#love how the fandom created multiple plot points that worked way better than what actually happened

[seducemefanficsandheadcanons]

I'm literally about to simply yap about a rewrite I started forever ago.

So, I'm definitely going to steer away from canon a lot more when I rewrite my rewrite lmao.

Initially I was worried about doing so. I started it because I struggle with plotting, and the plot was pretty much already there.

But I personally feel I have grown as a writer since starting it, and I think I can do a lot better than I had. I want it to be more than rewording what's already in canon, I want it to be new. Maybe not a new story, but a much more fleshed out version than I had originally planned.

Like, I want to explore a relationship with each boy before Mika choses Sam. And not just, oopsie I've kissed all of them. I want there to be conflict with the boys because they have all fallen for this woman, and she isn't even fully aware of it.

I want to explore the incubi's magic more and incorporate my headcanons better. I want to really dive deep into the possibilities of their magic and for that to terrify Mika, more than it did in canon and in my rewrite.

For example, Sam is more brute than the others, so how would that affect his magic aside from being able to feed on rage? I headcanon he can use fear enthrallment. Or how much can Erik affect dreams! Canonly he just absorbs them, but that's kind of boring lmao. I want him to be able to create them.

And some smaller headcanons as well! I like to think all of the boys have fangs for example.

I want to really work out Mika's background and explore her relationship with Harold more. This man was practically her father figure in my canon, but I would like to flesh that out more. I also decided to give Mika a power, I have now given Aron, my self-insert. I hadn't really developed Aron as a character, so in some ways, I had put her into Mika. I felt like I was writing multiple people in one character, so I failed to make her a consistent MC. Also, I want to make Mika a college student or have her already working at a job.

I want the threat of Malix to be truly explored. I failed to do this properly, and the plot was very much all over the place because I was like "Wow! Since it's a rewrite, the plot is basically written out for me!" so, I never truly sat down and thought about what I wanted to happen differently aside from ideas. I do plan to actually plot this out when I start again.

I want more hesitancy from Sam. (The boy I have chosen for the fic, because he is canon and because I live laugh love him) I want these weird fuzzy feelings in his chest to confuse him. Demons aren't able to love, so the fact he's feeling something that can only be described as such must confuse him.

There are so many more things, but these are the ones that come to mind. I am actually going to write this story and plot it out, whether that is with a million bullet points or chapter by chapter.

Really when I think about it, I'm still relatively new to writing. I started on Wattpad around mid-January of this year in attempt to gain back some cognitive skills after major surgery and because there were so many Seduce Me the Otome ideas, I wanted to read but couldn't find. I had just gotten into the fandom I have loved the game for many years, but it never went beyond playing the game and watching YouTube videos. I had never used Tumblr before and had never even heard of AO3. Wattpad was the only fanfiction website I knew about.

My point of saying that is that I am still knew to this. There are still things I'm learning and want to continue to improve. So, I am trying to have grace with myself for my lack of consistency and plotting.

It is still on hiatus, until I finish Soul Bound, I likely won't write for it at all.

Thank you for coming to my ted talk.

[howlsmovinglibrary]

Hello! I saw your response to the "5 things you could talk about for an hour" tag game, and I just wanted to say that I am in fact very interested in your perspective on how fandom/fanfic has impacted media literacy and the publishing industry, if you'd ever like to yap on Tumblr about it!

hmmm... other people have said it better than me in various different tumblr posts but I'm a yapper why not?

(under the cut to save a long post)

fandom/fanfic impacts on media literacy:

media is viewed through shipping goggles first and a critical lens second (both of them are allowed! i love my shipping goggles! but i also like having multiple tools of analysis in my arsenal!)

this also sometimes means that media devolves into relationships and 'fan service' moments, above plot or delivery of a good and satisfactory story (I'm not saying OFMD but I kind of am. I'm not saying BG3 additional content that has focused on popular characters and ships above incomplete and underwritten narratives... but I kind of am)

because fandom now also has a big purity culture kick back, and fandom has become mainstream, that means mainstream media also has a purity culture kick back (for instance, everyone performing scandalised and 'disgusted' reactions to Saltburn, when actually all that is is a... psychological thriller)

fandom/fanfic impacts on the publishing industry:

the Locked Tomb's popularisation of fic-ish writing, alongside the reylo fanfic boom (Ali Hazelwood serial numbers filed off -> romance pipeline) kind of coincided perfectly with the pandemic. as did the success of Travis Baldree's coffeeshop AU, Legends and Lattes. people wanted comfort media, but at the other end, publishing industry professionals were working from home and likely spread thin. I think this created a perfect storm for 'fast fiction' (like 'fast fashion') where basically a fanfic can be quickly changed into a book with minimal editing that doesn't matter anyway bc it provides a dopamine hit. None of this is inherently bad. I don't dislike fanfic-to-published-novel on principle. What I *hate*, is bad editing. Extremely high quality editing is what trad publishing has, in a way fic doesn't. Bc fic can be as long as you want it to be, and can linger, and can have fun - it's not designed for efficiency or quality control bc that's not the point. that being said... quality control can, in fact, improve a work's quality. but trad publishing doesn't have good editing anymore, bc the pandemic proved it didn't necessarily need it, and publishing companies love to not spend money on things, especially if it will make them a profit without that care or attention.

what i will also say, is there is a reason it's easy to file the serial numbers off. reylo fics are very far from canon, for a number of reasons. Legends and Lattes is a coffeeshop AU, without any character work. This doesn't mean they are bad. It just means they feed into a general trend of 'fic as tropes' - rather than 'fic as character study', for instance - which in turn means that romance in particular has also become 'romance as tropes' (or even 'romance as smut' which is another thing I have feelings about, bc bad editing + fiction as smut = really, really bad smut actually lads)

in general 'fiction as tropes' has then obviously been aided by tiktok as the primary marketing platform. rather than provide an explanation of your story, providing an explanation of its tropes encourages your book being read this way

another thing that has happened as a result of fic is 'queer rep' as being 'there is queer people in it' or 'there is queer romance in it'. again, not inherently a bad thing. i love a gay book. but gay and queer experiences exist on a spectrum. a book with queer MCs for the sake of having queer MCs may end up feeling tokenistic, if the writer has included queer rep for the sake of queer rep, or (and we need to admit this happens!) to be trendy!! to hit on the 'queer rep' zeitgeist!!! similarly, a queer book without any romance in it can still be queer, but gods forbid we have *that* conversation.

As I said, all of these things have been discussed in tumblr posts far better than mine. In terms of my personal experience - teaching undergraduate literature classes, this is what I've noticed:

because of fandom or social media with fandom lite edges, a lot of my students are very up-to-date on things such as intersectional feminism, gender performativity, compulsory heterosexuality, queer coding, etc. I don't need to define these terms, whereas they were defined when I was an undergrad.

however, the flipside of this is they often approach the texts I teach only with a contemporary mindset. The biggest example I have of this is Jane Eyre. Jane Eyre actually benefits from a contemporary mindset - after being heralded as feminist in the 1960s, intersectional criticisms in the 1980s/90s by postcolonial critics called out its racist treatment of Bertha Mason. BUT if I have to read another essay about Jane Eyre's relationship with Rochester being 'problematic', I will scream. Not bc I don't agree, but because criticisms of this novel need to also acknowledge that in the victorian era, such a blatant discussion of female sexual desire was radical for its time. That class and sexism was a big enough issue in the 19th century that for Jane to get to marry a man from the landed gentry on equal footing was a big deal at the time. It's fine if you decide Jane Eyre isn't feminist! but you need to prove that through multiple critical lenses and not just a jezebel-article style treatise. (for instance, one essay critiqued the male gaze in Jane Eyre... Jane Eyre was written by a woman looking very disrespectfully actually, and also... film hadn't been invented yet. while the male gaze existed in art, the normalising of female objectification, sexually, required film. also... the male gaze is a term that requires a man with eyes to be making that piece of art.)

the other biggest problem I have when teaching, is the 'queer character as queer representation' thing, and ESPECIALLY "good queer representation means morally good queer characters'. I teach Giovanni's Room. Anyone who has read Giovanni's Room, knows that the main character is both gay... and a bad person. That book isn't just talking about being gay, but about being closeted, trapped in compulsory heteronormativity, and also... 1950s racism. One of the biggest challenges for me as a teacher is to ask students "don't just tell me there's gay people in it, look at what those gay people are doing. is queerness portrayed positively or negatively? what aspects of the experience are being represented? do these aspects have value, especially when it is a queer artist making the art?"

(people also feel like they can't call a gay character mean or bad, because of the whole 'gay is inherently virtuous' part of fandom's mindset. spoilers: gay people can suck too. and are allowed to be portrayed as such in fiction, once you have a tool in your toolkit known as nuance).

anyway, aside from the fact it means i occasionally struggle to find good romance books bc I want not just well written sex but character development - which fanfic has! I'm not saying fanfic doesn't have it! but the fanfic that gets published sometimes doesn't, and certainly very rarely has both! - my teaching is absolutely where I see fandom's impact most clearly.

[thedeadhandofseldon]

The Anti-Mercer Effect

On the Accessibility of D&D, Why Unprepared Casters is so Fun, and Why Haley Whipjack is possibly the greatest DM of our generation.

(Apologies to my mutuals who aren’t in this fandom for the length of this, but as you all know I have never in my life shut up about anything so… we’ll call it even for the number of posts about Destiel I see every day.

To fellow UC fans - I haven’t listened to arc 4 yet, I started drafting this in early August, and I promise I will write a nice post about how great Gus the Bard is once I get the chance to listen to more of his DMing).

Structure - Or, “This is not the finale, there will be more podding cast”

So, first of all, let’s just talk about how Unprepared Casters works. Because it’s kind of unusual! Most of the other big-name D&D podcasts favor this long, grand arcs; UC has about 10 hours of podcast per each arc. And that’s a major strength in a lot of ways: it makes it really accessible to new listeners, because you can just start with the current arc and understand what’s going on!

And by starting new arcs every six or seven episodes, they can explore lots of ways to play D&D! Classic dungeon delve arc! Heist arc! Epic heroes save the world arc! Sportsball arc! They can touch on all sorts of things!

And while I’m talking about that: Dragons in Dungeons, the first arc, makes it incredibly accessible as a show - because it lets the unfamiliar listener get a sense of what D&D actually is. (It’s about telling stories and making your friends feel heroic and laugh and cry, for the record). If I had to pick a way to introduce someone to the game without actually playing it with them, that arc would definitely be it.

And I’d be remise not to note one very important thing: Haley Whipjack and Gus the Bard are just very funny, very charismatic people. Look. Episode 0s tend to be about 50%(?) those two just talking to each other about their own podcast. It shouldn’t work. And yet it DOES, its one of my favorite parts, because Haley and Gus are just cool.

And a side note that doesn’t fit anywhere else: I throw my soul at him! I throw a scone at him - that’s it, that’s the vibe. The whole podcast alternates between laughing with your friends and brooding alone in a dark tavern corner - but the laughs never forced and the dark corner is never too dark for too long.

Whipjack the Great - Or, the DM is Also a Player!

