getting out of that village.

Bonus: 90's movies

Goodfellas Hilarious, horrible, and so entertaining. A mafia movie about horrible people who like money.

Se7en One of the only noir movies I've liked, this is something of a comfort movie for me. This and Silence of the Lambs are mandatory yearly watches for me. Watch this and you'll finally get all those "WHAT'S IN THE BOX??" jokes.

Silence of the Lambs Possibly my favorite feminist movie, to the point where I sincerely believed this was appropriately described as a chick flic. It's the film where Clarice Starling discovers the only person who'll treat her like an equal is the serial killer cannibal.

The Usual Suspects Your parents have seen this movie, and it was huge for them.

Total Recall Just a great adaptation of one of my favorite short stories.

Unforgiven THE Western movie, what you should do is watch a bunch of Clint Eastwood Westerns and then wrap it up with this one because it's a sequel to all of them.

Bonus: directors to look for

Ingmar Bergman (watch his movies and discover a lot of the films you like are just remakes of his things)

Clint Eastwood (a lot of his movies are newer, but he's so good. You should watch his things, I promise you will find one you like.)

Blake Edwards (fantastic comedic director, same sense of humor as Muffin and myself if that tells you anything)

Alfred Hitchock (he's not in fact overrated)

David Lean (god of directors)

Pier Paolo Pasolini (huge name in Italian cinema)

Steven Spielberg (also not overrated)

Billy Wilder (Sunset Boulevard, among others. Hilarious director)

Please. Give me a more specific genre.

[jinitak]

Why I think much of Only Friends discourse here is flawed

TL;DR Western audiences expects Only Friends to be more progressive than it can be considering its situation. Only Friends is already a gamble by GMMTV as it is one of the first prime time series focusing on queer sex life to be aired on TV. As Thai audiences and censors are still quite conservative, GMMTV probably added some conservative messaging on sex and relationships to appease those people and for the series to be able to be aired during prime time. Much of the discourse didn't factor in these aspects.

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Note: I think I did a shitty job building up to the conclusion, I did not proofread this. I think the TL;DR captures the gist of my argument already.

I have noticed that much of the negative reaction surrounding Only Friends finale has been coming from Western audiences, this might just be me being in an echo chamber where people don't discuss BL series or it shows a divide in audience

I think the ending is catered to the Thai audience rather than Western audience which creates a crash of worldview. Thai dramas has always been filled with moralistic messages and almost always ends in a happy ending, this is already the case in plays as early as the late 1700s.

Even into the TV era, Thai audiences are also accustomed to the moralistic storytelling that ends in a happy ending, most Lakhons basically boils down to this. Branded ships also began in this era (I remember the Channel 3 heterosexual ships getting much popularity, although many of the couples actually married later on so IDK). Although as time progressed, audiences are more accepting of less moralistic storytelling, but still a general sense of good triumphing over evil is still present.

Coming into the BL boom, despite BL being a new genre at the time, Thai audiences still expected the same kind of things they expect from heterosexual lakhons and most Thai BLs still follow that. With the popularity of BL ever rising and fan service being an expected part of promotion, happy endings are kind of mandatory for BLs.

I think Only Friends ended the way it did because GMMTV understood Thai audiences. Much of the Thai audience watches a series for their favourite actors and only some watch for the story (as you can see from the amount of boring university BLs). Deviating too much from the standard pattern would only alienate viewers away.

Despite the picture the tourism board may be trying to presenting, Thailand is still a conservative society, many people still cannot separate sex and relationships. Open relationships and polyamory relationships are still being frowned upon.

Combined with conservative censors which rate BLs for a higher age level than heterosexual dramas with straight up domestic violence, without moralistic messaging, the show might get an 18+ rating and has to be aired after 22.00 (like Friend Zone) or even worse, not being able to be aired at all.

GMMTV probably understand this very well, pushing Boston's separation of sex and relationships as normal might as well be suicide. Much of the audience does not appreciate that view and the censor probably would not like that very much.

I think in their minds, pushing a show so involved with queer sex life into prime time is already enough of a gamble for them, risking that spot being taken away or alienating their (somewhat) conservative audience too is not a chance they's like to risk.

I think the production still should've pushed more for Boston to be accepted but in the end that was what we got. The negative reaction is justified.

I think the issue in the discourse right now is that Western audiences expect a liberal viewpoint being presented in this series, but in reality, Thai audiences are still quite conservative and for a boundary pushing show like Only Friends (Gay OK Bangkok amongst other works are not prime time shows and maybe not even shown on TV at all, that's why I said Only Friends is boundary pushing) has to make compromises to appease those audiences which ended with Boston ending up the way he did.

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Afterword: I think my analysis mainly focuses on cultural viewpoints rather than the content of the series, whilst Western audiences tend to do the opposite. This probably stems from my background in advocacy, which focus on cultural aspects when it comes to analysis.

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Feel free to respond or criticise, I want to hear differing viewpoints from mine as well. I agree with much of the analysis about the series here but feel that they are too overly critical because their analysis lack the cultural background that explains the thought process behind the decisions the production team made.

[ceasarslegion]

Ive made my stance on oppenheimer discourse very clear but one detail of it that really bothers me is the "movies about sad white men are always bad" attitude, and i didnt really know why until i was able to sit down and parse it out.

Here's the thing. I have a film degree, I've spent more time in movie theaters than I have sleeping and I've easily seen more films and shows than all of my peers combined. Which isn't a flex btw, I'm a little hermit who prefers the warm embrace of a cinema seat to human connection and is the most annoying mfer imaginable during family movie night; don't be like me.

But I know hollywood, I know cinema history, and I know the legitimate frustration this attitude comes from. Hollywood doesn't like to take risks, they have to historically be dragged kicking and screaming into any territory that isn't a guaranteed profit, which usually means that we get periods of stagnation where every film is the same goddamn formula over and over again until audiences get sick of it and stop buying tickets en masse. Hollywood also tends to reflect the dominant culture and the sociopolitical issues of the time, but not SOOO much that you'd rock the boat. As an exec, you wanna hit that sweet spot where audiences relate to your films without them being so blatant that they'd cause them to question things that weren't acceptable to question. Noir was a picture-perfect example of that.

And in the modern day, that DOES tend to translate into the weird genre of Sad White Man Who Regrets Killing Foreigners movies. Like American Sniper. But I've seen American Sniper, so I can speak on how lowkey disturbing I found it, and the history it's based in and the goals it had as an art piece were to make you sympathize with a system of corruption. And here's my unpopular opinion: if done RIGHT, those films still have a place within the cinematic sphere of influence, like if you made a film exploring the psyche and experiences of what leads a man to willingly participate in a system like that, but that's not really what it was.

Now let's move onto Oppenheimer and other films like it. I don't think these films are at ALL equivalent to films like American Sniper, even if they follow a sad white man who regrets killing foreigners. You are looking at the bare bones surface level of it and assuming its contents both real world and dramatized and judging it based on that instead of the, well, actual film.

One of the biggest differences here is that Oppenheimer WAS an important historical figure just, objectively. Even removing all western racial influence from the equation, you can not look me in the eyes and tell me that the man who invented the atomic bomb in the middle of the largest world war of modern history was not an important historical figure. If you try to make THAT argument just based on the sad white man-ness of him, I'm sorry but your point is already moot, because it's not based in historical fact anymore but your own personal subjective feelings. He IS an important historical figure, he's not soldier number 648 in the middle of a massive battlefield who followed other peoples orders.

And also to be completely honest, you are a huge fucking liar if you try to claim that people like Dr. Oppenheimer are not interesting. Flawed people who make flawed decisions with complicated variables are what make for good fiction, so when one exists in the historical record, of course they are going to interest people. They are going to be studied and interviewed if they're still alive and have their entire lives and every word they said picked apart and analyzed because they are interesting. You are straight up lying if you try to act like these people arent interesting enough on their own to have media made about them, regardless of what identity they had that fits into the opposing side of the 21st centure culture wars. This attitude reminds me a lot of the people who claim that the only reason anybody could find true crime interesting is because they MUST want to fuck jeffrey dahmer or whatever. The argument just doesnt hold up because all it takes is one person going "thats not what i find interesting about them" to collapse that entire absolutist argument.

