#like it's a revolutionary masterpiec

[too-young-to-fall-in-love]

Just Like Me

summary:

From the convenient timing to his inability to stop talking about Paris, talk of their relationship is inevitable. Still, the chasm between them remains. While Napoleon hopes to cross it, he knows he’s only good for making things worse.

Or, the ending events of Amor Magnus Doctor Est - Chapter Five, but from Napoleon’s perspective.

notes:

After reading Amor Magnus Doctor Est for the umpteenth time, I started thinking about how Napoleon would react to the events towards the end of chapter 5.

If you haven’t read the fic, PLEASE DO SO!! I PROMISE you will not regret it (although it may take over your entire life and influence your trip to Chicago, but that’s probably something that only happens to yours truly). However, you don’t have to read the original fic to understand this standalone.

excerpt:

The bitter cold runs its sharp tendrils up his spine and he can’t hold back a slight shiver. Even faced with Illya’s so-called inhuman warmth, it’s a force to be reckoned with. He knows he should move; that they either need to continue this walk or he needs to duck out. At the same time, nothing could convince him to move from this moment.

As if to root him to said moment, Illya’s arm wraps gently around his shoulders, pulling him minutely closer. He blames it on instinct, the way he immediately slides his arm behind Illya’s waist and leans closer. Illya is warm, he notes, his presence soothing and achingly familiar even if they’ve never shared a moment quite like this. He finds himself hoping it will last forever. A voice in his head is quick to retort that he doesn’t deserve it, though it sounds close enough to Victoria’s voice that he steadfastly ignores it.

“You really are warm, Peril,” he murmurs, blaming the sudden looseness of his tongue on the pitch blackness of the night sky and the way it seems to absorb his words, or perhaps the alcohol that really had no impact on him. He’s terrified, though, of the real reason: he feels safe here.

read more on ao3

inspired by Amor Magnus Doctor Est by @cha-melodius

[rei-does-stuff]

Hii should I watch Revolutionary girl Utena

YES YES YES

It can be very triggering tho so try watching it when you’re in a good mood!

Here’s the trigger list!!

If you want it PLEASE liveblog it or share your thoughts with me I need someone else to go insane over this show with

Here it is Subbed

And dubbed!

I recommend the sub! The dub isn’t that great!

There’s also the Utena movie which you can just pirate, and you don’t have to bother with the manga

Hope this helps!!!

[bombshellsandbluebells]

speaking as someone who really enjoyed Barbie, I just don't think Barbie is deep enough to warrant all the dramatic takes and arguments on it

[adolins-heart]

Can we stop calling things bad writing just bc it's not our cup of tea. Like. Maybe you don't like the plot direction the writers chose but that isn't what makes it bad writing

[ink-and-dagger]

do you have any silco x reader fic recs? both on ao3 and tumblr?

Oh boy do I.

I have zero time for reading these days (sob sob) so I'm sadly not at all familiar with any new fics post S2 being aired. But let me lay before you a sumptuous feast; lovingly prepared by the old guard of the Silco fucker society.

Reader's responsibility applies - please check tags etc etc..

Flawless - @a-gal-with-taste

An apt title, for Gal's writing is, indeed, flawless. Silco x Sex Worker!Reader. Absolutely brutal and beautiful - to me, Gal is the Angela Carter of the Silco fandom.

Here be Dragons // Hic Sunt Dracones - @sherwood-forests

This will always be one of my top recommends for a Silco x Reader fic. It's unlike anything else that I've seen in the fandom, and it reminds me of one of my favourite books Uprooted by Naomi Novik. Gives me the cosy feels.

Penance - @astudyincontrasts

Hands down the hottest, sexiest Silco fic in my opinion. If you enjoyed Fleabag or want to bang that priest from Midnight Mass then you need to get on this fic ASAP. To this day I cannot set foot in a church without getting horny. Thanks Study.

Secret Ingredient - @sweatandwoe

This is the Silco fic that made me want to write my own. DWM exists because of Sweaty. Domestic romance and drama of the absolute best kind.