I think Haley Whipjack is one of the greatest Dungeon Masters alive. The plots and characters! The mechanical shenanigans! The descriptions!

Actually, let’s start there: with the descriptions. (Both Haley and Gus do this really fucking well). As we know, Episode 0 of each arc sees the DM reading a description - of a small town, or the Up North, or the recent history of a great party. And Haley always strikes this tricky balance - one I think a lot of us who DM struggle with - between giving too much description and  worldbuilding, and not telling us anything at all. She describes people and events in just enough detail to imagine them, but never so much they seem static and unreal - just clear enough to envision, but with enough vagueness left to let your imagination begin to run wild.

While I’m thinking about arc 3’s party, let’s talk about a really bold move she made in that arc: letting the players have ongoing control of their history. Loser Lars! She didn’t try to spell out every detail of this high-level party’s history, or restrict their past to only what she decided to allow - she gave them the broad outlines, and let them embellish it. And that made for a much more alive story than any attempt to create it by herself would have - but I think it takes a lot of courage to let your players have that agency. Most Dungeon Masters (myself included) tend to struggle with being control freaks.

And the plots! Yeah, arc one is built of classic tropes - but she actually uses them, she doesn’t get caught up in subverting everything or laughing at the cliches. And it’s fun! In arc 3, there really isn’t a straight line for the players to follow, either - which makes the game much more interesting and much trickier to run. And her NPCs are fantastic and I will talk about them in the next section.

Above all, though, I think what is really impressive is how Haley balances mechanics, and rules as written, with the narrative and rule of cool - and puts both rules and story in the service of playing a fun game. And the secret to that? She’s the DM, but the DM is a player, and the DM is clearly having fun. Hope Lovejoy mechanically shouldn’t get that spellslot back, but she does, and it’s fun. The changeling merchant in Thymore doesn’t really make some Grand Artistic Narrative better, but wow is it fun. And she never tries to force it one way or the other - the story might be more dramatic if Annie didn’t manage to banish the demon from the vault, but it’s a lot cooler and a lot more fun for the players if Annie gets to be a badass instead - and the rules and the dice say that Annie managed it.

Settings feel like places, NPCs feel like people, and the narrative plot feels like a real villainous plot.

Anyway. I could go on about the various ways in which Whipjack is awesome for quite a while - she’s right, first place in D&D is when your friends laugh and super first place is when they cry - but I’m going to stop here and just. Make another post about it some other time. For now, for the record I hold her opinions about the game in higher esteem than I do several official sourcebooks; that is all.

Characters - Or, Bombyx Mori Is Not an Asshole, And That Matters

Okay, I said I would talk about characters! And I will!

Just a general place to start: the party! All of the first three parties are interesting to me, because they all care about each other. Not even necessarily in a Found Family Trope sort of way, though often that too. But they generally aren’t assholes to each other. The players create characters that actually work together, that are interesting; even when there’s internal divisions like SK-73 v. Sir Mr. Person, they aren’t just unpleasant and antagonistic all the time. Listening to the podcast, we’re “with” these people for a couple hours - and it isn’t unpleasant. That matters a lot. (To take a counter-example: I love Critical Role, but the episode when Vox Machina pranked Scanlan after he died and was resurrected wasn’t fun to listen to, it was just uncomfortable and angering and vaguely cruel).

All of the PCs are amazing, and the players in each arc did a great job. If you disagree with me about that, well, you have the right to be incorrect and I am sorry for your loss. Annie Wintersummer, for one example: tragic and sad and I want to give her a hug, but also Fuck Yeah Wintersummer, and also her familiar Charles the Owl is the cutest and funniest and I love him. And we understand what’s going on with Annie, she isn’t some infinite pool of hidden depths because this arc is 7 episodes and we don’t have time for that, but she also has enough complexity to be interesting. Same with Fey Moss: yeah, a lot of her is a silly pun about fame that carries into how she behaves, but a lot of how she behaves is also down to some good classic half-elven angst about parenthood and wanting to be known and seen and important. (Side note: if your half-elf character doesn’t have angst, well, that’s impressive and also I don’t think I believe you).

There are multiple lesbian cat-people in a 4-person party and they both have requited romantic interests who aren’t each other. This is the future liberals want and I am glad for it.

Sir Mister Person, the human fighter! Thavius, the edge lord! Even when a character is “simple,” they’re interesting, because of how they’re played as people and not action-figures. And that matters a lot.

In the same way: the NPCs. There really aren’t a lot of them! And some of them come from Patreon submissions, so uh good work gang, you’re part of the awesomeness and I’m proud of you! The point being, the NPCs work because enough of them are interesting to matter. It’s not just a servant who opens Count Michael’s door, it’s a character with a name (Oleandra!) and a personality and history. They’re interesting. Penny Lovejoy didn’t need to be interesting, the merchant outside the Laughing Mausoleum didn’t need to be interesting, but they ARE! And Haley and Gus EXCEL at making the NPCs matter, not just to the story but to us as viewers. I agree with Sir Mister Person, actually, I would die for the princesses of the kingdom. I actually care about Gem Lovejoy of all people - that wouldn’t happen in an ordinary campaign! That’s the thing that makes Unprepared Casters spectacular - and, frankly, it’s especially impressive because D&D does not tend to be good at making a lot of interesting compared to a lot of other sorts of stories.

And, just as an exemplar of all this: Bombyx Mori. Immortal, reincarnating(?), and described as the incarnation of the player’s ADHD. I expected to hate Bombyx, because as the mom friend both in and out of my friend-group’s campaigns, the chaos-causer is always exhausting to me. And yeah, Bombyx causes problems on purpose! But! She is not an asshole.

And that’s important. Bombyx goes and sits with the queen and comforts her. Bombyx gives Annie emotional support. Bombyx isn’t just a vehicle to jerk around the DM and other players; Bombyx really is a character we can care about. To compare with another case - in the first couple episodes of The Adventure Zone, the PCs are just dicks. Funny, but dicks. Bombyx holds out an arm “covered in larva” to shake with a count, and robs him of magical items, but she also cares about her friends and other people! She uses a powerful magical gem to save her fertilizer guy from death! Yeah, Bombyx is ridiculous, but she’s not just an asshole the party has to keep around for plot reasons; you can see why her party would keep her around. And one layer of meta up, she’s the perfect example of how to make a chaotic character like that while still being fun for everyone you’re playing with, which is often not the case. And I love her.

The Anti-Mercer Effect - Or, “I think we proved it can be fun, you can have a good time with your friends. And it doesn’t have to be scary, you can just work with what you know”

The Mercer Effect basically constitutes this: Matthew Mercer, Dungeon Master of Critical Role, is incredible (as are all of his players). They’re all professional story-tellers in a way, remember, and so Critical Role treats D&D like a narrative art-form, and it’s inspiring. Seeing that on Critical Role sets impossible standards - and people go into their own home games imagining that their campaigns will be like Critical Role, and the burden of that expectation tends to fall disproportionately on the DM. And the end result, I think, of the Mercer Effect is that we get discouraged or intimidated, because our game isn’t “as good as” theirs. (And I should note - Matt certainly doesn’t want that to be our reaction).

So the Anti-Mercer Effect is two things: it’s D&D treated like a game, and it’s inspiring but not intimidating. And Unprepared Casters manages both of those really freaking well. Because they play it like a game! A UC arc looks just like a good campaign in anyone’s home game. They have the vibes of 20-somethings and college students playing D&D for fun because that’s who they are (as a 20-something college student who plays a lot of D&D, watching it felt like watching my friends play an especially good campaign). They’re trying to tell a good story, sure, and they always do. But first and foremost, they’re trying to have fun, and it shows, and I love the UC cast for it.

And that’s the other half of it: it’s inspiring! It’s approachable; you can see that Haley and Gus put plenty of work into preparing the game but it also doesn’t make you feel like you need hundreds of pages of worldbuilding to run a game. Sometimes a cleric makes Haley cry and she gives them back a spell-slot from their deity! That’s fantastic! It’s just inspiring - listening to this over the summer, when my last campaign had fallen apart under the strain of graduation, is why I decided to plan and run my new one!

That quote from Haley Whipjack that I used as the title for this section? That’s the whole core of this idea, and really, I think, the core of the podcast.

The Mercer Effect is when you go “that’s really cool, I could never do that.” But Unprepared Casters makes you look at D&D and go “wow, that looks really fun. I bet I can do that!” And I love the show for it.

And I bet a lot of you do too.

[the-dragongirl]

Hello tumblr. I have returned from a long period of inactivity, because I must bring the good word to the corner of the Star Wars fandom that used to be my main fannish home: there is a new era of Star Wars canon that was made just for our taste. It is called the High Republic.

WHAT IS THE HIGH REPUBLIC?

The High Republic is an giant multi-media project being carried out by the Lucasfilm story group to create a brand new era of Star Wars canon. It is set a few hundred years before the prequel era (so, a long time after the Old Republic era), in a period of peace and stability within the Republic. It currently includes several English language adult novels, a YA novel, two serialized comics, a manga, some short stories, and some short video blurbs published on facebook and youtube. A TV show for Disney+ has also been announced, but is a few years off. This project is unique in Star Wars, in that all of the different parts are being written together by one writing team, and are coordinated to tell a cohesive story. Also, what has been announced is just the beginning – they have stated that there will be three different sections of the High Republic, and everything we have had announced so far is just part one. As a note: this is an era for which there was NO pre-existing canon in Legends, so it is totally new territory.

OKAY, THAT’S NICE, BUT WHY SHOULD I BOTHER TO CHECK IT OUT?

There are SO many reasons why the High Republic is worth your time to explore. I will try to outline some of them here below the cut (without any significant spoilers).

IT IS A LOVE LETTER TO THE JEDI

This is the era for everyone who loves the Jedi and wants to understand how they got to the point they did in the prequel era. It shows Jedi at their best: saving people, working together, being completely in tune with the Force (in so many beautiful and original ways), demonstrating creativity and flexibility and being rewarded for it, actually thinking through the ethics of things like the mind trick, and DEALING with their emotions rather than repressing them. It shows us how the rigid Jedi culture was saw in the prequels was a corruption of something that was originally healthy and uplifting. Jedi in this era are allowed to be flawed, and to grow, and have a community that supports them in doing so. This is the Jedi culture so many of us created as fix it fic for the prequel era, but made canon.

IT IS AN ERA OF HOPE

There are some serious problems in the High Republic Era. Without spoilers, the era opens with a terrible humanitarian crisis, laid over the Republic equivalent of the New Deal from US history.  We see a lot of examples of people doing their best to be good to each other, and working for a more just and kind galaxy. They acknowledge that things are not perfect, but people from many different backgrounds (Jedi, politicians, farmers, pilots, business people) work together to try and make things better. I don’t know about you all, but with the darkness we see in the world today, I NEED some of that optimism in my escapist media. The High Republic provides that.

IT WILL GIVE YOU FEELINGS

The existing material so far is structured to really let you emotionally invest in the characters and their struggles. Unlike with many eras of Star Wars canon, characterization is not sacrificed for the sake of plot (though never fear, there is PLENTY of plot). That means there is huge scope for empathy. I’m not going to lie; I cried within the first three chapters of Light of the Jedi, as did several other people I know. It is POIGNANT in a way that feels truly genuine.