So yes, hollywood absolutely has a racism and war glorification issue. But I take issue when these accusations are just made blindly against any historical dramatization based on nothing but the poster. If you're going to talk about hollywoods sad white men issue, at least make sure the films youre citing actually fit that bill AND that you actually understand whats WRONG with those sad white men movies, because its not just the presence of a sad white male protagonist, its a conglomerate of various sociopolitical issues that must be present within those characters and what they represent.

[tyrantisterror]

Criticizing the police in a superhero story is kind of straightforward, examples exist, but what about the military in a kaiju story? Like, it's one thing to have the monster be immune to weapons but how do you avoid the usual cliches?

I would say most kaiju movies are pretty critical of the military - and so are a lot of Western giant monsters movies, to a lesser extent. The military is almost always impotent at best in a kaiju movie, rarely accomplishing anything more than stalling for time, and often end up making the situation worse. All the military's actions in the original Godzilla, for example, do nothing but make the monster more pissed off, until his final and most horrible rampage is directly provoked by the military's incredibly thorough and diverse attempt to kill him with every weapon they can think of. That is not a flattering portrayal of the military.

In fact, this trope is so common in the kaiju genre that it wasn't until decades after its inception that people tried to go against it - one of the directors of the 90's Godzilla movies talked about how G-Force in those movies was made because he always felt annoyed as a child that the military never accomplished much, and wanted to have them put up a better fight. Yet even then, MechaGodzilla, Moguera, and the various super xs never win - they come close, but Godzilla proves indomitable in the end.

Victories in kaiju movies overwhelmingly hinge on noncombatants and diplomacy - the happy ending comes from a scientist creating an ingenious invention, or fairies convincing their moth goddess to save our ass, or simply allowing Godzilla to swim off into the sunset when he's done defending his territory from the invasive monster of the week.

Some modern American kaiju pastiches find interesting ways to make the military useful while trying to stick to the themes baked into the genre's bones - Godzilla 2014 has a protagonist who, while in the military, specifically works as a bomb disposal expert, i.e. someone who keeps violence from escalating rather than perpetuate. Said character is drawn as a direct reflection of Godzilla himself in the same movie - heroes defined by their desire to stop a violent situation from exploding rather to destroy for the sake of destroying.

Pacific Rim explicitly focuses on a military organization of pilots in giant robots trying to fend off alien invaders using kaiju as weapons - but in the movie's greatest break from reality, said force is woefully underfunded, stripped to just a handful of robots and pilots. While the Jaegers of Pacific Rim have the trappings of some real world miltiary stuff, I think ultimately they don't resemble the military that much in execution, being more akin to, like, a remnant of an army turned into a guerilla resistance force, and really they make more sense when you take them as a metaphor for the few people actively fighting against climate change in our world (which the movie makes pretty clear is basically the theme, more or less - the aliens are specifically seeking our world out because we've fucked up the environment enough to make it favorable to them). And, ultimately, the Jaegers only manage to get their job done thanks to the help of two very brave scientists.

But, in all honestly, I feel no need to do away with the "cliche" of the impotent military in kaiju flicks. Fuck the military. Show them as incompetent, war-mongering, overfunded and undereffective assholes. Fuck 'em. They get their cocks sucked by every other genre with a budget, they can take a few beatings in the kaiju flicks.

[dennydraws]

Sometimes checking local bookstores have some rare finds...

And I was most definitely not expecting to find the FF14 Manga there but I take it XD;; I highly doubt it was intentional but having the price sticker over Asahi's face absolutely killed me lol

But this will be a talk about manga books and not specifically about FF14's manga book which was hilarious by the way XD;;

(Press F for Urianger... well, for Thancred really but ya know...)

It may come as a surprise but I'm not exactly a big manga reader. I think it was primary because manga wasn't as available or popular here when I was growing up and when I started spreading I started feeling too old for it. Now looking back, I was mid 20 I wasn't too old lol But also I was not in a financial position to spend on what I considered luxurious hobby materials. I never looked at manga books as anything but forbidden pricey thing that I could do without... even though looking back I could've learned a lot or enriched my art journey but... when you try to graduate university, freelance and cover for struggling and sick family these things are not something you think to spend on... ANYHOWSIES, I did not intend to share sad artist backstory, more like I wanted to explain my relationship with actual manga books has been an odd one XD;

It wasn't until recently that I started to actually go to bookstores during my lunch break and browse manga books and regular books too. However now they are so many that I get overwhelmed. Now that I have my preferences, I don't feel comfortable just grabbing a book on a whim. I still very much hate the idea of blindly spending on things that may not be of use to me. But even so I began to reach out, grab something, try it, see what I can learn from it. I feel like a teenager dipping toes into something they've always looked from behind the shop window but now they can actually afford it! XD;; I tried to start with books whose anime I deeply enjoyed and maybe look over what's around them - surely there will be something similar!

And then to my surprise I started noticing... Artbooks! Usually the ones I am interested in are on the obscure side? Or at least I've never found any of those I was interested in... ever XD

It has always been a lot more art books available here for WoW or LoL or whatever western-ish game franchise which... while I respect them, I just don't really enjoy their art style. And I did grow up surrounded by boys and a bully big brother whom I've always tried to impress or be "cool enough" to hang out with him (I was never cool enough to hang out with him u_u) and as result I had to deny myself a lot of things I was enjoying but I thought they are embarrassing - a lot of typically girly genres things because he'd mock them and if he mocks them then they were bad and I'd never be "cool enough" if I showed interest in them! Oh noes! Now that post turned into more personal down pour XD;

As years went on and after some reflection and years of existing in a healthy friend circle I started to enjoy the things I always wanted to enjoy growing up. I see them in new light now and I appreciate them with the eyes of a grown up while still kind of connect to this lost childhood spark. It's been really nice.

Plus I'm enjoying reading ...well, normal books, a lot more. Some years ago you wouldn't find me able to sit and read but now I do and quite enjoy it!

I don't know where I was going with this post XD I wanted to share I found the FF14 manga in a local store during my lunch break and it escalated to, I've been slowly buying and reading more manga and artbooks as of this year! It's never too late to reconnect with things you wanted to enjoy but couldn't in the past :D;;

Anyhow! Thank you for reading this silly lil ramble post, dear web traveller! I hope you will have great rest of the day and smooth week ahead!

[mdhwrites]

The Uselessness of Filler

Filler is not useless. Filler is flavor. This is about how useless the term 'Filler' is to modern discussions, especially with non-adaptive works.

First I want to get into what I mean by 'Filler is flavor' though because it gets into what the modern, rhetorical definition of Filler is. See, plot, action and drama are great and when those elements are high, very few people will even consider calling such a piece Filler. After all, it clearly serves a purpose and often has the big payoffs we want out of the thing we're watching... But it's not actually always what is most memorable about the story in general. After all, these moments are big, flashy and they mean a lot but they're the ones that usually paint in the broadest strokes for most pieces because they actually have to have a goal they're accomplishing.

Meanwhile, an episode that lets the characters breathe, flex smaller elements of themselves, etc. like that get listed as filler. After all, no plot or character development happened so it can just be thrown away, like one would useless, bland filler. Except how often are those episodes bland? A LOT of filler does something a lot of more plot driven episodes can't do: Character and world EXPANSION. It can get into their hobbies, the small ways in which a world works, it/the characters' quirkier elements that make them feel more distinct from their archtypes, etc. like that. It's important for making them feel fully fleshed out instead of feeling like they're just the archtype. A story without filler after all has no room to make it so a redeemed character is anything but their redemption, not if every scene and episode is only focused on moving the plot forward.