Come Morning - @chickenparm

Parm has so many Silco fics and they are all incredible and required reading for the fandom. But I've chosen this one because it's so incredibly real and human, and will rip your heart to shreds.

Swapped - @silcoitus

I love seeing my blorbos in Situations™ and this is one hell of a Situation™ to find oneself in. Fun, funny, and full of tension. I get the pleasure of beta-reading this one, and I always have the best time squawking at Coi in the comments bar on google docs.

Go, Team! - @vasiktomis

This is actually Marcus x Reader x Silco and it's fucking genius. Vas is a genius and a pervert and I love them and they're my role model. Everyone absolutely has the right not to engage with content that they're not interested in but also if you don't read this fic then you're a coward.

Bend But Not Break - @constantfragmentation

This is a Jane Eyre retelling in the form of a Silco x Reader fic. Yeah that's right. Regency Silco. Emotional constipation cranked up to the max and coats with tails? Yes please. Ensure that you're near a fainting couch whilst reading because you will swoon.

Art in the Heart - @juniper-sunny

Juni was out here giving Young Revolutionary Silco his time in the spotlight long before he was ever animated. If you're a new to the fandom and have come here specifically because of young Silco then AITH is required reading. Head over to Juni's you'll be fed good.

To The Depths - @cognacandlilac

Full disclosure, I haven't actually had the chance to read this fic yet. But it has been on my TBR for an embarrassingly long time and every time I see a snippet I'm like "hot damn I need to get on this pronto" because I just know I'm going to be totally obsessed and consumed by it.

I've only picked one fic for each of the above but I would honestly recommend just tearing through the entirety of their fic lists because there are some absolute masterpieces in there. This is also far from an extensive list - there are so many incredible writers in the fandom and I'm so sorry for anyone I've missed off. I say this with my whole heart - the Silco fandom is easily one of the most talented and skilled corners of the internet. We may be fairly small in numbers compared to other characters/fandoms, but by God the art and stories we have are platinum quality.

[complimentaryculler]

revolutionary girl utena is literally such a masterpiece. like of COURSE anthy is a witch, of COURSE shes the one who keeps the illusion of ohtori in place, it's the victim who has to keep up the illusion of calm and happiness and peace, they're the one who has to make excuses and keep the peace and are punished by everyone, spectator and abuser when the facade shakes

[silly-taylorsversion]

weird how everyone holds shows for teenage girls to way higher standardsthan shows for teenage boys

[cripplecharacters]

How to Support People with Facial Differences - the Face Equality Week 2024 Special

[large text: How to Support People with Facial Differences - the Face Equality Week 2024 Special]

Today is the 13th of May, which means that the Face Equality Week has just started. This year's theme is “My Face is a Masterpiece” which is probably my favorite sentence ever said about having a facial difference. Huge fan, should be used way more often in my opinion.

Because of this occasion, I would like to share some thoughts about Face Equality that I think are rather entry-level, i.e. you don't need to know much to execute these, but you can still support us.

Stop the stare.

I know it's fun to stare - or so I guess, at least - but maybe you shouldn't. Next time you see someone who has a scar or who's face does not move the same way as yours, just mind your business. We can tell when you're “discreetly” looking.

Don't call us deformed. 

Knowing how the people you're trying to support actually call themselves should be an absolute first step, but most people still fail here. Most of us don't appreciate being called “deformed”. I certainly don't. Say “facial difference”, or “disfigurement” if you must. It's 2024. Leave “deformed” to medical reports from the 70s.

No more “What happened?!”s.

If you aren't a doctor, there's a high-to-100% chance that it's none of your business. It's cool that you're curious - keep it to yourself.

Stop insinuating that we are ugly.

“Support people who are ugly!” isn't very supportive. I would say, not in the slightest. Say “people who don't fit the current beauty standards” if that's what you mean. 

Or, to go with this year's theme, “people whose faces are masterpieces” : )

Use critical thinking online.

Is the reaction photo actually funny, or is it just a person with a craniofacial condition? Is the meme actually a meme, or is it just making fun of a person with a facial disfigurement? Is body-shaming suddenly hilarious to you when the person shamed has strabismus? 

If the entire punchline is “lol they have a disability xd”, it's ableism. Plain and simple.