IT IS FUN

The writing team understands that, in the end, Star Wars is space fantasy. If your space fantasy is nothing but serious, gritty grimdark, it becomes pretentious and unbearable. So, for all that there is some heavy content in the High Republic (VERY heavy content – the Nihil should really have their own content warning), it has many moments of levity that keep it from taking itself too seriously. For example, the High Republic made Jedi bodice rippers canon. Also, characters like Geode exist (yes, that rock there is a CHARACTER). The result is something which honors the spirit of Star Wars, and keeps you engaged without being tedious or ridiculously depressing.

THE WRITING TEAM HAS DIVERSE PERSPECTIVES

The main writing team consists of five people: Justina Ireland, Claudia Gray, Charles Soule, Daniel José Older, and Cavan Scott. You will note that includes two people of color, two women, and one out Queer person (in fact, one of the writers is all three of those things). This is a far cry from the white-cis-straight-man-dominated writing teams we have seen in the past. And when they bring in other people to the project, they make a point of looking for perspectives that aren’t represented on their team – for example, the manga is being co-written between Justina Ireland and Japanese writer Shima Shinya, and Ireland has stated in interviews that Shinya is taking the lead on the writing.

IT VALUES MEANINGFUL REPRESENTATION

That diverse writing team means a cast that looks WAY more like the real world than any other era of Star Wars we’ve seen, in terms of representation. There are multiple characters of color, who are both heroes and central to the story. There are at least five canonical queer characters to date (a MLM couple, an Ace character, and two NB character).  [EDIT: Thank you @legok9​ for letting me know about the NB characters]. Among binary gendered characters, there is a very even balance of men and women. The writing team has also stated that they will be incorporating more representation of disability in the works to come. And the story is so much better for it – representation is included here BECAUSE it makes for more creative, believable, and original storytelling.

IT IS ACCESSIBLE

Because of the multiple formats, and the fact that it doesn’t rely on you knowing any prior lore, the High Republic offers many avenues to engage for people with all kinds of needs. Know nothing about Star Wars canon and feel intimidated about catching up? The canon is all new in this era anyway, so you’re fine. Can’t handle flashing lights? No problem – the little bit of video content that exists is totally free from the strobing effects that caused seizure and sensory issues. Need purely audio content? You can still have a full experience of the High Republic with the gorgeously sound-scaped audiobooks. Don’t have the attention span for books or long movies? Then the comics are your friend.

THERE IS SOMETHING FOR ALL

Between the books aimed towards adults and teens (and their respective audiobooks), the kids books, the comics, the manga, the short stories, AND the eventual TV show on Disney+, there is going to be content in the High Republic that suits most audiences. And that is just what has been announced so far – there is still more to come for phases II and III. This isn’t Star Wars written towards one group or demographic – it is Star Wars for everyone.

DID I MENTION THE FANCY JEDI UNIFORMS?

Because cosplayers and fanartists? This is the era for you. We are getting Jedi in silks with elaborate gold embroidery. Jedi with jewelry other decorative elements. Even the practical field uniforms have tooled and embossed leather. If you want to draw or make Jedi that have some of that that sweet LoTR-esque high fantasy aesthetic, the High Republic has your back. (Not going to lie – I am ALREADY imagining the time travel AUs. Put Obi-Wan in fancy clothes!)

OKAY, YOU’VE SOLD ME. WHERE SHOULD I START?

I strongly recommend everyone looking to get into the High Republic (who is old enough to be on Tumblr) start with Light of the Jedi by Charles Soule. I alternated between the physical book and the audio book, and found it delightful in both formats. After that, you have a lot of options. You can read or listen to the audio book of the YA novel A Test of Courage by Justina Ireland. You can check out the currently running Star Wars: The High Republic comic from Marvel, or the Star Wars: The High Republic Adventures comic from IDW. Or you can skip straight to Into the Dark by Claudia Gray. Honestly, there is no wrong order to try out most of the High Republic.

IN CONLUSION

The High Republic is Star Wars written for people who DON’T want Star Wars to be a good ‘ol boys club for salty white dudes who don’t want to see anything but more of Luke Skywalker. It offers broad representation, and optimistic narrative, and whole bunch of awesome Jedi content. If you are someone who fell in love with Jedi in the prequel era, the High Republic will give you more of what you loved. And if you are totally new to Star Wars? The High Republic is here for you too.

So, go check it. And then go write fic for it (please, there are only, like, 14 fics on AO3, I am dying).

[earlgreytea68]

Hi! I loved your post about fanfiction and “official” literature, it resonated with me on a multiple levels. I started reading fanfics at the age of 16, I guess, and never really stopped since, now I’m in my mid thirties. Sometimes I read more of it, sometimes I got sucked into the new novel by my fave author, but I always come back. Because reading fanfiction opened up multiple universes I could wander through endlessly, and never get bored. I switch fandoms, and every time I discover something unique and awesome. I can’t stop thinking about how many talented people are out there, I’m so grateful for all of you guys, and I hope you get all the love appreciation you really deserve. And also, having the amazing possibility to say how much in love with a certain work you are, or even discuss something about the plot or ask a question directly to the person who wrote it, maybe even in the process of creating the said story… I think it’s a very special privilege, we all should be grateful to have it. Bless you, and I mean it! Oh, and this bit about seeing all the reviews of hmt and aren’t able to read them, really got me in the feels. I totally understand how it must be tough for you at the moment, and I sincerely wish, that maybe later this year, around Halloween or with a cup of hot wine in your hand near the Christmas break, you’ll find yourself in the right mindset to read some of them, and enjoy it. I only got to see one of those on my dash, and reading through it made me happy and hopeful, I have a very slim chance to see them, and god knows how it will look like next year, but the sentiment is still there, this guys make me happy. I wish you a very nice and cozy fall season, stay safe 😊

Awwww this is a very sweet and lovely ask, thank you, anon.

I have a whole rant that I do elsewhere in my life about how fanfiction is its own genre, that's not confined to "work based on other people's creativity" but is, in fact, a type of story-telling that is based more heavily on characters and emotions than on plots. Once you find this genre, you might read outside of the genre every once in a while, but you go back to fic the way someone who likes mysteries gravitates toward mysteries. It doesn't actually matter the fandom, the storytelling vehicle remains the same.

And I agree, that we are so lucky how many of us want to share and create with each other in this space, and how we can all interact, in a way that published fiction really never seems to have. I've been a published author, and I missed desperately the community of fandom: the other writers whose stuff I could squee over, the readers who feel comfortable telling me what they loved, what they hope for, what confuses them, etc. All of that makes the stories we tell so much richer, because they are not the stories *we're* telling, but the stories we're *all* telling, together, in this vast interrelated tapestry, and that is how storytelling was in the very beginning of its history and I think it's actually what humans need storytelling to be (hence the enduring popularity of fic in the first place, the need for humans to engage with the stories they're being told instead of just being passive consumers of it). And sometimes I worry about fandom going away, about people thinking that this way of creating isn't worthwhile because it doesn't make them money, and it makes me sad because I think it is the BEST kind of creating and we should all be so lucky, as writers, to find people who want to love our characters so much that they chat with us about them. Like, that is the dream! It's just so incredible!

~~UNCONNECTED HMT BITTERNESS LOL~~

I really am trying to be A Bigger Person about the whole HMT thing but there is a vast gulf between "thing I know I should be able to get over" and "thing which irritates me every time it comes up" lol. I have tried really hard to just...be all happy about HMT, but in truth the effort of trying to force myself to be happy just ends up making me extra-resentful, and so it's better that I just...try to avoid HMT in the hope that maybe eventually, someday, I won't find it so annoying and will be able to think about it without wanting to cry lol. I mean, emotions just take time to work through and become more rational, and it has not been nearly enough time for me, in my trauma-exhausted pandemic state, with all the other stuff I'm also trying to emotionally manage right now. At one point I just realized that the whole HMT situation was taking up way more time and mental and emotional energy (and money) than Fall Out Boy honestly really deserved, considering they have no idea who I am and don't care about me lol. Anyway, I haven't broken up with Fall Out Boy, which is good, because I worried I might, but we definitely seem okay; I've just broken up with HMT. I am really, really, really pleased that the tour is almost over and maybe I can go back to following FOB social media again and maybe I can be more successful pretending this tour never happened lol. And probably eventually someday I'll forget all about why I was upset and it'll all be fine, as you say. I know that everyone else seemed to have a really lovely time at their concerts and I'm very glad that they did.

[elkian]

I was gonna do a “missing the point”-style meme but I’m honestly not sure that would even work tho so:

Harry Potter and My Hero Academia/Boku no Hero Academia have similar issues with introducing and then immediately ignoring ENORMOUS issues re: ableism.

I think these two series in specific come to mind bc it’s ableism within a specific empowered community, and in both cases the series are pretty well-known and the community (Wix/Heroes) are immediately identifiable to many audiences.

[WARNING: Discussions of ableism, child harm, and abuse on multiple levels.]

What’s the problem?

SQUIBS.

[This post got stupid huge SO here is a tl,dr for all you lovely people who understandably have no time for this.

TL, DR: Both Harry Potter and Boku No Hero have a bad tendency to implement or imply a level of disability regarding unempowered people in empowered societies. They then continue on to completely disregard important conclusions to these implications, such as how heavily it is implied that these unempowered people (Squibs) are so ‘worthless’ to those societies that their very deaths are merely a byline rather than an actual tragedy.

This is especially troubling in MHA/BNHA when so many other political and worldbuilding considerations HAVE been planned out, and seems to be less-discussed in the fandom as a whole, so that’s a much larger chunk of this post.]

That’s your tl, dr!

Here’s the Harry Potter angle:

HP has a bit that I’ve seen people discussing already: Neville’s magic was discovered when his uncle dropped a literal child a potenial lethal distance. 

Neville activating his power and surviving is celebrated, and then JKR immediately glosses over the glaring issue this has introduced: the heavy implication that a Squib dying from this incident would have not have been mourned or even really commented on.

The few adult Squibs (and isn’t that a whole new slice of wonderful /j) are generally disliked and ridiculed for some reason or other. Now, while obviously there are plenty of places where the Venn diagram of “disabled” and “asshole” intersect irl, when your ONLY presentation of a disabled character or group is, every time, an asshole or a fool or both, boy! That’s bad!

Neville (who is generally presented as magically, physically, and mentally weak and often treated as comic relief) is a bit better via the POV Character constantly having positive interactions with him, but this is still a mess. Yes, Neville canonically is not a Squib, but it’s not subtle that he’s on the cusp OF being a Squib, and that is a key element of ridiculing him in many situations (also the whole trauma thing multiple times, like if I really get into it I could do a whole double-size post of how Neville was done dirty or nearly dirty by JK all the time but this isn’t that post).

This isn’t even the point of this post. Let’s move to MHA/BNHA

Hero Academia has differing but honestly even worse issues. And I’m aware that different countries handle ableism and accessibility in different ways, but if you think too hard about it this is an absolute clusterfuck.