But this raises an even bigger question: What the fuck does this term mean when there isn't a plot? Or when the main focus of the plot is just interactions? We have after all made a rhetorical term, that a LOT of people seem to think is deeply important, that straight up doesn't apply to certain genres. If a comedy doesn't push the plot of the show forward but is hilarious during that episode, is that Filler? If a slice of life show showcases the characters cooking for an episode and just seeing how those personalities bounce off of each other in that situation, is that Filler? In a romance, if the two leads have a fun day out but don't deepen their relationship by the end of the chapter, is that Filler despite getting to see the two interact?

And a lot of people would go "I mean, those are fun and good so they're not filler" which is actually even true for the traditional definition and use of Filler. It originates originally after all from anime adaptations that will fill time because the manga they're adapting is out of material but they want to keep putting out animated material for it. So they have to come up with a plot that doesn't actually change the status quote to fill time. When done poorly, it's lambasted for being filler. When done well, it's PRAISED for how good its filler is.

That doesn't feel fair. It's almost like it being filler ISN'T the problem. The problem is whether or not it was any good. A LOOOOOT of what is branded as 'Filler' with Western, Non-Adapted media is just what the fandom or person doesn't like. 'I got nothing out of this so it must be filler'. That's just bluntly not true. If that is what the definition is, then the term is just "This is my opinion" while trying to sound like it's an actual, structural critique, especially for someone who cannot actually verbalize why they disliked it besides just not gelling with it. Which it's okay not to like something but you shouldn't try to deepen the reason why if all you have to say is that on a rewatch, you'd skip it because you found it personally boring. Because it didn't cater to your tastes.

And for anyone going "Well, this is just your opinion. Can you back it up with an example?" I can actually.

Hazbin Hotel exists after all.

That is a show that has such a breakneck pace that it'd be almost impossible to call any of it filler... But also it struggles to remember that it needs to actually sell us on the characters, world, etc. before getting into status quote shake ups and major plot beats. That's how you get a show that is spending its first episode simultaneously going "Look at our hotel for redeeming sinners" and "Alright, we are ramping up the conflict with Heaven to set up an eventual war."

I don't know about you but I don't feel like those should be happening at the same time. But... If Filler HAS to move plot and character arcs along, the base premise of Hazbin is literally flawed. Having a random sinner of the week would be Filler. Tackling a failed method of trying to redeem someone would be Filler because technically would be accomplished or moved along. Instead, it HAS to immediately go its big plot because that's how you justify it as a real story in a modern, critical context.

That's just a flawed way of seeing media to me. How many classic works have been rendered almost entirely without merit by this way of thinking? Monster of the Week Sentai like Power Rangers? Come on, can't you cut that down to the couple plot relevant monsters and episodes in each season? Who wants to see them fighting weird, fun concepts after all, there's a big bad to kill! Classic modern shenanigans like Ed, Edd and Eddy? There's no plot so it's an entirely ephemeral product. Literally ANY sitcom from Friends to Frasier to Seinfeld, etc. can be just said as being filler and so not be meaningful and where is the usefulness of that.

And if the term is ONLY for genres with plot like adventure series... What the fuck do you have to say about Journey to the West, one of the most influential books of literally all time... Most of which is spent on obstacles that accomplish literally nothing, except maybe reinforcement on a theme, besides enabling them to take ten steps before the next obstacle slams in front of them? Are you telling me that Journey to the West is fundamentally flawed when so much of its episodic pacing is part of why it has been able to be influential and inspirational?

The more we lean on hard criteria like Filler over whether or not a piece was effective or entertaining or anything like that, the more we narrow what media is allowed to be. What a story can be. Rhetorical tools like these aren't meant to do that. They're meant to help express our discomforts and annoyances with a work. That is why we have terms like 'Repetitive,' 'Pointless' or 'Bland'. These all specifically address a problem within the work, rather than dismissing it outright simply because of its position in a narrative. They all touch on reasons why people call something Filler without being able to be misinterpreted or misused. They require the person to actually state what they don't like about it than using some arbitrary criteria in order to dismiss something.

Filler as a term doesn't even have that flavor, making it more pointless and rote than the media with that label.

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I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[sarnai4]

Movie Marathon

Here are some modern headcanons I have for Dagur when he's watching movies/his reactions afterwards.

Action films: He's memorizing all the best stunts so that he can try them immediately once the movie has ended. If one of these includes a fight scene, he's also planning which one of his friends he's going to have join him in this (probably Snotlout because Hiccup would die).

Comedies: He does better with dark comedies because he always laughs at the wrong spots for the regular ones. They have a sad moment and he's still thinking it's a joke, then wonders why everyone is giving him weird looks. At least with the dark comedies, he's supposed to laugh at someone dying.

Romance: Constantly says something inappropriate so that Astrid and Hiccup are embarrassed. The scene wasn't even intimate, but all his comments and winking would make you think otherwise. The only time he blushes too is when he and Mala are brought up, then he gets a bit bashful, but he also keeps kissing her during the smooching scenes.

Adventure: Will not stop asking Hiccup to go on the same adventure with him as the characters had. The puppy dog eyes don't go away until Hiccup finally agrees, then he gets a giant hug.

Film noir/mystery: Trusts no one, especially the main character. He's convinced the killer is secretly the hero and that the MC is just giving their side of the story to deliberately throw everyone off their trail. He's extra paranoid towards everybody for a minimum of 3 days. Mala's trying to let him know that their friends are not out to get him.

Drama: Finally knows when the sad moments aren't supposed to be laughed at. So, he tears up instead while hugging a pillow. Snotlout sees this as a cue that he can be watery-eyed too without being poked fun at. Now, they're both crying on the sofa because the main character just expressed how much love is had for someone else right before that second person dies.

Western and pirate: Combine action with adventure. This is why Hiccup's on a horse with a cowboy hat and why Snotlout is trying to not be forced to walk the plank.

Suspense/thriller: You thought he was paranoid before with the mystery films? He's not so much suspicious of the others as he is jumpy. This was probably the quietest he's ever been when watching something because he's waiting for that moment when everything goes wrong. The twins definitely take advantage of the jumpiness later, but they might get tackled in retaliation.

True stories: Sits by Fishlegs so that he can fact check that what the movie is saying really is true. They're whispering just about the entire time because Fishy is having as much fun talking about what he knows as Dagur is having learning about it. When the movie ends, they will proceed to geek out about the new information like it's a Gronckle until someone stops them.

Fantasy: Lots of "oohs" if there are impressive visuals. This genre gets his mind going with all the potential creativity, so he becomes disappointed if what actually happens in the story isn't as inventive as what he thought of. He also always thinks the heroes should be more ruthless than they are.

Musicals: Is making a mental note of the best songs so that he can ask Heather to sing them. He'll sing his request until she gives in. Some form of dance/movement is happening during the numbers too. If he's trying to not disturb the others, he's probably bouncing in the seat.

Science fiction: Is torn between being a skeptic and suspending his disbelief. He both scoffs at the overly unrealistic parts, then is impressed by how the characters managed to pull something off without dying. This time, Hiccup is his fact checker if the movie involves some type of engineering.

Horror: He's taking notes. Who let him watch one of these? There will be no stopping him now. He's determined to be even better than the scares he saw in the movie (according to him, they weren't scary and he thought each kill was funny). At least the next week is spent with everyone around him on edge because they don't know when there's going to be a pretend masked slasher coming for them. It's not even Halloween, but it is for them. Mala's not safe either. After Dagur puts a probably harmless snake in their bed, she makes him sleep on the sofa until he's out of his horror phase.

Every movie: Has a big container of some snack. Don't reach in without asking because he will bite off your hand not be happy. He's never on the edge seat because he wants to be able to hug people on both sides. He tries to not talk for the entire thing, but he will absolutely give the characters advice with Snotlout. Expect an in-depth discussion afterwards.

(Update) Decided to write this for whatever reason, so the first part is now on Ao3 and Fanfiction.net under "Movie Marathon" too.

[tealoverdrawssomething]

As a reader of both yaoi and danmei, what always bothers me is that danmei fans get REALLY mad when somebody calls them fujoshi, like fujoshi is some kind of nasty monster whose name we shall not pronounce.