To go with the point above - your joke is probably not funny.

We get it! You can't help telling us how "you're going to hell for laughing" (which yeah, probably) and how we remind you of the ugliest character you have ever seen. I guarantee you that we heard it, and that you are behaving like an edgy middle schooler who hasn't "found out" yet. It's boring and annoying. Also ableist, but you're aware of that already if you're saying that you're going to hell.

Stop with the goddamn trigger warnings. 

We aren't “body horror”, we aren't “gore”, we aren't something that you need to advise your viewers to use their discretion over. Every “graphic footage: child with neurofibromatosis” and “#tw burn scar” is a sign of ableism and disfiguremisia. People with facial differences deserve to be seen. Ableds can survive seeing a person without a nose.

Do a basic reading on what disfiguremisia is.

New word! And an important one. It's a brand of ableism that intersects with more or less everything, and it means discrimination and hatred of people with facial differences/disfigurements. The bullying, harassment, endless name-calling, and microaggressions are all results of disfiguremisia. The ways in which everything is harder for us isn't some unchangeable rule of how the world works, it's just an extremely prevalent type of discrimination.

Understand that we are people.

I know, revolutionary - and yet impossible for so many people to get. We can be a visual representation of evil when it's necessary, we can be a feel-good inspirational story on a morning talk-show, but not much else, it seems. In reality, we are complex, we have our own lives, we can be happy and sad and have the same exact joys and worries that you have.

Hey, artists - facial differences don't make you evil.

Title stolen from a great essay by Lise Deguire (link). When's the last time you saw a positive character with a facial difference that wasn't inspiration porn? I mean a character that's not edgy, full of angst, a murderer, or a villain. Based on what you see in the media, you'd think that having a scar renders you evil on the spot, but in reality it just makes you loathe how artists apparently think you are like. It's boring, it's overdone, it's ableism. Stop doing this, and start noticing when it's being done. Point it out if your friend is writing their new villain to be an evil burn survivor. This kind of portrayal needed to stop ages ago, but tomorrow will be a great time as well.

Before you reply with “I've never seen this” - Darth Vader, Lion King’s Scar (subtle name, great thing to teach kids!), Freddy Krueger, Voldemort, we could be here forever. You're just not paying attention.

Pay attention to where we are not included.

As discussed, there are some places where you see us all the time. But where do you not see us?

Advertisements (unless it's for a scar-removal cream, of course). Fashion shows. Magazine covers. Romance movies where we are the main character.

We deserve to see ourselves in what's around us in the same way able-bodied people do. Trying to make it seem like we don't exist - that's deliberate. 

Interact with our art.

We draw, write, sing, act in movies, we do everything. Support us in the most tangible way - leave us a nice comment, read our books, listen to our songs. Watch movies where actual people with facial differences star, not pseudoinspirational stories about how “being disfigured is ok” where they shove an able-bodied actor into a full face prosthetic just to not have an actor with a disfigurement on set.

Include us.

As this year's Face Equality Week calls for, include us. In art, in movies, in books, in your life. Show us as positive people who are valuable, who are a part of your community - I guarantee that we are in every one that's out there. The world is hostile and unwelcoming to people with facial differences - be the change, wherever you are.

I know that it is different from the usual posts I make, but I hope it was somewhat educational. I just like to use every occasion that I can to force Face Equality into people's heads. To make this at least a bit about writing to keep the blog's theme, I will say that if you want to write about us, you need to care about us in real life as well. Otherwise, it's pointless and, as representation, genuinely worthless.

Below the readmore are some links/resources that you can click to educate yourself further. A lot of them lead to Face Equality International because they have just about everything you should know. If you want to be a better ally to people with facial differences, I heavily recommend them.