What is the problem now?

Squibs! Or rather, the main character of the series, Midoriya Izuku.

Deku (a nickname meaning “useless”! Imparted after his disability is recognized! hilarity!!) is also born without powers. Even worse in some ways, he is born without powers in a world where the overwhelming majority of the global population has some kind of empowerment. I can’t recall if it’s outright stated or only implied that someone with a functionally useless (and hoo boy, usefullness to society is its own post nope not today i do not have that much energy) Quirk is still more of a person than a Quirkless human.

That sink in? Okay, let’s move on.

In a narratively not-uncommon turn of events, Deku gains power. This is partially a product of, and directly tied to, his own work and determination, as well as his willingness to help even when physically outmatched.

To an American audience (NOT the intended audience though I wouldn’t doubt it if Horikoshi meant to have international appeal more or less from the start), this is a deeply satisfying narrative. Who doesn’t love an underdog story? And we even learn that the strongest hero of all time (til this point, anyways) was ALSO born Quirkless!

However, from here, things take a nosedive.

The key problem is a combination of story progression and overall thought put into worldbuilding. Horikoshi’s efforts may not be the MOST thorough, but he has put a great deal of work and thought into his creation (he at least understands the concept of implications and sometimes plans accordingly, looking at you JKR). However, that tied with story progression and personal repercussions actually works to the detriment of the matter.

Especially given recent turns of events.

 [BIG MEGA SPOILERS FOR FAIRLY RECENT PLOT

 STOP HERE IF YOU’RE NOT CAUGHT UP

 SERIOUSLY]

 What I mean by this is the current state of events re: two particular recent/recent-ish plot arcs.

First, Quirk Removal, and second, Endeavor’s comeuppance.

Quirk Removal/Loss was the start of my realization to what the narrative was doing regarding Izuku’s Quirklessness and the state of being overall.

This arc was a perfect time to bring up Midoriya’s past! A lot of Western works certainly would have done so! And yes, it may be bordering on done-to-death, but many elements of Hero Academia put new twists on common themes and cliches; it wasn’t unreasonable to hope that he might do it again.

Instead, little to NOTHING is discussed during this time! In fact, iirc I’d go so far as to say Midoriya straight-up never considers his past at any point during this arc!? If I’m wrong then it obviously made little impact.

NOW, not every disabled character needs to incorporate their disability and/or skills gleaned from living with it in every narrative. In fact, it would get tedious and questionable if they did (note: this does NOT mean ignoring/forgetting the character is even disabled when convenient. Like, I’d like to think that’s the obvious point of this post but... *gestures at tumblr*). 

But the complete lack of it here feels really weird. Like, almost hollow. I think Midoriya makes some kind of suggestion to Mirio of his former Quirklessness at the end of the arc, but nothing that made any kind of impact.

Let’s move on.

Endeavor.

Now, the problem with Endeavor’s arc is not the arc itself. Or, rather, it’s the fact that Endeavor’s Comeuppance is pretty good.

This is a problem because someone else should be getting this exact same arc, yet the issue is never even RECOGNIZED, let alone addressed.

Endeavor’s abuse of his wife and children, all in the name of creating a Heroic legacy, is publicized and tanks his popularity. The general public is now aware of what he’s done to the people closest to him, which aside from giving him a more correct reputation, means they can’t trust him to protect them if they can’t trust him to protect his own family.

This isn’t the goal of this post and I’m no expert regardless, but up to this point (around chapter 290) this was handled in an interesting way. Endeavor is humanized and often shown interacting with people in a way that, while often domineering, isn’t always aggressive or abusive. He runs a Hero Agency for crying out loud! But abuse in the real world often isn’t constant, nor happening to everyone in contact with the abuser. So this is a surprisingly good lead up to the reveal, where you can understand how most people never realized this was an issue.

But here’s my main point. Let’s examine some traits and actions that come up:

physically abusive to a child (often dangerously so) to the point of permanent trauma and severe scarring in some cases

target of abuse was weaker (physically and/or regarding Quirk power)

often abused victim emotionally/psychologically, bringing this weakness up again and again

own immense power led to rising in the world of Heroics

comrades, fellow Heroes, UA teachers etc. not aware of prior abuse issues

Who does this sound like?

Endeavor, who has a whole fucking arc dedicated to this reveal and repercussions?

Or Bakugou?

Reminder: This isn’t a hate post. This isn’t a character post, or even an abuse post. This is about ableism.

Bakugou exhibits many, many traits and actions that Endeavor was literally just punished for. So why does the treatment of these characters in-universe differ so drastically?

Two primary reasons I can think of, which feed into each other:

1) Bakugou was a child (still technically is a minor, remember! Still a first-year high schooler!) when this started. This doesn’t mean he’s strictly innocent, but it’s an important point, because it leads us to

2) Bakugou Katsuki’s abuse of Midoriya Izuku is socially accepted.

Reminder of the audience’s first encounter with Katsuki. The very first page with him is him and his grade-school posse picking on a kid that Izuku is trying to protect. His posse is showing off their Quirk powers and mocking Izuku’s lack thereof.

Then we flash forward to late-middle school versions of the kids. Bakugou, in front of a fucking teacher and entire class, is verbally, physically, etc. abusive to Izuku. He trashes his stuff, threatens him, tells him to kill himself (which, as Izuku notes later, is a fucking felony in Japan too).

No one stops him.

No one criticizes him.

We don’t even get a shot of like, some more ‘regular’ students being like “man Bakugou’s kinda fucked up but we’re too scared to do anything about it” NO. NO. Everyone more or less either backs Katsuki up or straight up doesn’t care.

Remember that this started when Katsuki and Izuku were four. Remember that Katsuki’s power is absurdly dangerous, ie. LITERAL. GODDAMN. EXPLOSIONS.

Izuku has scars. He probably has hearing loss! He may have gotten at least one concussion which can cause serious neurological issues and open him up to further risk!

He could have died.

And?

NO ONE. DOES. ANYTHING.

THIS is the point of the post. THIS is the value placed on Quirkless people in this society.

And yet. Despite Endeavor’s comeuppance. Despite All Might and Izuku’s blatant ‘value’ to society through Heroics. Despite so many other political implications and quandaries address in the Hero Academia series.

Nothing. Nothing. Nothing about this is addressed. The nearly-lethal ableism towards Quirkless people in this society is never ONCE brought up properly once Izuku receives One For All.

There is so much potential here! There is so much worth talking about! And yet we’ve moved into what feels very much like the Final Battle without it being addessed, despite numerous, numerous opportunities for a meaningful conversation about it along the way.

Mirio losing his power! Hell, Mirio’s powers’ drawbacks (and pretty much every Quirk’s drawback! if acknowledged properly!) border on a disability-analogue, and even more when Yuga’s laser comes up, and yet again and again we fail to truly engage with the matter in a meaningful way.

At this point, even if it comes up in the finale, I’m going to be disappointed in this particular aspect of the series due to the complete and total shut-down it’s been given so far.

What the FUCK, Horikoshi?

[camelely]

13rw S4 Fix

 So i did one of these for last season and I think now that I’ve had some time to think about S4 I’ll do the same. While last season I thought the issue was one character being overused. But here it seems like there were multiple smaller things that could have improved the whole season Again I’m keeping the same basic plotline and characters :) 

1) Winston 

Have Winston stay at Hillcrest. Him moving to Liberty did nothing for the main plot and he was basically a red herring through most of it. Let him try are befriend the characters from the outside. He can learn about Jess from Bryce’s trial and the news coverage and then try to befriend her at Monet’s. This is where he meets and later starts to date Alex. Since he doesn’t go to liberty school Alex sees him as a sort of escape and lets him in. Clay and Ani dont tell everyone about him because they dont know he is trying to get close to them. It makes them seem less like assholes and more like people. They don’t mention his connection to Monty because they dont realize how close he is getting to answers. Clay can still suspect he did the graffiti, after all it was a break in and a non student could have done that. Plus Estella is another red herring in the school. She serves that purpose so let Winston be the outsider looking in. His arc would still be about knowing a different Monty and not knowing who is was at Liberty but now he is literally the outsider who didn’t really get Monty, rather than it just being a figurative thing at the prom. You can still have the prom scene it would just be entirely imagined rather than the half imagined thing they went with. I think they overused the people talking to ghosts thing so here it would be a  fantasy of Monty and the relationship they had rather then a representation of what could have been. However I don’t think this would have retracted from the point. Also play him up, he is a sympathetic antagonist and it sucks how much he is sidelined for Diego. I didn’t hate Diego but Winston and him basically went through the same arc. They were pro Monty and ending up dating a member of the group, couldnt believe that member was involved and then learned something about Bryce and Monty agreed to move on and just did. All while saying they will alway care for that member of the group. It was an unnecessary rehash. Having WInston be the outsider looking in and Diego the insider looking out also lets their characters compliment each other. They should still work together, just have Winston contact him looking for Monty’s friends. It’s simple. 

2) Tyler and Tony 

Oh Tyler. The character who seems to be in the middle of everything despite never doing anything himself. I didn’t mind his arc of helping the cops find the guys who sold the illegal guns. But Tony’s suspicions, eventually leading to Clay and Tony finding out the truth and just moving on never really go anywhere. I think  it would be cool if Tyler tells Tony, despite the cops telling him not to tell anyone, because he trusts Tony. But Tony, who has had bad run ins with the cops, thinks it is a bad idea. He doesn’t want Tyler taking the deal. Tyler says its the only way the guns wont be traced back to them but Tony thinks teh cops are planning to double cross them to mind out more about Bryce and Monty. At the same time he starts getting close to that cop that takes him boxing and helps him get into college (i dont remember his name for the life of me lol). Tyler sees this as being hypocritical and pulls away. Tony still suspects Tyler is behind the lock down because he is pulling away and Tony is getting paranoid. The rest of their story can still be the same but this way they can show Tony’s paranoia and his loyalty. 

As for Tyler and Estella, It was fine. The scene of them in the bathroom was really powerful, being in the bathroom with a de la cruz and becoming comfortable because isnt her brother was really nice. This could even be another reason Tony and Tyler fight. Tony can be paranoid that Tyler is trusting her too quickly and think she will turn on him. 

3) Jess

Her arc with the principal, being scared and agreeing with the security measures before she sees them in action was really interesting. Focus more on it and less on her manipulating Diego. I did like parts of that arc for her so I don’t want it completely gone but I do think focusing on her working with the principal would have been cool. I would call more attention to her first meeting and her agreeing with the measures and slowly show her change her mind and start to turn against them. Maybe even have an early scene of her and ANi talking about it and have Jess admit she feels safer. Move the creepy cop trying to pat her down to the second or third day. So she can have a moment where they make her feel safe before the negative experience. I loved the protest and a bit better build up would have made it amazing

Her arc with Ani. They fought over Bryce... It should have been a conversation. Not a moment where Ani judges Diego and then they argue. I still think this arc should have been Chloe and Jess and should have been in last season. But they had the opportunity to include Chloe this season and just didnt. I’ll talk about this a bit more in the Zach section but I think Chloe should have been at Prom and the moment between the Ani Jess and Chloe should have been then. It would be right after Jess and Ani made up and would have been cool. 