But the fact is that... Danmei fans aren't that much different from fujoshi/fudanshi/fujin🤷‍♀️

Danmei was HUGELY inspired by early shounen-ai/yaoi manga back in the 70s, so pretending that danmei has NO relations to yaoi is like a child who has a sibling that they don't like and in public they pretend they aren't in any way related to their sibling, and they both are just strangers.

Danmei, despite later developing independently from yaoi, often has very popular and questionable tropes similar to yaoi, like:

1. gong-shou/seme-uke stereotypes (what I mean is even if gong and shou look equal and even have equal power positions, shou, more often that not, is portrayed as more illogical, immature, overemotional, embarrassed and even dependent on gong. While gong is usually portrayed as more mature, logical, stoic, independent and emotionally cold or at least knows how to hold his emotions in right time. There are only few authors like MXTX who try to subvert or to parody such stereotypes)

2. sexual consent issues

3. rape phantasy

4. shotacon

5. incest (be it biological or through adoption)

6. big age gaps

7. lack or absence of safe-sex practices

8. omegaverse

And what's funny is that many danmei fans, especially Western ones, act like danmei is "pure", "wholesome", "actual good gay representation", unlike "dirty", "too sexual" and "fetishistic" yaoi.

Okay, danmei is focused more on story and lore than on sex, but how does damn sex make something "dirty"? Sex is a natural thing that people of all sexualities do or don't do. Real life homosexual relationship isn't about unicorns and rainbows, not every gay encounter has to be deep (however it sounds). And many sexual scenes in danmei can be even more messy and atrocious than in yaoi, considering points I listed above.

Yaoi by its origin is "yama nashi, ochi nashi, imi nashi" (山[場]なし、落ちなし、意味なし) , which means "no climax, no point, no meaning". Yaoi wasn't supposed to be treated as serious or as "wholesome".And danmei wasn't supposed to be "god-honoring gay representation" either, because, as yaoi, the genre was made BY "mostly" straight women FOR "mostly" straight women. Even more, queer fans like me weren't a thing in Asian BL until late 90s, when East Asian media got more popularity abroad due to rapid developing and access of PCs and internet + more access to language translations.

So, attacking yaoi and fujoshi/fudanshi/fujin because they "romanticize shit" and "fetishize gays", while at the same time consuming genre that had similar origins, has similar problems and is still mostly written and consumed by straight cis women gooning at conventionally attractive guys banging each other - It's hypocrisy at best and stupidity at worst.

Either consume both genres, find good stories in each of them and be happy, or just don't be a fucking hypocrite.

And no, it's not "homophobic" or "misogynistic" or "anti" to give valid points about problems in BL/slash/yaoi/danmei communities, especially when you yourself consume and produce their content.

[sig-nifier]

twenty questions for writers

thanks sm @swifty-fox for the tag!! i love things like this.

tagging @magneticghouls and @onyxsboxes and literally anyone who fancies it

how many works do you have on ao3?

33!

what's your total ao3 word count?

155,902

what fandoms do you write for?

whatever tf the current fixation is. i've written for rooster teeth, our flag means death, buzzfeed unsolved, masters of the air, the eternals, and challengers! currently got a slow horses fic in the works :))

top five fics by kudos

i like the way your words taste - a fluffy druig/makkari oneshot with 860

wild things - a western gale cleven/john egan au with 849

the art of consumption - a smutty art/patrick fic with 780

make you feel alive - another gale cleven/john egan oneshot with 633

hitchhikers - a serial killer ryan begara/shane madej au with 485 (the first multichapter fic i wrote that got me an audience it was wild)

do you respond to comments?

ofc! i try and respond to every single one with at least a thank you

what is the fic you wrote with the angstiest ending?

a fic called stay with me, which ended in MCD.

what is the fic you wrote with the happiest ending?

i end most of my fics happily!

i think the happiest is probably wild things. everything works out for the better in that one

do you get hate on fics?

i dont! very grateful that everyones always so nice, makes me feel like the are you winning son meme

do you write smut?

i used to never write smut but something this year just had me writing so much of it and whilst it feels mostly awkward to write, people seem to like it!

craziest crossover?

i've never written any kind of crossover, and i don't like to read them either. i guess MOTA in the western genre is the closest i'll come.

have you ever had a fic stolen?

not that i know of!

have you ever had a fic translated?

nope!

have you ever co-written a fic before?

also nope!

all time favorite ship?

ive been in fandoms since i was like 12, there's no way i can pick an all time favourite. it literally just depends on what im into at the time.

i really like inej/kaz from six of crows. i think scully/mulder is great. hannibal/will. ellie/dina. willem/jude.

off the top of my head i would say i'm most fond of the tenth doctor/rose. that one gets me.

what's a wip you want to finish but doubt you ever will?

i'm really starting to doubt my ability to finish seven miles out of freedom town. im gonna try my best but the hyperfixation has moved on and it feels more like a chore than something im enjoying rn. im really sorry to anyone that disappoints, it disappoints me too, cos wild things was genuinely some of the most fun i've ever had writing fic and interacting with a community. i'll try and get it finished, it might just take me a while.

what are your writing strengths?

i think im pretty good at dialogue, making it sound like something a real person would say.

i think im fairly decent at dramatic writing, at making things sound flowery and poetic and theatric. thats my favourite way to write.

dont think im too bad at characterisation most of the time.

what are your writing weaknesses?

i suck at worldbuilding. i think its boring and i dont care for it, i just want to write about the characters. planning bores me. i just write things and go back and fix inconsistencies later.

wild things is the most effort i've ever put into a world. i was googling locations like a mofo to make things accurate.

thoughts on dialogue in another language?

i think its great! one of my favourite fics has a character that speaks french and he uses it to tease other characters who don't know what he's saying. its done so beautifully.

first fandom you wrote in?

if we're talking actual first fandom it was probably one direction or creepy pasta when i was like 13.

the first fandom i ever wrote for seriously was buzzfeed unsolved in 2018.

favorite fic you've written?

im very proud of washed clean, an angsty oneshot about gale/john. i really like the writing in that one.

i dont think i can pick a favourite, i have like three. hitchhikers and the axeman of new orleans were my starting points and really showed me the joy of writing fic that other people were going to read. i had a lot of fun writing those and i love me some dark themes.

wild things consumed my every thought for like, the 11 days i was writing it. ive never been so obsessed with one of my own fics before, it still blows me away how well it was recieved and i met some great people through it so im eternally grateful for that.

yeehaw, y'all.

[davidmariottecomics]

Not So Evergreen: A Perennial Problem

Hi there, 

Wouldja believe it, this week I was thinking about comics? 

I know, it's hard to imagine I've had time around Valentine's Day and preparing for our impending nuptuals (which you can contribute to if you're so inclined!).

Or around the continued bullshit that is KOSA, which you might've noticed is NOT actually fixed--and still needs to be stopped. Or, as long as we're talking about regulation and the internet and what can/should be regulated to try to make it a better safer place, all the latest "Generative AI" nonsense (not linking anything in particular here, but there're new stupid developments every day). 

Or while keeping track of what's happening in Gaza and, specifically, in Rafah, where Palestinians were told to evacuate to and that is now under bombing, or as they continue to attack hospitals and kill civilians. Sharing up top some recent resources I've seen, including a nice list of places where you can donate (you may also notice the PCRF on our registry and thanks to the folks who've already given there) and a nice collection of Palestinian cultural reading and listening and cooking you can do. There continue to be demonstrations and actions--with a lot in the past week being organized to keep hands off Rafah. Call.Fax. Email.Contact the White House. Keep an eye out for actions from organizations like Jewish Voice for Peace, American Muslims for Palestine, BDS, and the Democratic Socialists of America, or whatever local organization is making efforts near you. If spending money brings you any comfort and you feel a need to put something into good practice, the Cartoonist Cooperative's page still lists a ton of resources for E-Sim cards. 