#MyFaceIsAMasterpiece

mod Sasza

https://faceequalityinternational.org/2023/04/why-i-will-not-hide/

https://www.psychologytoday.com/gb/blog/disability-is-diversity/202111/hidden-community-the-movement-face-equality

https://faceequalityinternational.org/2022/05/facial-differences-in-the-media/

https://faceequalityinternational.org/2023/04/advertising-excludes-women-with-faces-like-mine/

https://www.phoenix-society.org/resources/burn-community-bookshelf

https://faceequalityinternational.org/about-fei/international-face-equality-week/

https://faceequalityinternational.org/2023/04/hidden-from-view-women-with-facial-differences-in-the-media/

https://www.phoenix-society.org/resources/i-dont-see-your-scars

Thanks for actually clicking the readmore

[rottenpumpkin13]

the higher-ups at shinra decided the company needed some comraderie, so had the bright idea to put on ✨️the great shinra bake-off✨️ where the winner gets an all expenses paid trip to costa del sol, everyone in the company is encouraged to enter.. what chaos ensues??

*Angeal is hunched over his workstation, sifting flour and watching Zack like a hawk*

Angeal: Zack, you can't just throw the eggs into the bowl like that. You have to crack them cleanly.

Zack: You're making me nervous! What if I want my cake to have texture?

Angeal: Save your creative expression for when you're decorating. Just focus on getting the basics right.

Zack: Oh, decorating will be easy! I got this awesome fondant that—ackhahkskhch

*Angeal is strangling him*

Angeal: You are a disgrace to the art of baking and the devil will visit you in your sleep tonight.

*Behind them, Genesis is piping an elaborate pattern of roses onto his three-tier masterpiece*

Genesis: Ah, perfection. My artistry knows no bounds. When the judges see this, they'll weep at its beauty. Loveless, Act V - Even if the morrow is barren of promises—

*A cupcake flies in out of nowhere and smacks Genesis' cake, ruining the icing*

Genesis: …

*Reno walks up*

Reno: Ah sorry, red. I was testing out my cupcake canon. Pretty sweet, huh? PUT THE KNIFE DOWN!

*Genesis proceeds to seek revenge by pursuing Reno with a butcher knife. Meanwhile, Sephiroth watches on as he whisks his batter*

Reeve: Hello, Sephiroth!

Sephiroth: Director Tuesti. I didn't realize you were participating.

Reeve: Oh, no, I'm not baking. I'm just here to observe and support.

*Cait Sith waddles by, carrying a tray of fern cakes*

Cait Sith: The higher Shinra climbs, the harder the fall! Mark my words, the President's gonna find himself at the sharp end o' justice soon enough, and it could be Masamune!

*Cait Sith walks away*

Sephiroth: ….

Reeve: :)

Sephiroth: What was that?

Reeve: What was what?

Sephiroth: That cat just issued me a rallying cry to assassinate the President.

Reeve: Oh, Sephiroth. You're working so hard on your baking that you're starting to see and hear things.

*Cait Sith walks by again*

Cait Sith: The President always takes the express elevator when he's had one too many whiskies. Disable the brakes an' let gravity do the dirty work!

*He walks away again*

Sephiroth: ….

Reeve: :)

Sephiroth: Why are you wearing wizard robes?

Reeve: Because the revolution is upon us.

*Meanwhile, Rufus is overseeing the whole event like an emperor, leaning back in his chair, sipping champagne*

Rufus: Tseng, do you think this whole event was a bad idea?

Tseng: Of course not, sir, You only ever have flawless, revolutionary ideas.

Rufus: Don't use our power imbalance to stroke my ego. Tell me the truth of what you think.

Tseng: I think you're a bastard.

Rufus: !? I meant about the event.

Tseng: I think you're a bastard who deserves to be shanked for putting everyone through this.

Rufus:

[lxmelle]

Gojo was once described by Gege as a “man of resignation”.

It is a facet of enlightenment - in which the concept of “non-attachment” is a big part of (attachment is viewed as the root of suffering).

We can interpret “resignation” in so many ways, as it explains so much about his immense capacity for love / acceptance, but also his tendency to... simply resign himself to an outcome / fate I guess - a form of passivity that can be either considered positive or negative, perhaps depending on outcome.

Going with the flow, neither chasing nor halting anything in particular with his immense might and potential. He swayed things to gently influence an outcome. Followed a designated path trying to rebuild the sorcerer world through being a teacher... which he couldn’t fully commit too either, because he had a role as a special grade who had to keep working.