I don’t think she should have had scenes where she saw and talked to Bryce. Yes it created some powerful moments but they could be reworked. Have WInston use his wealth to commission a positive thing in the paper about Bryce and Monty and have her talk to his idealized photo of Bryce. I will mention it in the Clay section but her hallucinations detracted from his journey with mental health. 

4) Clay

Okay two thing here the first is his arc with mental health, hallucinations, and blackouts. They used it for drama and I wish they hadnt. It should have been about him healing. I didnt mind the way they handled the realization for clay that it was him doing everything (Did they explain the symbol he kept drawing because I missed it if they did? or i just forgot because it was that forgettable lol) but I think the whole thing could have been handled a lot better and a more educated fan then I can provide a better explanation for what exactly was off about it. I will say the the therapy sessions were repetitive and I know thats realistic but for a tv show its boring. The scene were Clay goes to his home was weird and low key scary. I understand the purpose but  I wish he had called him and asked to meet at his office instead. A more likable and relatable journey for Clay with his mental health would be really good for a show that was accused of glorying suicide (personally i dont think it did. My inbox is open if you wanna talk though :))

The second thing is the phantom phone caller. I hate this trope so it might just be me but this is so stale. There are exactly two ways it could go. The person could know everything and be a real problem or the person could be fishing for information and not be a real problem. The whole thing was predicable since Winston had red herring written all over him, Estella was barely developed, and on this show it is always the football guys. Instead let the pranks be smaller and less crazy. Like these boys had to coordinate a lot to mess with Clay. There should be more than one prank and end with a Monty doll and Clay holding a knife to set up the camp episode. But they should be pranks, not the phantom caller psychological torture bs. The blood shower can also happen just on a different day. Clay can be confused about what is real and what isnt making him even more worried about his blackouts and again assuming the mental health arc is handled well, the pranks can be a real part of it. Dumping him in the pit on the camping trip also seemed kinda attempted murdery so maybe do something like tie him to a tree of the path or in a small dirt ditch not a rocky pit where if he hit his head or fell weird the team would all be murderers. 

5) Alex

His arc with Charlie was one of my favorite stories this season. I was also not bothered by him getting close to and exploring his sexuality with Winston and Zach. I’m in the minority but I’m glad Zalex wasn’t made canon and Zach was used to be an effective (kinda) ally and good friend. Plus this way Zalex can live on in the fandom untouched or ruined by the writers interpretation. 

They should have given us Alex in therapy. He tried to kill himself had a traumatic injury, an arc with steroid abuse, and an arc about killing someone. All of which were forgotten this season. All the other characters seemed to be dealing with Bryce and Monty, why not focus on Alex? Even if it isnt in therapy just let him exist in his feelings.

6) Zach

I have one major issue with Zach’s arc, the lack of Chloe. She was the reason he almost killed a man. Let them date, let him start to spiral while dating her. She doesnt know what he did. Have them grow apart on screen but her still connecting to him and not wanting to give up on him. They should go to prom together. I know the hooker was supposed to represent Zach turning into Bryce with the hookers and the drunken sex/potential rape  and cocaine. But Chloe fills the same comparison. He brings cocaine she is not okay with it, He tries to convince her to have sex in the back she is not having it. Maybe he tries to convince maybe it becomes a bit worse than that but she breaks up with him at prom and leaves early. She sees Bryce in him, she doesnt have to say it but you can see it on her face and she walks away when her mind and heart tells her to this time no making excuses. Boom Chloe actually has an arc. As for Zach this is a big wake up call for him he sees what we had become. I know it is later in the actual show but I think it should be in the prom episode so he can have a better conclusion in the finale, like the other characters. The whole season was a downward spiral and I wish we got to see more of him pulling himself out of it. If the whole finale is him getting better even though he wont be all the way done he will be in a better place up the end.

7) Justin

Okay the hard one. I think the writers really wanted to kill him. I mean a fan favorite, who did bad things, and the death would be in the series finale. this is a tv writer’s drug of choice. So I’m gonna do a fix where I still kill him first then to the ideal version. Ok so first Justin dies. No HIV/AIDS. It was out of nowhere, unneeded, and seemed a bit insensitive. If you want it to be related to his drug use, make it so he got a bad batch when he relapsed. Or maybe organ failure. If it doens’t need to be drug related it can be an accident or someone he knew on the streets getting revenge, like that drug dealer we spent time with last season. Or if Justin helps Tyler put the gun salesmen behind bars then have it be retaliation for that. He can still go to the hospital and have goodbyes but it wont be an aids diagnosis and death in the same episode. I know they had signs in earlier episodes but the timeline is still really fucked up...

An ideal ending would have him live. He can still pass out at Prom. The diagnosis can be a combination of stress and withdrawal symptoms.He can be the red herring for the person in the coffin. If Justin lives he can represent hope. He can show the audience that you can get better and things can work out. Even if you are sick and think you will die you can do better be better and live in a better world. Plus I love him and really wanted him to be happy. The message would be you can get out of a bad situation and wold have ended a sad series on a positive note. Even if you are a bad person. Even if you have bad circumstance. Even if it feels like the world is against you, it can get better if you put in the effort. Which felt like the message the show was going for in eariler seasons by showing the people on the tapes doing better but abandoned this last season.

So who would I put in the coffin. Ani’s mom. Now I know she wasn’t a well liked character and her mom wouldn’t have the same audience or character reaction Justin’s death did. But this version isn’t about making the audience sad. Ani would finally have a plot that was really about her, her mom died, Bryce’s mom basically wants to provide for her. And she isn’t sure what to do. Justins funeral felt like it was overshadowed by graduation anyway. Now Ani’s moms absence and the funeral being overshadowed both make sense. She is going to college and doing what she can to honor her mom. And the death of a parent causes Clay to immediately appreciate his own family more. The theme in the first season with Clay was appreciating and acting on his feelings for Hannah before she was gone. Ani’s mom dying is a reality check for him and he know the most important things are his family and friends. Justin’s arc was about finding a family and he did. The core of the show is about family, friends, and the importance of  a strong support system. And starting it with a mother grieving her daughter and ending it with a daughter grieving her mother would be a cool full circle moment.

This post is really long so if you read all the way down Thank you! :) 

[maggiecheungs]

2020 ~everything~ wrap

i finally have time to do all of the tag games that people have tagged me in over the past month or so! i cannot for the life of me remember who tagged me in which one, so i’m just putting ~everything~ in one huge post. if i tag you anywhere then consider it a standing invitation to do whichever of these you haven’t done :) in fact, this is me issuing a standing invite to any of my followers who wants to do it :) also, thank you all!

Creator Wrap: Favourite Works

Rules: It’s time to love yourselves! Choose your 5 (or so) favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. Tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

this collection of philosophy quotes paired with thai bl series, (and its sequel) which is possibly my favourite thing i’ve ever made. for, uh, nerd reasons.

these gifted text post memes i made still make me laugh sometimes

this fic about green from 2gether, which i wrote in the notes app on my phone and published the same day. not my absolute best writing but i am very fond of it <3

i have a bunch fof friend zone dangerous area edits/shitposts which i like, but i’m particularly fond of my fzda as satire headlines (which now has a sequel!)

i also love my crisgood-walmart-lesbian post. i might send it in to gmmtv to try and convince them to do a crisgood-bffs spin-off

+ bonus: since i wrote this list i made this gifset (my first ever!) of jennie panhan in the shipper and i love her too much not to include her on here

+ extra nerdy bonus: this niche meme about Chinese philosophy, which still makes me crack up whenever I think about it

Favourite Creators/Follow Forever

i’ve completely lost track of who’s following who from which blog, so this is just going to be a haphazard, non-exhaustive list of people who i adore/admire/am vaguely intimidated by, mutuality be damned. maybe we talk all the time! maybe we’ve never interacted! maybe i am constantly there in ur tags... lurking... 👀... but if you’re on this list you have made me smile at least once this year and i love you for that alone <3

@wjmild kylie!! you make gifs of arm & tay & lee (separately or in various combinations) & the shipper & and kapook & random fluke pusit cameos & school rangers so i don’t have to <3 ilysm

@janeramida vianey, you have such impeccable taste in general, but your sizzy gifset in particular is so gorgeous it lives in my mind rent free

@applelapis bri, this post was a callout and i want you to know that it haunts me at night as i lie awake staring at the ceiling :((((( i hope you are happy

@gigiesarocha cata, i love it when you show up on my dash bc you have!! such taste!! also, every time you gif gigie i gain five years of life <3 pls continue doing the Good Work

@pvrrish​ eleni, i remeber legit thinking that this was an official poster when i first saw it, it’s so beautiful

@ahysopae​ juliette your khaithird fic is so good and it literally changed the way i think about khai (not an easy feat)

@kurosawadachi angel, whenever i think about grace’s speech i remember your gifset and get literal chills

@doctorbahnjit alexa, you have no right to be as funny as you are. your friend zone edits give me life

@khaotungthanawat sam, you’re probably sick of getting tagged in these lists by random strangers, but i just had to bc your gifsets are Pure Art

@tanwirapong roa, all your gifsets are so ✨iconic✨

faiza @asianmelodrama and rahul @petekaos! yours were the first two thai drama blogs i followed and for ages i lowkey thought of you as my fandom parents.

and some more blogs that make me happy: @curlykytta / @lee-thanat  / @fck-inspector-m / @pangwave / @tichawongtipkanon / @tawanv @kimmonv (violet istg i have spent more time this year trying to figure out how many blogs you have than i have spent admiring your gifsets. & i spend a lot of time admiring your gifsets) / @taytawan / @1akorn and @yihwas (and your radiant lovechild @lakornladies ofc) / @teh-ohaew / @vihokratanas (mel your gifsets are just so gorgeous) / @tootiredtoosadtooangry / @headcompletelyempty / @demiromanticmickey​ / and there are definitely more but my brain is a sieve so apologies if i’ve forgotten anyone!! i love you all!! 

2020 HIGHLIGHTS ✨

rules: list your top 10 shows (bl or not) you watched in 2020 (doesn’t necessarily have to be shows that came out in 2020 though!)

1. 2GETHER & STILL2GETHER

my first thai drama, and even after all the amazing shows i’ve watched this year, it still has a special place in my heart. watching 2gether was the first time i’d ever seen a queer romcom that just... was. for me, by the simple fact of its being, 2gether was revolutionary. and then still2gether came along and took all the best things about the first season and gave us something beautiful and quiet and lovely and just proved to me, once and for all, that queer happiness doesn’t need to justify its own existence. there can be gay cuddles on the beach for no other reason than that we want them. 

2. UNTIL WE MEET AGAIN

i don’t really have the words for this one but. it makes my heart so very soft.