But despite the many other things that should and do reasonably take up my time and brainspace--the good and the bad--it is my job to make comics and I do have to spend some time thinking about 'em and something I've been thinking about this week is the strange state of "evergreen titles." 

A Perennial Should Standalone

In particular, I was inspired by seeing some random young person somewhere online say a fairly common refrain, something along the lines of "I tried Western superhero comics, couldn't see myself in them, other than one (now) 35-year-old Vertigo series, and found a lot more in manga for me."

This is one of those things I've talked around every part of in the past, I think. I've talked, fairly recently, about how it is strange to me when people cut themselves off from or don't give themselves the opportunity to continue to explore a format or genre of comics entirely as if they're homogenous and how I think that can make you lose out on some of the contextual history of the medium and how storytelling can work within it. I've talked about how manga is just another word for comics and how I think some of the separation of manga and "Western" comics is more artificial than people realize. I've talked about continuity and how it can be a real turn-off for people, but also how even when it does matter, it maybe kinda doesn't matter, and even earlier than that, I talked about how they say every comic is somebody's first comic and the strange balance of serialized storytelling and accessibility. And just last week, I was mentioning how I think N.K. Jemisen's Far Sector is a really great example of a modern "here's how cool superhero comics can be" book. Now I want to pull it all together and talk about how we've maybe canonized a lot of comics that require a higher bar of context than they're often given. 

Now, last bit of business before we dive in, just in case, what do I mean when I say perennial or evergreen title? They are a little different, though I'm largely using them interchangably here. There are certain comics that have been canonized (not meaning made canon to a in-universe continuity, but the older definition of added to the historical register as a work of significance) that you can pretty much always find, and that has grown even more with the increased importance of the book market to comics sales. To use a very important example, you can walk into *most* any comic shop or bookstore that carries comics and is not specifically a specialty shop (like not Silver Sprocket probably, but also, shout out to them for joining the PACBI) and find a copy of Watchmen. Doesn't matter that the book is nearly 40 years old, it has been kept in print constantly (which... if you aren't familiar, is a story unto itself) and y'know, still sells. New people discover/buy/upgrade their copies of Watchmen every year and DC always points to it as an Essential title in their annual catalogs. 

DC in particular is actually pretty good about promoting their evergreens. They release an annual catalog to comic shops (and some book stores) that's like a free 80-ish page thing about like "if you want to read DC comics, here are titles we recommend." And if you're even halfway immersed in American Superhero Comics, you could probably name a good half-dozen of them off the top of your head. Watchmen! The Killing Joke! Sandman! All-Star Superman! Batman: The Long Halloween! Batman: Hush! Arkham Asylum: A Serious House on Serious Earth! Kingdom Come! Dark Knight Returns! Other titles written 30-40 years ago by a White British person! Any title from the past 7 years written by a guy named Tom! Etc! I'm being a little flip, and generally, like a lot of those books, but it's true, those tend to be what gets platformed in that way. And, credit where it's due, I know the last catalog also included things like Far Sector and Wonder Woman Historia and Nubia: Real One and the Kami Garcia/Gabriel Picolo Teen Titans OGNs.

But what I find complicated about a lot of those decisions is that a lot of those books may be self-contained in that you can read a single volume or single series and get a pretty complete story without a lot of continuity fluff or cross-reading or whatever, but I think a lot of those books benefit from having existing grounding in reading superhero comics that can get lost when they're being presented not only outside the context of what they were originally in conversation with, but as books of high accessibility or jumping on points. 

I could probably go on about most of these, but I'm going to use Killing Joke as an example because it's a really clear one. It's famously a "read this book" kinda book. I think it's still in the DC 25 Essential titles list. It's also a book that is STEEPED in important context that it usually isn't presented with and that I think does really change the reading experience.

Like, when Killing Joke was originally released, it was part of a big push of the Joker at DC. In early 1988, Killing Joke comes out, followed a few months later by A Death in the Family (the one where he killed Jason Todd Robin) and the year capped off with a Greatest Joker Stories Ever Told collection that didn't include either of those stories because, y'know, they were both too new. And modern collections (the 75th and 80th, respectively) both include, interestingly, 1 issue each of A Death in the Family (and different ones at that) and only an excerpt of Killing Joke because they usually don't like to collect it because it can take up a lot of pages for a book that most people own as an individual volume (though... interestingly, the 80th does include Mad Love). Sorry, getting a little distracted. But you know what the Greatest Joker Stories does include? A comic from 1966 that came in a box of PopTarts. Pre-'88, he had gone through cycles of being serious, silly (not even connected to Batman '66, the Joker's many boners story was from the early '50s!), and serious again when he returned in the '70s, but it was never to the extent that Killing Joke went to and that was solidified by the next year of publishing. And, even then, the next year brought some very different Jokers: Jack Nicholson's live-action version who is very much not the Killing Joke Joker and the Joker of Arkham Asylum, who again, is also violent, but in a very different way. 

As you start looking at the long-tail, you see the Killing Joke interpretation more in the Batman: The Animated Series version of the character (though, obviously, toned down somewhat for the audience) and that continues to resonate through each version of Joker that happens after across media (except maybe Batman: The Brave and the Bold, because that series is so Silver Age-y). You get Oracle going from a somewhat unexpected character in Suicide Squad to being a major part of the Bat-family and really evolving as a character as Birds of Prey took flight in the late '90s (pin in that for a sec). There are stories that directly reference it, like that Booster Gold issue where he keeps trying (and failing) to change the past because Rip Hunter (almost wrote Rip Torn, who would've made for a very different Booster Gold book) lied to him. There are whole projects that are inspired by it, like the One Bad Day books from 2022/23. There are real world effects, like the things I mentioned earlier with it becoming an evergreen title and one of the first big DC tentpoles to have as a constant at comic shops and in bookstores (especially as the book market has become increasingly important). 

Looking at the sort of joint in continuity and publishing history leading up to Killing Joke, it's important to know that Joker and Barbara Gordon had been sort of in-and-out of the comics. Joker hadn't had a major break in a while--also an influential factor on Killing Joke, another darker '80s Joker was in Dark Knight Returns just a couple years prior. But he had been a character who kinda disappeared out of the comics in the past--I think before his return in Batman #251 in '71, he had not been in a comic in like 4 years. And, speaking of not being in comics in 4 years, Barbara Gordon had largely retired as Batgirl before Crisis on Infinite Earths in '85 and was basically a non-character in DC comics post Crisis until Killing Joke. It's part of why the story got approved with her in it and part of why she got taken over to Suicide Squad afterwards... there weren't any plans for Batgirl otherwise. 

And all of that is before we're even talking about stuff like the fact that it was recolored and the recoloring really changes the reading experience (TBH, I am not a fan) or that it's a book that if you are recommending it to someone, you should tell them that it's a book with a heavy trigger warning for sexual assault. It's not talking about it as an Alan Moore project and his publicly bad relationship with DC/Warner (see, among other things, that earlier Watchmen article). 

So many of these books have that sort of important contextual elements that change the way they're read. I think it's important to know that Sandman is a DC universe book and at least something about some of the DC characters who get featured (like Prez, Element Woman, and Dr. Destiny). All-Star Superman is in conversation with Superman comics of the Golden and Silver age and I think in particular dialogue with Whatever Happened to the Man of Tomorrow (and, hey, again, probably helpful to know that Grant and Alan have their issues). 

How to Contextualize, Or Find New Evergreens

Okay, brief note: Becca and I went and saw Madame Web and this was left unfinished when we did. Madame Web was great. It was genuinely bad. It was the Cats (2019) of superhero movies. I've never seen a movie where literally all the content was in the trailer and the rest of the movie was deleted scenes. Anyway, after it was over, we went to the Barnes & Noble next to the theater and listened to this couple talking in the comics section and literally every book they gravitated to was one of these sorts of evergreen titles--Sandman was mentioned, Watchmen and Before Watchmen, V for Vendetta, etc. It was clear they weren't really readers, they seemed to be shopping for someone else, but that their primary frame of reference was TV shows and movies, which also goes to the whole "what makes it evergreen" argument and is really interesting because through adaptation, some of the importance of how these things work in the comics medium is lost. And by the end of it... I think they just didn't pick up a comic. Anyway, was just kinda funny to have a real world example of this exact phenomenon I'm talking about happen mid-blog. 