That’s not to say he didn’t achieve anything - because of course he did. But nothing revolutionary. He said so himself to Geto: he didn’t see a point in it. There were just some things he didn’t think would change - someone else would replace the higher-ups.

And thus. Despite his massive strength, he never did ever manage to go all out. Perhaps this is symbolic of an inherently gentle/accepting nature? But there was indeed a monster inside him too - the one that thrived on the thrill of killing and defeating. It was a beast he seldom let out. It was a beast with a thirst.

I’ve said it before, and I’ll paraphrase: like a sprinter limited to go at 8kmph, like a singer who is only allowed to whisper her song, a painter unable to use any paints for their desired masterpiece - how dreadfully, painfully unfulfilling.

So of course it was FUN to have this final brawl with Sukuna - to give it his very best, especially when he also didn’t feel lonely anymore with a bunch of monsters he can pass the gauntlet (his body and his will) onto in the worst case scenario.

But of course Gojo doesn’t have the ability to predict the future, so how can anyone expect that he make decisions and judgements perfectly or accurately? All he can do is consider based on his own judgement. Alone. As the only other person who help him plug those holes in his judgement, Geto, had left him.

It is up to interpretation whether Geto was left behind first, but this really isn’t a competition or about assigning blame… because where do we even start?

One cannot hold Gojo totally accountable for things that happen around him or how others interpret his actions. He was born different to everyone else. Probably treated as if he had this role to fill where people had an idea of what they wanted or needed him to be, but never gave much thought over what it would feel like for him.

Gojo, Shoko, and those left behind have had to suffer the same resignation. After all: What else are you supposed to do but resign yourself, in the face of a reality where even to things you don’t wish to happen, have to happen? All you can do is what you can... and if you can, you wield it with all your might.

Geto tried it to the best of his ability.

He wasn’t Gojo, who could do it if he wanted to.

Understanding that Gojo wasn’t, and accepting that he (Geto) shouldn’t change that about him (Gojo), as he was likely more suited to be at the school - essentially following nanami’s words and “leaving it to him” as Gojo was in his element / thrived on it, but Geto couldn’t be complicit in the system that would lead them to watch their own kind die one by one — Geto left to follow his ideals.

Gojo was referred to as the only one who can take that curse into his own hands. I used to see it as “the only one to kill Geto” after he failed and almost lost his humanity for the sake of power (killing Yuta would go against his principles) but now it also has a new meaning: the only one who can take charge and pursue the ideals to actually change the world.

The curse is the sh*t that is in the world of sorcery in jjk. Gojo seemed to (imho) now feel the need to catch up and hold the reins this time.

It is the end of Resignation Man Gojo Satoru. The emergence of The Monster Gojo Satoru (who Geto assisted in helping Gojo keep at bay through being the “model of humanity” that Gojo could follow) who was then fully ready to take the stand. Like Geto on that stage.

Bye higher ups.

Before, despite his immense strength, he didn’t force his way through. Perhaps this was the outcome of having been forced to be born and live with no choice but to be the six eyes + limitless. You do not actually have freedom.

Unless, you’re willing to become a pariah. To wield these cards that were dealt to you and completely become the extraordinary.

And now, Yuta embraces the same resigned acceptance of becoming a monster. After all... only a few will be able and willing to turn into a Monster.

Out of love. A Monstrous love indeed.

Geto had monstrous motherhood in him. I guess this extends to others now too. To cast away humanity because nobody else will. Nobody else can. So they have to wield it. Become it.

Yuta represents both the old and new world... in some way, he is like Gojo and Geto combined... power / strength + sincerity / kindness. Of course, like the yin and yang, each half has a bit of the other in it - so Gojo and Geto had a combination of power and compassion, but they symbolically represent each,

Arguably, had Geto someone else by his side, things may have been different.

All of this mess… ugh.

It didn’t have to come to this, right? Nor did it have to be the extermination of humans, but it could’ve been a collaboration of the special grades (Yuki, Gojo, Geto) all trying to solve the 3 different factors to the problem: humans as the origin of curses (research), the old-fashioned higher ups + clans, and the elimination of the curses. There may be others, but you get my gist.