3. FRIEND ZONE 2: DANGEROUS AREA

season one was mindless fun because everyone was an absolute trashfire and it was hella cathartic to watch, but season 2... wow. i love it for so many reasons: it has messy and authentic queer rep; the characterisation is excellent and i somehow care about all of the characters; amazing women taking centre stage(!); a wlw relationship with lesbian, ace and bipolar rep; multiple interesting plotlines; actual character development; arm weerayut as a chaos gremlin... absolutely one of my favourites of 2020.

4. CHERRY MAGIC

i don’t think i need to explain this one, which is fortunate, because i have no idea how exactly i’d describe the happy-warm-fuzzy-queer-seen-loving-affirmed-profound feeling that rises in my chest whenever i think about it. 

5. THE GIFTED: GRADUATION

confession: i liked season 2 more than season 1 (with the exception of the ending, which we don’t talk about). season 1 was enjoyable and interesting, but for me it was season 2 which made me love this series. it did some incredibly interesting and complicated things (even if it didn’t quite nail the landing): it pushed characters to the breaking point and wove so many layers into the story and questioned its own underlying themes. plus, watching it alongside everyone in the fandom made it 200% better. i love all of you and i love this show. egg girl 5eva.

6. THE SHIPPER

i 100% understand why so many people didn’t like this show, or found it problematic, but through some fluke it absolutely worked for me (even the ending). one day i will write an essay explaining my rationale, but for now i’ll just say that it’s one of my favourite shows about adolescence and queerness and identity and compassion and friendship and love that i’ve ever watched. 

7. YYY

this series is absolutely off its rocker, and it somehow managed to be one of the most affirming shows i’ve watched. it shouldn’t have worked by it did, and i love it so much.

8. 3 WILL BE FREE

absolutely iconic. amazing plot, stunning visuals, great characters, canon polyamory, jennie being incredible... what a series.

9. MANNER OF DEATH

i love the fact that this show exists; i love the mix of crime and romance; i love maxtul’s acting; i love the central relationship; i love bun. i know we’re not even halfway through yet, but this show is doing something special and i’m so grateful that i get to watch it unfold in real time. 

10. CHIHAYAFURU (SEASON 3)

odd one out on my list, but I had to include it. chihayafuru is my all-time favourite anime and it finally got a third season, which is somehow even better than the first two. mashima taichi is one of my favourite characters of all time and his storyline hits me on such a profound level. plus, in the years since i first say this show i’ve fallen in love with classical japanese literature (particularly heian poetry) so i had newfound appreciation for the karuta matches (aka i cried every time someone recited one of my favourite poems)

other favourites: together with me, he’s coming to me, sotus and sotus s, my dear loser: edge of 17, why r u, theory of love, wake up chanee!, gameboys, pearl next door, uta koi (anime), three kingdoms (2010), blood and water (netflix). (itsay would almost certainly be on my list if i’d had time to watch it. same with dark blue kiss, which i had to pause so i could do my assignments)

Final Thoughts

well, it’s been... a year (i don’t think anyone needs a reminder of the details) but writing this post has reminded me of all the amazing shows and people I discovered over the course of it.

thank you to everyone for being so lovely and creative and funny and quirky and kind and passionate. you’re all incredibly awesome people and i wish all of you the very best xx

[gaulemtypefemale-dm-l-016]

3d, 5d and 5n? :)

3d. Rank the endings (for one game of your choice or the true endings of the 3 games)

In terms of all games, I think I would rank 999 ending > VLR ending > ZTD ending.

However, each one of them gave me a different experience so I really enjoy them as a whole package. For example, when I finished VLR, I felt I needed more. The experience had been so intense that I wanted to play ZTD right away. On the other hand, ZTD's true ending made me feel very introspective, even if the writting felt lacking sometimes.

I ranked 999's ending higher because I feel like 999, in general, felt more concise and it had my favourite cast. I loved the epilogue and how the game could simply end there and not even have a sequel. It felt like a complete game by itself. Of course I was a bit desperate with the situation between Akane and Junpei, and how they ended up in separate ways, but it felt fitting.

As for VLR I really enjoyed the plot twist. I felt the true ending was a bit too long, like a never ending ride, but, despite the confusion, I enjoyed the general explanation of it. I also enjoyed the sad tone of the story, and I absolutely loved some of the reflections from the another time (even if not considered as canon).

However, the game asked for more.

And there's where ZTD enters. I had some problems getting used to the cinematics of the game and the characters, and, at the time I played, some things felt weird, like how suddenly it seemed so simple to just shift. As for the ending, I really like how it was put as a moral dilemma, a ZERO TIME DILEMMA, in fact, the situation of shifting (not sure if to think that the shifting until then had been made too easy, or it was purposedly used so that only later they had to face the fact that they doomed their other selves). The ending made me think a lot about how, despite them being alive at the end, despite this seemingly good turn of events, it still felt all like a gamble, as the begining of the game. In the end we didnt' even know the identity of the terrorist, and they still doomed their first ending iteration, for their last iteration (which has the trauma from playing the decision game).

Delta's character is generally a source of memes due to his quotes, but his words still left some marks. His whole plan was convoluted. It's almost like the second nonary game, but here the multiple timelines had to happen in order for this future to come true, and for him and Phi to exist.

I also love the ending theme and it plays very well, complementing this interminable dilemma mood the characters live through. I also love how, in the end, we can interpret Delta as a character portraying the player: "One of Delta's motivations for creating the Decision Game: he can't shift himself, but can read the minds of those who experienced other timelines, and was interested in learning about them. Given that Delta is technically the Player Character, this is probably a meta-narrative commentary on player curiosity" (taken from ZTD TV tropes).

So in the end this was all to say that, despite liking 999's ending better for how solid it seemed to me, the other games' endings also deserve a lot of credit for their worth.

(I didn't know the ranking was for the endings of all games or one in specific so I went with this, but I may try to rank for a specific game later).

5d. Do you consider Another Time to be canon? If so, do you have any theories on ?'s identity

I think at the time I finished ZTD I found that Another Time was not considered canon. Nevertheless I really liked its contents so I like to pick elements from it and incorporate in canon. One of my favourite part of it is Tenmyouji’s thoughts on this plan of jumping to the past and change it. The bikers’ story is one of my favourites there and I felt it was a message about how, despite losing Akane, he found Quark along his journey in this doomed timeline, and how, even if their plan works, this timeline still exists. There is also a possibility that the transporter was hinted with Alice and Clover’s conversation, but not sure if that was the alternative or not.

About ?’s identity, I think my favourite take is the player. Because the player is an irregular identity in the game. To get the Another Time, the player has to achieve certain goals, such as collecting the golden files. The player can play with timelines as much as they want since they can jump through the flowchart freely and they even command Sigma’s action through the game (which can explain the way sometimes he was surprised with his vote during the Nonary Game). And I believe it refers to the player coming from the true ending of ZTD, but this is merely speculation...

Since Delta could be meta commentary about the player, I also liked to think he could be involved in this, but since he can’t shift , it’s much improbable. However I like how there is a link with how the end of ZTD is Carlos pointing the gun at him, which represents a situation of danger that could trigger a shift.

Other than this, I think I haven’t thought much about it. I may have read some theories some time ago, but I don’t remember them now...

5n. Do you have any fanart/fanfic/fangame recommendations?

Fanart is probably what I consume the most. I really love @/keycrash’s works, @/kisschasey’s portraits of Snake, @/caelytrix, the way @/aestheticcannibal portrays Kyle and Dio, @/i0n4 and much more artists. I always try to reblog the amazing works I find from the fandom and sorry for not listing more, nor any work in specific.

Twitter is also a very good media to find a lot of good ZE fanarts. Not all of them are tagged, but generally searching the ZeroEscape tag allows you to find very cool works, along with other tweets and memes.

Now, on fanfiction I can’t really give much recommendations because I haven’t read many. I mainly read some from Zecret Santa event. I remember enjoying the one I got about Tenmyouji and Quark because I really love their wholesome relationship. Link here

There’s also one I once started to read but didn’t finish due to lack of time, but which was VLR’s story told from Phi’s POV and I found the idea extremely interesting although I still haven’t read it. It’s pretty long too. Link here

Now for an idea which concept I feel it’s funny and interesting: I once found one that was a Nonary game in the IKEA. I actually haven’t read it but at the time I thought it was a really funny idea. Link here

I’ve only read the first recommendation, but thought I should leave the other two, as they seem interesting and funny.

Sorry for the long post and the delay in replying. I also apologize for any mistake I made. I’m a bit tired but I really wanted to finish this post.

And thank you for the asks. I really enjoyed the question about Another Time and, although I’m pretty bad at ranking things, I like discussing and going through the games’ content again.

[oldtvandcomics]

About no-homo friendships between men in the 2010′s

Ok, since I opened that can of worms with the post about Steve and Tony, here are my full thoughts about the way close male friendships have been treated in big screen adaptations in the 2010′s:

Basically, it seems to me that the creators are all conscious of how readily fans would read them as queer, and tried to prevent that by some (more or less) subtle ways that kind of result in the characters in question being less close than they were in the original. So far, I could pinpoint these tactics:

1) Everybody’s favorite Straight Female Love Interest Ex Machina. A character who in his original version didn’t have a female love interest suddenly has one. Bonus point if she was already an existing character in the original. Double bonus if BOTH men are in love with her, which would effectively make them both look more straight without you needing to add any more female characters to the story. While adding in a straight romantic subpolt is not a bad thing per se (personally, I don’t want to see it, but many people do, so eh, go on I guess), the Straight Female Love Interest Ex Machina usually feels fake because she and her relationship with the male character(s) is not enough developed.

Movies that did this include the Star Trek reboot with Spock, Kirk and Uhura, The Lone Ranger (2013) with John and Rebecca, The Green Hornet (2011) with Kato, Britt and Casey, and the MCU actually managed to do this to a canon love interest TWICE with both Steve and Sharon Carter, and Steve and Peggy.

2) "You know this really close and loving friendship that is almost legendary within the Western literally canon? They hate each other now." What it sounds like, instead of being very close friends, the two characters fight and generally barely get along. It is usually implied at the end of the movie that they make peace and kind of become friends, but you still don’t really get to see any of it. A subcategory is when the story, COMPLETELY BY ACCIDENT, is set during the one canon fallout in the friendship.

Like the Straight Female Love Interest Ex Machina this is actually surprisingly common, just think of Kirk and Spock from the Star Trek reboot, Steve and Tony from the MCU, Batman and Superman from the DC movies, John and Tonto from The Lone Ranger (2013), and even Sherlock Holmes and Dr. Watson from the RDJ movies.

3) The plot only just happens to keep said characters apart. Not only don’t they have much serious interaction, they are even barely in the same room together. It’s actually a great strategy, because it doesn’t impact the story itself and if the writing is any good, no-one will even notice unless they are keeping an eye out for it.

The MCU used this both on Steve and Tony and later on Steve and Bucky, Star Trek Beyond (2016) did it with Kirk and Spock and The Last Jedi (2017) with Finn and Poe.

4) When everything else fails, one of the two characters just... vanishes. Not completely, of course, that would be too suspicious. But he is degraded to a secondary character, kept out of the plot and off the screen and this naturally creates distance between him and his friend. It’s 3) taken to further extremes.

See what the MCU did to Bucky, to keep him and Steve apart.