Only other thing I want to say before getting any further. Obviously, I've focused a lot on DC titles. The reason is DC makes it easy. Like I said, they literally put out a catalog with their "here's what we think is most essential from our library" every year. DC's also got a long track record of these types of titles to examine and particularly because the initial comment led me to think it was more about American Superhero Comics, it was a clear focus. Every comic company does have their evergreen titles and I think evergreens are a good thing! When positioned properly, they are supposed to be new reader friendly and a great way to get into the medium. I'll talk a bit about Marvel in this section, but I'd also like to acknowledge that one really smart move that Image made (not entirely sure if they're still doing this, but props where it's due) is they made the first volume of multi-volume series--particularly the ones that seemed ripe for perennial status like Saga--$10. I think making these titles at an accessible price point is a good way to help prop up the things that can help secure a love of the medium and drive further visits to comic shops and bookstores. 

More generally, I think there are two things that would both be rad if they were to happen because I think they'd be really helpful for onboarding new readers. The first is I wish there were more international approaches that were like the partworks collections. If you're unfamiliar, there've been a few of them from the UK, including Marvel, DC (who started with Eaglemoss and actually got picked up by Hachette later on), Transformers, Star Trek, and Judge Dredd, wherein significant arcs were released periodically with connecting spine art so they looked really nice together on a shelf that featured additional material like introductions and contextual writings on the reason the arc is significant and the featured character(s) and the creators and really provided at least a starting point of context. The other kinda interesting thing is for the Hachette ones at least, they were released with two numbering systems: one by release of the partworks collection, one by (relative) release order of the original story relative to the other partworks releases. It's almost like when you used to buy an encyclopedia set and every however often the new volume would be ready and you'd have to buy that. I think that's a really cool approach to bringing comics backlist to new and lapsed readers and particularly with the contextualization element, gives you reason to understand why these stories are evergreen. It's exciting to look at partworks as almost a curated greatest hits collection. 

The other thing, and again, I think this is already in progress with both what DC is doing generally with their Essentials catalog and specifically with a lot of the stuff in their middle grade and young adult OGN space (and to a lesser extent with Black Label) and with the more recent additions to the Hachette Partworks--is I think that the "canonical" books need to be updated. And, of course, I have a lot of thoughts on what should be on those lists. I've said it before, but Far Sector would certainly be on my list. As would Superman Smashes the Klan. Just to throw out a couple of others: Hawkeye: My Life as a Weapon, Batman: No Man's Land, Young Justice: Sins of Youth, New Frontier, GL/GA: Hard Travelin' Heroes, (when it's collected, the first arc of the current Birds of Prey series), no longer a big two series, but Astro City (honestly... any volume), Spider-Man: Kraven's Last Hunt, X-Men: Dark Phoenix Saga, Marvels, Shadow of the Batgirl, Wednesday Comics, Gen13: Meanwhile (hey, that collection slaps), Mr. Majestic (the '99 run), Starman: Hell and Back, uhh... can we just collect all the pages where the Legion of Superheroes wore outfits designed by kids and fans, and probably a lot of other dumb stuff. But besides being the books that I really like and feel like are deserving of a place in more readers minds, I think the important thing is that we expand from books that may've had a splash outside the medium's traditional haunts (be that in films & TV or literary circles) or that we as comics people recognize for their artistic merit or internal cultural significance to books that celebrate and capture how fun comics can be! Also... and I realize what my own list looks like as I say this, but... fewer comics by white guys, please. 

And now, our regular features. 

New Releases this week (2/14/24): None

New Releases next week (2/21/24): Godzilla Rivals: Mothra vs. MOGUERA (Editor - IDW, post-leaving)

Announcements: Happy Black History Month! This week, I want to spotlight writer/editor Joseph Illidge! He's one of those guys who has been everywhere--Milestone/DC, Valiant, Heavy Metal, Lion Forge, etc. He's got irons in a few fires right now, from Noir is the New Black to teasing a new Image project coming to doing more editorial work to doing some pretty good articles of his own on the current and historical state of the comics biz. Among his many editorial credits is one of the books I mentioned feeling like should be treated more as an evergreen title (though... given it's complexity and just how many titles it ran through, I do understand that it's a bit harder): Batman: No Man's Land. But he's on all the socials and always has something cool brewing, so throw him a follow! 

Sorry that Patreon is still behind! I've sent in a help request and once it's all sorted, blogs will be going back up regularly! As mentioned above, we're getting ready for wedding and travel and expenses around all that, so please also check out my webstore, my Kofi, my eBay, and Becca's site for additional ways to support us and get a little something for yourself!

What I enjoyed this week: Nancy (Comic), Yu-Gi-Oh: Duel Links (Video Game), Baldur's Gate III (Video Game), Blank Check (Podcast), Solve This Murder (Podcast), The City We Became (Book), Blade Runner 2049 (Movie), Madame Web (Movie), Witch Watch (Manga), One Piece (Manga), Dandadan (Manga), Lore Olympus (Webcomic), Death to Smoochy (Movie), Dungeons & Daddies (Podcast), and big thanks to everyone who has already given us a little something for the wedding! 

Pic of the Week: Nadja made a new friend (?) and his name is Optimus Prime. But she HATES that Sonic. 

[unprocione]

name : rian!

pronouns :  he/him :)

preference of communication : discord! always discord, i constantly forget tumblr ims exist, and on discord i can remark things as unread, so i don't lose the notification if i can't reply at the time, which helps when i'm burnt out or if my attention span is particularly bad that day.

most active muse :  leon & only leon these days!

experience / how many years :  i've been writing on tumblr since late 2018! it feels like way longer, i started writing on tumblr when red dead redemption 2 was released and i was writing josiah trelawny while the game was actually still under embargo, scrambling to watch every new playthrough episode i could find while the fandom was setting up. i didn't actually play the game myself until it was released on pc in late 2019!

best experience : i had several really good experiences writing atlas/frank fontaine from bioshock in a western cusp-of-the-nineteen-hundreds american heartland verse, going into alot of topics like industrialism at that time, the american labour movement and american union history, strike tactics & the economics of greed. it was inspired alot from a show on the usa network called damnation that got cancelled, i did a ton of historical research and i mostly wrote with red dead redemption ii muses, did alot of worldbuilding with @sharp-teeth-and-wide-grins who is an excellent roleplay partner! i'm working on potentially setting up that verse again but from a different perspective for leon, because i miss it.

rp pet peeves : oh i have alot of opinions but i keep 'em to myself until you give me an opportunity. can't stand people getting cancelled for writing villains as the actual villains they are in canon, or characters generally as more complicated morally, especially when they're referencing content from the actual media and people are losing their minds because they're not the fandom expectation or easy ship material. so many people will have 'mun does not equal muse!!' in their carrds and byfs but will clutch their pearls if you even quote directly from source material, and then harass the fuck out of you, send hate anons, suicide bait, i mean we've all seen it happen or heard about it if it hasn't happened to us directly, definitely so if you're on this site for more than a year, so you know what i mean. i don't like people looking to my writing for moral directives or sifting through all my content to glimpse some kind of agenda, i think that's chronically online behavior. obviously it's different if someone is writing pedophilia or something but i just feel like i shouldn't have to make that disclaimer at all, it feels like common sense but if i don't say something i run the risk of someone messaging me like 'so you support so & so? kill yourself!' y'know.

fluff, angst, or smut : i like all of these in moderation so long as there's depth to it further than just being fluff, angst, or smut for no cause, you know? if it's not signature to our muses, if it doesn't fit narratively, and is just feel-good content, i just get bored, and having any of this in back to back to back to back threads of just one roleplay genre is like being smothered to death with chocolate cake, i only like a little bit once in a while otherwise i get sick of it, y'know.