But alas, this is the jjk world.

Just some thoughts, I’ll end it here before it’s more word vom.

[shitpostingkats]

The thing about how revolutionary trans-coded Sho Minamimoto feels is that this is a character that is undergoing an unsettling, upsetting, life-changing metamorphosis, who wants people to look at him. He literally claws his way out of the grave and the first thing he does is demand compliments. "This is my newest masterpiece. I call it: Myself!" The lyrics to his boss theme are all about commanding the listener to witness him and every change he's going through. "You, keep your eyes on this corruption / Come on, yes, you should watch this transformation" He's rearranging his organs and screaming at people to pay attention to it.

In trying to find trans narratives, often times it's easy to point to characters that are reserved and body shy. Heck, twewy itself has several characters that are trans-coded because they quietly shift their appearance and don't like talking about their physical selves. Because that's what trans people often feel like they have to do. We're expected to quietly go offscreen and change ourselves and come back a different person.

Minamimoto refuses to do that. He takes great joy in making people behold him. He feels great pride in the body he's crafted for himself, even while he's in the middle of building it. He demands attention, even as he's in a state of change. And, importantly, he never feels one iota of shame about it.

[ezziedoodles]

Why Season 2 Of Arcane Felt A Little Off

Let me preface this by saying I adore this show, and I loved this season. I laughed, I cried, and I had a good time watching it. The art direction and animation is a masterpiece. This is probably my favorite show, but I think it's good to critique the things you love and this entire season I felt like I was waiting for something.

For a show titled Arcane, season one had remarkably little to do with the arcane. Yes, there was Hextech and magic, but the show was centered on this class divide between Piltover and Zaun and all the conflicts that stem from this. The very first scene of the show is enforcers killing citizens on the bridge, with Powder and Vi finding their dead parents' bodies. Zilco's reasoning for doing anything he did was because he believed he was helping Zaun, including raising Jinx the way he did. Vi was so passionate about her city and the injustice facing it. Caitlyn witnessing this injustice is what causes her to question the systems she is a part of. Viktor and Jayce (but especially Viktor) created technology with the intention of wanting to improve life for the undercity. Ekko is a revolutionary doing so much to give his people a community and a chance to live their lives. My point is literally every single character is connected by this conflict between the cities.

Now let's take a look at the second season. Where is this part of the story that was so essential to the first season? There's a brief revolutionary beat with Jinx and her followers but once they escape from prison, the show moves on from this and never touches it again. We see Caitlyn's descent into corrupt madness, becoming everything she and Vi wanted to stop. Eventually she realizes how wrong she was but do we see her make any reparations to Zaun specifically for the damage she caused? She gassed the city, poisoning the air even further (with gas that has been confirmed to make people sick in the long run), harming hundreds of innocent people. And Vi, a character so vehemently against enforcers in the first season, goes along with this for how long? Days? Weeks? And only stops when she can visually see the impact of Caitlyn's madness as she almost kills a child in front of her. These characters are flawed and I love that, but we see them get their happy ending without ever truly addressing or helping with what they did to Zaun.

Ekko sees an alternate universe of everything his city could be, everything they all wanted so badly in the first season. Equality, safety, education, food security, and more. He says he is thankful for the reminder and I fully believe he will go forth with this vision in mind, but do we ever see it? And that right there is the problem. We don't know what happens to Zaun in the end, we don't know if things get better. All we see is Sevika on the council but we don't know if that will fix anything since people have stood up for the undercity in council before and it did nothing.

I want to see Ekko rally his people and repair the damage caused by the war. I want to see Vi open up the last drop and make it what it was always meant to be, a place of community. I want to see schools open in the undercity in honor of Viktor and Jayce. I want to see the two cities heal from the damage done to each other. Fuck it, I just want literally any closure on this plotline! Just tack on a 2 minute montage of what happened to this city after the war and I'd feel a little better. But instead this part of the story was completely sidelined throughout the season and ignored entirely in the finale. I'm not someone that thinks every story needs to have a moral, but this show was trying to tell us something! The first season was screaming from the rooftops to beware of privilege, beware systemic oppression, to fight inequality, and I find it really sad that there was no conclusion for that.