Bonus 1) When the writing for the movie is just so bad that any relationship, friends or otherwise, stops working.

The Green Hornet (2011), who did try to use multiple of the tricks above on Britt and Kato, but in the end failed to achieve success with either of them. They did, however, achieve said effect by being so awfully written that not a single relationship in there feels authentic. Also The Lone Ranger (2013), who, at least to me, was so terribly racist that Tonto didn’t feel very much like an actual person, which can kind of nerf any potential ships involving him.

Bonus 2) Whatever the Heck Supernatural (2005 - 2020) is playing at, more precisely, what they have been playing at since November 2020. I know that they don’t technically fit in this list because 1) it’s a TV show, and 2) it didn’t happen in the 2010′s any more, but it’s hecking weird and I can’t get them out of my head, so here you are.

IDK, maybe I’m just always looking in the wrong direction, but I haven’t seen these patterns discussed anywhere yet. Which is weird, because they would normally fit EXACTLY in fandoms’ favorite discussions: They are about popular ships, and movies working hard on keeping people from shipping them. Which I guess leads straight to homophobia, and how it affects even straight characters and (also straight) men who identify with them.

Because look. I love shipping every single one of the friendships mentioned above, maybe not quite as much as the next girl, sometimes more, sometimes less. But I love even more seeing them as friends, the shipping is just a game for the Internet. These are, first and foremost, friendships. Very, very close and loving friendships between men, that everyone, but most of all Real Life men, would profit from seeing represented on the big screen. Instead, the studios nerfed them to... keep some people from reading it as queer? COME ON, you can do better than this!

The 2010′s has seen a lot of increased visibility of queer identities and of queer reading of media, and the creative forces behind the movie industry are still struggling to figure out what to do about this. Queerbaiting is one of the resulting trends, but the no-homoing of close male friendships is another.

I don’t really have any conclusion to this. In a way, it is necessary to define what the nature of a relationship between your characters is, and that is what all of the points listed above are there for. They are, more or less, working. On the other hand, they are FAR from perfect, and I for one think that it would be very important to find a way of conveying that a relationship is purely platonic WITHOUT making it any less close or loving than it was in the original. I’m sure that they will find a way to do that at some point in the future.

TL;DR: In the 2010′s, movies used different storytelling tricks to make the very close and loving male friendships they were adapting look less close, to keep people from reading them as gay. This resulted in the loss of the kind of close and loving male friendships that they were in the original in 2010′s media. Movies should please stop doing this and find a different way to convey to the audience that their characters aren’t romantically in love.

[ailec-12]

Today, September and Calendar

Thanks!

Today: Have you made any progress in any wips today?

Uhh, no. Remember what I said about writing earlier this week? Well, I've done a million things, but unfortunately writing hasn't been one of them.

September: Share a comment or review which still warms your heart?

Oh, Anon, I can't share only one. I've been rereading comments this past month and several come to mind right now. These all warm my heart no matter how old they are or how many times I've read them already.

randomdork11 on House Potter:

You’re back!!!! I’ve missed you and this story more than I realized. Little Sev dealing with sick Harry and exhausted parents is so heartbreaking and sweet that I can’t handle it! Plus, I can totally relate to the exhausted parent bit XD. That whole family is just far too adorable. A certain bean who is far less evil than she proclaims to be, told me you were about to post again, so I’ll admit that I’ve been checking my updates like a crazy person.

Self-doubt is easily the worst part of writing. However, if I can offer you any encouragement, it’s that you have no reason to doubt yourself. Sometimes stories seem so big and daunting and we aren’t sure if what we are writing even makes sense or is relatable or true to character. Everyone goes through it and - as I’m sure many have already said - in your case, you’ve nothing to worry about. This story is beautiful and charming and captures the characters so very well. You’re doing a marvelous job of creating well rounded characters who all have faults and positive traits. You’re writing it in a way that none of the characters seems too good or too bad, just simply human. It’s utter perfection and you should be extremely proud of this work!!

Happy writing Ailec! And if you end up in doubt, just remember that your readers all agree that you are wonderful and we are here for you!!

@allstoriesrtrue24601 on the last OFaH chapter on AO3:

What a beautiful ending to an unbelievably impressive series! Having read the original series on fanfic.net repeatedly habitually since their original completion, it’s brought me so much joy to have weekly reminders of how much I love this story; and now with a gorgeous new epilogue!!

I’ve said it before but the one thing that really gets me about your writing is the characterisation - it drives the stories in a way I feel is really missing from most pieces of published works and tv shows. The bonds you build between characters and the whole dynamic really comes through throughout each installment - making the character development extremely natural and impactful. I’ve waxed lyrical previously about your writing style but I reiterate that it’s utterly and irrevocably beautiful, especially when considering English is not your first language. The pacing, plot and actual progression of the pieces are so well thought-out and really prompts excellently-executed dialogue and exposes opportunities to get to the hearts of the characters. It is suffice to say I have THOROUGHLY enjoyed your work in every one of its forms.

On a side note, I feel massively honoured to be mentioned in author’s notes (I have to say I’m slightly star-struck) and I’m more than happy for any future English queries. Have a wonderful day x

Kuroui, also on OFaH, but the first version on FF:

I realize I never actually left a review on here but here it goes.

This is definitely one of my all time favourite fics to ever exist period. Not just within the OUAT fandom. I was ecstatic with the introduction of Zelena, as it opened potential for Regina to have someone blood related still alive for her to interact with. At the end of Season 3 when Zelena was given that second chance, I was excited to see a possible turn around for her character. Up until that point, everything she had done was to give herself a better life, one with her blood mother, in hopes that she may be loved. She was not unlike Regina's initial persona and I could see how they could connect over it.

Season 4 dashed those hopes, and the progressing seasons left me with a bitter taste in my mouth. In the end, I am glad at least that at the end of Season 6 they had become something like sisters, and for that I am glad. I am also happy to see Zelena returning to play some time in Season 7. I dont know what it is but Zelena is my favourite OUAT character, and I love Rebecca Mader who plays her. For that reason I always seek out Zelena fics in hopes of finding good ones as she is not one of the most popular characters, in terms of fic writing at least.

This fic was both amazingly written and brought to light my hope of them reconciling as sisters. I like that it was not an immediate turn around from "villian" to "good", but a gradual process that involved interactions with multiple people and learning from mistakes. It made her a very real and relatable person. Everyone has flaws and makes mistakes and going from a life where her only goal was to hurt Regina, to living with her and attempting to be "good" was a large turn around that no doubt shook her to her core. You displayed that in your series very well, showing the ups and downs in her journey as well as the reflective reactions from those around her.

Henry's role in this was very heartwarming and he really is a miracle. The Greatest Believer. I do not think that Zelena would have come as far as she had without him. Though Regina does her best, it is always nice to have someone else there, not to mention someone who looked at Zelena without any negative feelings. Having multiple people care and believe in her no doubt gave her greater motivation to change and be a better person. Not to downplay Regina's role in this of course. Regina very much has been the core to this family, to Zelena's change.

At the end, Zelena desired to be wanted, to be enough, and she was going to look for that in Cora. Regina knew though, that it wasn't Zelena's fault for that, Cora only wanted power. Which you had her explain. And I think that having Regina turn into that person that Zelena wanted to be enough for, to be loved by, was a big change even if she didn't realize it. The initial hostility, anger and sadness moved away from being targeted AT Regina, to more herself and referenced in terms of Regina instead.

At that point, I think that Zelena's family slowly began to form in her own subconscious which eventually or hopefully would expand onto friends like Robin and Tinkerbell and perhaps even the Charming family, they do get along well enough of course. And if Charming's reaction to her run in with Sidney was any indication, I'm sure they would welcome her with open arms at this point.

Overall I suppose I can summarize it into this.

Thank you for writing this story/series. It holds a very very special place in my heart and I come back every once in a while to read through it. It warms my heart every single time no matter how many times I've read it. I love it with every inch of my OUAT loving soul and I am so glad that such an extensive well-written piece on Zelena exists.

Long comments aren't the only ones that have my eternal love and gratitude, though. Here's a couple of recent ones that are making this writing hiatus much more bearable:

Ninafia on the latest instalment of Hotchpotch:

I loved this! You're really good at writing emotions.

It's like I'm in their head, if that makes sense. Thanks for the chapter!

Lilia on House Potter:

This is such a remarkable story—so subtle and heartbreaking. Use of child Sev’s POV is a true narrative tour de force. Wish I could give it 100 kudos.

I'm lucky to have received a lot of nice comments over the years and you can be sure that, if your comment made me happy the first time I read it, I've come back to it more than once.

Calendar: Do you have a schedule for posting?

Not right now —I only keep a posting schedule when there are a few chapters already written at the very least.

Fanfic questions :)

[afoolforatook]

I liked your post on Qrow and grief. I think 99% of rwby discourse is people being upset with writers choices and handling of characters vs being defensive of character actions as commentary on real world situations. Like most Adam discourse is between the writers decision to make a civil rights leader an abusive villain vs people noting that abusers can and do hijack social justice movements. One is anger at the writers not the character the other is concern about the character not the writers.

Thanks (sorry, I just forget asks exist sometimes....oops)

Honestly, I avoid discourse as much as possible (the tiniest bit of possible conflict makes me feel physically ill, thnks rsd, which is why I never really actively participated in fandom as a creator before FG) so I can’t say much on other issues such as Adam, but I can see that. 

I think the issue usually starts when there’s a disconnect between understanding characters and their actions in the context of the world and story, and the context of why the writers choose to frame things the way they do. 

Which personally, is where most of my own frustration comes from about RWBY’s writing. Because there is so much of it that is genuinely brilliant, deep, powerful storytelling that has all the building blocks for some important subversive storylines, and has such amazing attention to detail and thought put behind it, but then doesn’t always get developed consistently enough to pull it all together with the appropriate tone/intent. We know they can do such powerful things with all the potential they set up, so when it falls flat, for reasons that seem like inconsistent direction and intent, or narrow understanding of complicated topics, or just plain sloppy oversight, it can be really disappointing

Grief is one of those topics that I take very seriously when it comes to how it is portrayed in media, and it’s something I hope to be able to be a part of creating better realistic representation for. So many people believe they understand grief because they’ve seen it in movies and shows and books that rarely show it in all its complexity and diversity. And so when they see characters, and even real people, grieving in ways that don’t fit that mold, that may seem callous or toxic from an outside perspective, it can feel like poor writing or characterization. Because we as a society don’t talk about grief, not really, not honestly, it makes us uncomfortable. So, through no fault of their own, people don’t understand how that kind of trauma changes how you think, and affects you on a daily basis.

There are a lot of complicated topics that RWBY has a lot of potential to do important, powerful things with, in how they tell this story. Some they have handled well previously, and some they *really* haven’t.  Mental health, abuse, racism, classism, lgbtq representation, morality, trauma, grief. And I certainly won’t say any single one of those is more important than any other. 