plots or memes : plotting 100%, but even though i heavily prefer plotting, i don't often have the energy for it? even if i really like the other muse's portrayal. or, alternatively, i will do all of this plotting in my head, and just like. never act on it, or bring it to my roleplay partner, due to this weird ocd-adjacent anxiety symptom i'm trying to break now that i have meds to help me out, where i make alot of social rules and conditions for myself that just overall completely pens me up and isolates me. i don't know what it's called but i've just always had that and it gets in the way of what i love doing all the time.

long or short replies : i don't have a reliable perception of long or short replies! i'm happy with two paragraphs but i'll reply with like six or eight paragraphs average because once i get over my anxiety there's really nothing else stopping me and i like run-on sentences and exposition and scenery and internal monologues!! and i know it's not always appropriate sometimes too, like if we agree on a shorter thread for less pressure, but i've always had a hard time knowing where to stop with anything, i have no perception of an appropriate point to cut off? i need like. a reverse nanowrimo.

time to write : apparently 11:00 pm - 6 am est, since that's when i'm most productive lately.

are you like your muses : god i hope not. i did choose to write leon as gay though because, i'm gay myself and it was more comfortable for me, even though he's pretty heterosexual in canon, but that's less from me wanting to relate with him on a point, and more because i have had some really uncomfortable and bad experiences shipping with female muses who didn't respect boundaries in the past. whether that's projecting attraction on me as a person instead of my muse, or wanting me to write noncon or torture porn, and finding a way to take it out on me when i said no or tried to let them down easy, and it's one of those things where looking back on the memory of it gives me the same tight-chested feelings as alot of people get when they've been involved in intense drama and callouts and stuff. just can't do it anymore! maybe that'll change someday ^^

tagged by: @blitzkriegers & @omniterror thamk u both for tagging :) tagging: @ubcs, @sinibell, @valour-bound, @mycelae

[ofsmokenandgold]

1. How many works do you have on AO3?:

53

2. What's your total AO3 word count?:

335,362

3. What fandoms do you write for?

For the longest time I only wrote for Star Trek AOS; with a fleeting dip into Sherlock. Then this year I started writing Star Trek Picard, and that led me down a rabbit hole to The Musketeers, so now I'm writing that too.

4. What are your top 5 fics by kudos?

I've Been Chasing Grace Sherlock:John/Greg

A Vibration of Delight Pike/McCoy (ST:AOS)

Winged Desires and Veiled Persuasions Pike/Boyce/McCoy (ST:AOS)

Though My Soul May Set in Darkness Pike/McCoy/Kirk (ST:AOS)

Of Hopes and Fears and Twilight Fantasies Pike/McCoy/Kirk (ST:AOS)

5. Do you respond to comments? Why or why not?

I always try to. Occasionally I will miss one, especially if it's on an old story, but I will try to get to those eventually. Comments are life.

6. What's the fic you wrote with the angstiest ending?

If This is Goodbye (ST:AOS)- a canon-compliant Pike/Boyce story set around Star Trek into Darkness, it makes people cry. Hell, it still makes me cry.

7. What's the fic you wrote with the happiest ending?

Done With Bonaparte (ST:AOS) The Pike/Boyce story that is an alternate ending to Into Darkness, defies canon and lets Chris live.

8. Do you get hate on fics?

Not so far and I've been doing this for decades.

9. Do you write smut? If so, what kind?

Smut is pretty much my go to genre. My entire Weight of a Man Series is a glorious smut fest - with a lot of relationship-building. I am a little more into hurt/comfort right now, but there is a lot of smut built into the "comfort" part.

10. Do you write crossovers? What's the craziest one you've written?

I do not, I generally can't write in more than one fandom at a time and now that I find myself equally obsessed with ST:Picard and The Musketeers I can't honestly figure out a way to do a crossover with them (I know, failure of imagination).

11. Have you ever had a fic stolen?

Nope

12. Have you ever had a fic translated?

Nope.

13. Have you ever co-written a fic before?

My very first foray into fan fiction (long before the internet) was a round-robin story with three school friends that we kept going for five years (I still have the notebooks). It was based on The Quest - a very short lived US Western series with a gorgeous young Tim Matheson and equally cute Kurt Russell.

14. What's your all-time favourite ship?

If you look at my output it's clearly Pike/Boyce (ST:AOS). And they will always be my boys. But right now I'm all things Aramis and Aramis-in-space which has me shipping Rios/Shaw and Aramis/Athos and I think that will sustain my writing for quite a while.

15. What's a WIP you want to finish, but doubt you ever will?

I really don't like to abandon stories and that's why until recently I never posted anything until it was finished. So anything I have started on AO3 will get finished eventually. However, I have stuff in my WIP folder that might never see the light of day, including an early-career Pike/Boyce that is mostly written.

16. What are your writing strengths?

Details, I do details really well, I like to feel immersed in a place or a situation and I do that by giving as many details as feel appropriate for the story. Sometimes that requires a lot of research, especially for Star Trek, but it all adds to the texture of the story.

17. What are your writing weaknesses?

Adjectives - I use too many of them. I also have a tendency to have way too many run on sentences. Sometimes that's necessary for the pacing of the story, but I always consciously look for them when I'm editing so I can see if I can rework them to be more manageable.

18. Thoughts on writing dialogue in another language for a fic?

I've only really started doing this with Aramis/Rios and I still don't do much of it, just to make a point. The context usually provides clues to the meaning, and if not then I write the meaning into the text somewhere.

19. First fandom you wrote for?

First - The Quest, and Blake's 7 - For public consumption, Star Trek AOS (first on Livejournal and then AO3)

20. Favourite fic you've ever written?

Winged Desires and Veiled Persuasions (ST:AOS) Pike/Boyce/McCoy I wrote it in a gift-exchange for my fabulous beta, and it just came together and works in a way that stories rarely do. It's a perfect little threesome smut-fest with lots of feelings.

If you’re reading this and want to play, I hereby tag you with no pressure. 🥳

[lastoneout]

which fob song were you thinking of?? for some reason i can’t think of it and it’s driving me crazy also i love the idea behind the post so true <3

Oh, it's "What A Time To Be Alive" from their newest album! I'm literally obsessed with it, it's SO good and I am incredibly impressed that they managed to flip to a completely new genre that's so different from their other music and immediately nail it. (I'd embed it here but youtube is evil and hates embedding so here's the link.)

And tbh, if you'll indulge me, Fall Out Boy really is the band that, to me, most encapsulates the spirit of "we can do whatever we want who cares what anyone else thinks". Like all throughout their music is the theme of how expectations are a prison that destroys creativity and the best way to be free is to say fuck it, and I am so fucking inspired by them because of it.

So really, who gives a shit about consistency or sticking to one style or any of that crap! Be an emo rock band unapologetically releasing a goddamn Earth Wind and Fire song. Switch from western cartoon styles to anime to watercolor to oil paints to whatever. Write books and fanfics and poetry and video essays, draw and make animatics and comics and stickers. Stream video games and learn to sing and drop both on the same youtube channel. Make sad things and then happy things and then sad again. Switch genres from project to project just for fun. Because you might make some truly amazing art when you stop limiting yourself to one style, one skill, one hobby, one anything. Just do what you love, do what sparks joy, let your passion take you wherever it takes you, even if you've never been there before.

Like, that's part of why it annoys me so much when I hear people say they don't like when a band tries new stuff, or they wish they'd just stick to the same kind of music that made them popular. Or when I hear people say this about like, literally any type of artist or creator. You do not have to do the same thing forever. We SHOULD try new stuff and drop the old when we've lost interest. Insisting that artists never do anything new is how we get the 50th Marvel movie that's just the same as the last one, or 20 meaningless live-action Disney remakes, or youtubers or streamers or artists who keep saying they WANT to make new content but they lose their audiences when they do so they just keep chugging along with stuff they've lost passion for.