I do wish there had been three seasons to give it a smoother transition form politics to magic but it is what it is. Nothing is perfect. This season gave me so much including the best depiction of soulmates I've ever seen in my life so you win some you lose some ig.

[carlyraejepsans]

what's some stuff i should play/watch/read that isn't undertale

omniscient reader's viewpoint (deltarune level metanarrative but for reverse isekai novels instead of videogames)

revolutionary girl utena (yuri classic and absurdism masterpiece. deals heavily in feminist themes and the cycles of patriarchal violence through literal narrative/thematic cycles. if you love combing through a piece of writing for symbolism that's obviously intentional but never outright explained, this series will be like disneyland for you)

homestuck. unfortunately it really is kind of that good. especially the early acts

mother 3!!!! it's such a charming game. you should play mother 2/earthbound too for the record, but i think the way m3 paces itself is REALLY well done, and the characters are so distinct and fun in a way that EB sort of fails to capture.

slay the princess pristine cut trailer out now GO!!!!!!!! watcg for blood but GO IT'S S9 GOOOD

In stars and time (really didn't vibe with the shmoopy tumblresque found family sort of... incorrect quotes-like vibe of the early acts but i do have to admit it's a REALLY good set up for the tone shift halfway through)

[crooked-wasteland]

The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

[xinfinityl0ve17]

Most games tend to have a clear objective for the players to follow as the story unfolds. However, "MYST," with its completely different gameplay style, was a controversial masterpiece. Personally, I was drawn to its supreme graphics and was greatly impressed by the stunning CG, so naturally, i was a fan.

While the difficulty level of the game is extremely high, the sheer beauty of it is enough to captivate people. Despite stumbling through the game, I found solace in the mesmerizing world it presented, often getting lost in its enchanting visuals. "MYST" brought a fresh perspective to adventure games through its innovative approach, making it a monumental piece of work.

We're fortunate to live in an era where we can enjoy games with incredibly beautiful polygon graphics. Recently, I was engrossed in playing "Oblivion" on PS3, which gave me a similar sensation to "MYST." It's a game set in a medieval European-inspired open world, allowing players to freely explore its vast landscapes.

The world depicted in polygons is so visually stunning that it's almost indistinguishable from reality. The swaying grass and rippling water surfaces create an illusion of actually being in that world. Of course, "Oblivion" has its own objectives as a game, but my primary desire was simply to explore the vast world it offered. I even sacrificed sleep during the New Year's holiday a few years ago just to keep playing.

The evolution of gaming graphics in recent years is truly astounding, and it's astonishing to see how far we've come from the past. While I may have become accustomed to revolutionary games like those on high-spec machines in recent years, I believe that it's this connection to the past, such as with "MYST," that has shaped my gaming experience. It might seem outdated now, but delving back into that unique world of "MYST" brings back a sense of nostalgia.

"MYST" holds a special place in my heart, and I feel like I could approach it with a fresh perspective now. Plus, there are sequels I have yet to play, so that's definitely on my to-do list!

[imhereonthekitchenfloor]

I don't think modern swifties who never listened to country music growing up can really understand how good of albums Debut and Fearless are. Nowadays we think of these albums as part of the Taylor Swift Universe and important albums as Taylor's foundation. People often say "they're good for how young she was when she wrote them" before explaining why they are their least favorite Taylor albums....but like,,, no they were actually really good at the time they were written. Both albums successfully took common themes and sounds of country music of the time and applied it to the life of a teenage girl. Yet they somehow stayed true to what the country genre was? These were revolutionary albums upon their release. There's a reason Tim McGraw was such a popular debut single. There's a reason Fearless is the most awarded country album of all time. Both albums took then current country music and elevated it to a new level. I think now it's easy to think of the Taylor Swift sound as it's own genre in itself, and the country sounds of debut and Fearless can throw that off; if you don't know what country music was like at the time it can be easy to think of them as a piece of Taylor and not a piece of country music. But these were true country albums that are masterpieces in their own right, and swifties really should recognize that.