We should let stuff that was good go when it's time has passed and embrace new things, even if we end up not liking them as much, because we only stand to benefit from it. When we let artists and other creators and OURSELVES go out and try new things we get wonderful new creations, and even when we don't we still grow and will make even better stuff next time. We have to try new things and fail and keep going to grow as people and as artists and I will always encourage that.

That's what Fall Out Boy's music is to me, beyond emotional catharsis. It's a reminder that I don't EVER have to be or make just one thing, and that it's better, I'm better, when I don't let anyone convince me I do.

(Anyway that got long and rambly, sorry. And I know FOB aren't the only artists that exemplify this, but I do love them for really going out of their way to make it clear they aren't going to just do one thing forever. Especially because they're proof when people try new stuff they can make amazing art.)

[byfurries4furries]

Where the Demon Lurks (Supernatural Action Visual Novel)

So I've talked a lot about visual novels. As you may be able to tell, there's been a recent trend of thematically and emotionally intense furry visual novels in unconventional genres like horror, sci-fi, and fantasy (Well I haven't talked about any fantasy ones yet, but they are out there). And this bucks against the previous trend of most furry visual novels being slice of life dating sims. That isn't to say they're automatically bad, but they're typically not that enticing beyond aesthetics. Where the Demon Lurks doesn't fit either trend.

This game is much more in line with shonen anime and light novels. It takes a lot from the Devil is a Part Timer and borrows plenty from Mob Psycho 100, Naruto, Blue Exorcist, Black Butler, Sailor Moon, and even more unusual influences like Saiki K. It's not really common for even non-furry visual novels to stylistically be like this (at least for the ones that become popular in the West or are made by Western writers).  It's very unique in that way.

But what is it about? Well you play as Kobu, the son of the last demon king who's inheriting his father's position after he died. Kobu, however, really hates this job. He at first tries to implement his own ideas, which constantly fail, because his assistant Vendrake flat out refuses to assist in implementing any of them because he is only really concerned with getting Kobu to basically do what his father did. Eventually, after years of this, he suspends Vendrake and contemplates quitting himself. Before he can make the decision though, Vendrake carries out a coup and drains Kobu of most of his magic, leaving him with only enough to open up one last portal to the mortal realm and put on his mortal disguise. There he builds a new life as a convenience store clerk along with his manager/new best friend, King. However, after a few years, Vendrake tracks him down and sends an assassin after him. In the scuffle though, King manages to get shot with the killing blow. Since harming mortals is EXTREMELY not allowed, the assassin is automatically returned to hell before he can finish off Kobu. King is fortunately still alive, but he's also transported to hell where the protocol is simply to immediately wipe his memory of hell and return him. Vendrake however exploits a loophole to hold him hostage so Kobu can come down to try to save him. He's going to need some help though. Fortunately, in the past few days, he's met some guys who might be able to figure out how to return him. There's Morris, the exorcist, Lucien, an angel sent by God to help Kobu take the throne back, and Toast, a very dumb ghost who somehow escaped hell.

Now there's a lot to love about this game. For one, it's pretty fun in the way a good shonen often can be and while it's not devoid of drama or emotion, it's certainly refreshing to see a furry VN that's funny and quirky more often than emotionally intense. There's also this amateurish charm to it. It's something I've always loved about Echo, but Where the Demon Lurks has a unique form of that charm. There's a sense that the developer, Bokedaidu, really loves what they're doing and are more concerned with making a fun story than making a very tightly written masterpiece. It's not trying to be the next Echo, Adastra, or Remember the Flowers. It's just trying to be entertaining. I can really admire that, especially as it fills a niche that most might not even notice was missing.

I would say if you don't want something as intense as the new crop of dramatic furry visual novels, but still want a story with higher stakes than "will the cute boy I like accept my love confession at the local festival?", then Where the Demon Lurks is perfect for you. However, if you do just want a slice-of-life smutty school romance, but with characters you can be sure are unique and likable enough that they could carry a higher stakes story if given the chance, then the spinoff, Kibbleton University, might be better for you. I will warn you that neither is very close to completion. Each route has barely even started and updates are pretty rare. Still, if you want a furry VN that stands out, Where the Demon Lurks might be for you. Until next time, keep on yiffing.

Links

Itch.io (Where the Demon Lurks)

Itch.io (Kibbleton University)

[papirouge]

you are right, "woke" has truly lost all meaning as a term... one of my new favorite games has a very basic and positive message to it but because the localization inserted some nonsense about a nonbinary character it got labeled as "woke SJW trash" even tho the rest of the script is pretty accurate to the original Japanese

I also saw comments about how just including a gay relationship in this game is "agenda-pushing" like I really don't get that tbqh. it just reminded me of people complaining that the new Zelda game is "woke" because it has a few characters who aren't lily white and Zelda has short hair lmao

LMAO Dying at the "woke" Zelda bc some characters are Black. Isn't that a fantasy game? like, with magic, talking trees, trolls and shit but Black people existing is a reach?? (they did the same for Lord of the Rings TV show)

I think the reluctance of these folks to see non White people in fantasy content is bc White people want to gatekeep fantasy as a 'White only' genre. Which is funny because White people have no problem reappropriating foreign genre for their own gain 🙃

Funny how these woke hunter always forget those Hollywood movies adaptation of foreign stories where the studio ALWAYS need to shove a WHITE hero for some reason or purposely use a story where a White character can outshine others?

Remember the samurai movie with Tom Cruise? 7 years in Tibet? Also Mulan love interest was supposed to be a White man initially, but people complained and it's been scrubbed off. There are whole think piece exposing how the Whites LOVE inserting themselves into POC stories to elevate themselves as heroes. Even woke storyline don't go that far with their non White characters ; they are always confined as side kick and minimum screetime (is it true that all the dark skin characters of the house of dragon ended up dying after the first season?? lmaoooo)

And I always said that the issue wasn't non White people being shoved in "White people story" because when Black Panther happened their were still mad and were seething about that movie catering to Blacks (but don't you dare saying movies featuring mostly White people are catering to White, it will make you an awful wokester lmao). Whites will always feel entitled for other races to relate to their stories, but never the other way around. There's a post floating around cathblr with Catholics raving about Arabs discovering the Lord of The Ring and enjoying it a lot. And I couldn't help but think: would those catholics turn the favor and rave about an Arab movie with islamist undertones...? 🙃 lmao.... Those people are soooooo transparent 💀

Everything is woke if you try hard enough, anyway. Scrotes are seething because they consider some video game female characters are purposely made ugly (like Aloy from Horizon Dawn. A scrote was coping bc the mocap actress was much more beautiful and he couldn't wrap his hand as of why they would change her face to make her look more 'rough' ...when he's just too stupid to grasp that this choice is actually pretty coherent with the storyline since homegirl is nomad WARRIOR.).

I also remember when they made a revamp of Mortal Kombat chara design and changed characters body proportion to become more realistic, scrotes got mad lmao It's hilarious how they think they're really doing something 'counter-culture' but they only show how porn fried they are. There's no way to think this

...is better than that

Btw, all those ANTI praising Japan for being anti woke are up to a very hard wake up call. Many japanese celebrities are vocal LGBT+ supporters, a significant amount of online stars are gay/queer (Ryuchell, Peey, Kemio...). Even recently a member of AAA (a famous pop band) came out as gay 😬 there's a huuuuge push for LGBT visibility into the Japan entertainment right now, so it's obvious they have no idea of what they're talking about... The other day on Twitter I've seen a post summing up why Western conservartard scrotes love Japan

This post was in a thread about nuclear bomb and American burgers saying it was oKay tO kIlLs thOusaNd of CivIlIanS bEcAuse jApan wEre tHe bAd GuYs 🤡

The USA humiliated Japan in the non threatening " tech/anime obsessed pacifists". Unlike other countries that still have a minimum of pride and honour, Japan doesn't remind the USA how bad they are and the unchecked harm they done to them. They are also completely economically submitted to the USA (there are still American base out there.....). So the USA give them a cookie and constantly elevate them as the perfect non White country 🙃