But, personally, grief is the one that will hit me hardest if they mishandle it. There will be other places to turn for diverse, informed, meaningful narratives about all those other topics, and of course the same is true for grief. I certainly don’t want to have those topics mishandled in RWBY, and RT and CRWBY have a responsibility to put in the work to avoid that and to admit when they don’t, and if all of those things were just horrendously mishandled it would be upsetting and infuriating, but in the end, there would be other material, other, diverse, creators to turn to. 

But RWBY is in a (certainly not completely unique, but fairly rare) special position when it comes to showing the place that grief in all its complexities has in storytelling. And how, in turn, storytelling can play a huge part in helping people process their own grief.  

Because RWBY is a story, a world, created by a man (of color) who died far too young, and whose legacy is now carried on by his friends and family (and a company that, while certainly popular and well known in its niche, is by no means mainstream). They know grief. And they have a rare opportunity —with a story perfectly built to address this kind of narrative— to be able to provide others who are grieving with a complex, inspiring, empowering reflection of their experiences, which are so often absent, or oversimplified, or treated as shock factor or tear-jerkers in media. 

For most other projects in that kind of situation (sudden loss of a young creator, a creator of color, not already backed by a huge production company, with not only story and animation development to work on, but a unique soundtrack that is one of the things at the core of the show’s appeal imo), the story would have most likely been abandoned after the creator’s death. Roosterteeth, and RWBY, certainly have a not insignificant following now (and even did to a lesser extent, at the time of Monty’s death, less than six months after the end of volume 2) but RWBY was still pretty new, not nearly as popular as it is now. I watched the first volume when it was brand new, and I think the start of volume 2, but then didn’t come back to it until the end of volume 6, so I don’t know for sure what things were like in both the fandom and production following Monty’s death. But I am sure that RWBY’s survival is due to tremendous work and dedication and love for Monty and his creation. Volume 7 ended on the fifth anniversary of Monty’s death, and regardless of your opinion on the quality of the show over that time, the fact that it has come this far at all is almost miraculous. 

For a story, and a team, so well suited for this point of view, to not simply ignore the topic (as so many writers do, aka one tribute episode and then it’s like it never happened), but to actually address it, only to fail to do it true, honest, important, justice, would be (at least personally) devastating. 

None of this is to say that because of their grief, or in order to ‘properly’ honor Monty, CRWBY was obligated to make grief an important part of this narrative, especially so soon after a loss and in a project where it is impossible to separate their feelings for the story from their grief over Monty. They did not owe us, or ‘Monty’s memory’, their personal trauma. Not everyone wants or needs to put their grief in their work. To have decided to gloss over that narrative thread and aspect of character growth, or included it but never make it a main theme, would, admittedly, still have been somewhat disappointing, but understandable given the circumstances. 

But they didn’t do that. They gave it a prominent role. (Also admittedly not as much as I would have liked at times, but still much more than plenty of other stories) In the music, in the symbolism, in the character development, in the main plot. Grief, in multiple manifestations, is a huge part of RWBY. I am immensely grateful for that, and regardless of the issues I have and may have in the future, that is something that will always be very important to me. 

But, in making that choice, they gave themselves an obligation to follow through. To consciously make grief a complex part of multiple characters’ narrative, and then fumble the execution and turn that pain into cheap shock factor or poorly framed justification is, in my eyes, an irresponsible failure that could work to only damage the vulnerable people you had gotten to trust you. Especially when it comes in the form of showing a character finally starting to recover, only to get torn down again out of nowhere. 

I’m not saying that this is already a failure in how they’ve handled Qrow’s grief, there’s just too much still to happen to be able to say that or not. But any trust I had in their intentions and narrative direction was destroyed by Ch12 (which is a different topic all together really), so I’ll just have to wait and see.

Ahhhhhh this got wayy too long (and probably not put the best way, oops brain dump.)

[nobodyfamousposts]

You know I was watching a video by overly sarcastic productions and I’m pretty sure that from that definition Adrien is a Mary Sue. The episode was Trope Talks: Mary Sues.

Pretty much Adrien is this to a T.

I hear people throwing the term around a lot and complaining about the term being thrown around a lot but I think what ends up being missed is what actually constitutes a Mary Sue in the first place.

A Mary Sue is not a character who is overpowered or “too strong” like the complaints about Captain Marvel. If that was true, then literally every anime protagonist or super hero that exists is a Mary Sue by default. Every one. Ever.

Nor is it someone with a tragic backstory like Batman or any other long line of superheroes or anime protagonists. Whether it’s dead parents, a past trauma, abuse, bullying, or just a conga line of horrible circumstances, plenty of characters have had bad things happen to them. That’s kind of part of life and what makes them relatable and sympathetic.

It’s not even someone who is loved by many people. Or is a good judge of character. Or whom manages to talk someone into a heel-face turn. Regardless of what claims may come, these are not what make a character a Mary Sue.

What makes a Mary Sue—the central core aspect of what makes a character problematic all boils down to how the narrative itself treats the character.

The narrative is generally indicative of the author’s own preferences or leanings. We see it all the time with stories that create straw characters to symbolize people the author doesn’t like or things the author doesn’t agree with in order to belittle it. The opposite can just as easily occur where a character or position is hyped up to look better or promote what the author wants promoted.

Those previously mentioned tropes are a sign of that. For a Mary Sue, everything from powers to past traumas to relationships are all just “things“ for the character to have. Whether to emphasize their importance or to highlight their greatness. While they’re not necessarily what automatically makes a character a Mary Sue, they are often utilized as tools by the narrative for the sake of propping the character that is a Sue. That’s why they’re easy to pick out and attribute to a Mary Sue as well as used to claim characters are Sues. Because they are tools used to try to make people support a character instead of actually making a character people can like and WANT to support.

A Mary Sue is given powers for the sake of making the character awesome without the character actually doing anything to be awesome. A Mary Sue is is given a tragic backstory for the sake of making the character sympathetic without the character actually doing anything to warrant sympathy. A Mary Sue is given relationships for the sake of being the center of attention and adoration by other characters to shell how awesome they are without having to do anything to show how or why anyone would or should actually like them. Any relationships a Mary Sue has are NOT legitimate connections between two or more people, they’re just labels to slap on the Mary Sue to make the character seem more relevant and important.

Ultimately, a Mary Sue supplants the story for the sake of having this character BE the story, and it’s a major reason why they are despised in most fandoms. A reason that, sad to say, was actually deserved in the early days of fan works.

That said…

Adrien IS a prime example of a Mary Sue because of the way the narrative is going out of its way to portray him. Even the creator has come out and said he is “perfect” and that any flaw he could have isn’t actually on him so much as an indication of something being wrong with the world around him. Anything bad that happens, even as a direct result of that character’s own actions, is portrayed as being the fault of anyone and everyone else but that character, in this case Adrien. That, RIGHT THERE is pretty much the epitome of what a Mary Sue IS.

Some call it an ego trip. Some call it a power fantasy. Many consider it as a sort of reality warper. It’s ultimately the case when the story is being turned in on itself to make this character look good without the character actually DOING anything to BE good and even when the character is specifically doing things that AREN’T good.

This is why Bella Swan from Twilight is a certifiable Mary Sue.

This is why it can be argued that Rey from Star Wars is a Mary Sue.

This is why Anita Blake is definitely a Mary Sue.

And this is what separates Adrien from Marinette. And Adrien from pretty much everyone else in the series.

It’s not that he has superpowers—if anything, I think he got cheated in the powers department, all things considered. No, it’s the way he doesn’t seem to take those powers or the responsibilities that come with them seriously. Given that he has had THREE instances already in which he threw a major fit in the middle of an akuma battle because he wasn’t happy about something only for him to be shown as being RIGHT to do so even to the detriment of his partner, his Miraculous, and ultimately all of Paris.

It’s not that he has a missing mom and a neglectful dad, it’s how the narrative keeps emphasizing how sad Adrien is without actually DOING anything with it so they can milk the “Sadrien” angle. Because let’s face it, seeing Adrien looking sad sells.

It’s not that he has multiple girls who like him. I mean, he’s a model, and is rich and famous. I’d be surprised if he didn’t have multiple girls who were into him.

No, it’s in the over the top emphasis of his supposed greatness. It’s in this consistent impression the narrative is giving that the female lead we are supposed to be rooting for—whom we all KNOW has gone well out of her way to do things for him, try to make him happy even to her own detriment, and has struggled more than any rational person should be willing to just to try confessing to the guy is somehow the one side of the love square that “isn’t trying hard enough”.

It’s in the way he is always portrayed as being the “moral voice” and the one in the right in any situation regardless of how little he’s involved or even understands what’s going on. Whether it was lecturing people on how to deal with a bully or for being happy when their bully was leaving (when he was never actually a target of that bully). Or lecturing people on how to deal with a liar (when again, he wasn’t the one being played or threatened). Or threatening to quit when Paris was flooded by an akuma all because he wasn’t being told secrets that he wasn’t showing he was ready to know and that his tantrum CERTAINLY didn’t show he was ready or mature enough for.

It’s in the back and forth on whether he is supposed to be the epitome of “perfection” and the wise person everyone should listen to only to suddenly be made out as the innocent victim of everyone else when his less than noble or heroic behaviors are pointed out in order to excuse or justify his behaviors. (I call it the Standard Adrien Defense and it follows this trend each time.)

It’s in the clear and blatant double standard between what Adrien/Chat is allowed to do and get away with vs what is allowed from anyone else. It’s in the way that Adrien can do things that anyone can agree is wrong without getting so much as a lecture but anyone else in his place will—and have been raked over the coals by the same narrative that gives him the equivalent of a pat on the head and a cookie.

It’s in the way he’s just…there. He has the plot connections. He has the relevance. He has the position of being at the center of quite literally everything from the villain’s plans and motivations to the adoration of the female lead…and he does NOTHING with any of it.

And it’s in the way that no matter what he does or what side he takes, the narrative always ALWAYS frames him as being the one in the right when there’s a conflict, the one to sympathize with when he and another character are hurt, and the one we as the audience are supposed to agree with and support more in any situation.

And the truly sad thing is that Adrien as a character has potential. From a humorous character to a serious one, from the wise and introspective person to the wide-eyed innocent being thrown into the hero job, there was SO MUCH that could have been done with his character. Instead, Adrien is reactionary. Anything involving him is less a matter of what he personally is doing and more about what is being done to or for him. He has no dreams or aspirations other than being with the main female character, has no interests to speak of, and his other relationships actually seem pretty lacking—again, based less on what HE’S doing and more on what other people are doing to and/or for HIM. He somehow has a wide-ranging impact without actually taking action.

As it stands, Canon Adrien is about as real as the cardboard cutout or wax statue of him. To the point he might as well be either for all that he actually seems to accomplish. Because nothing annoys fans or creates salt quite like wasted potential, and that’s all canon Adrien is at this point.

That’s why Fandom Adrien is awesome, whether he’s portrayed as being dense as a brick, showing a polite exterior while internally screaming, acting like a massive dork, or just acting passive aggressive in how he deals with his father and people like Chloe or Lila. Because however way he’s being made to deal with the crazy situations the fans put him in, he’s at least doing SOMETHING besides standing there and looking pretty for people to fawn/fight over.

Strangely enough, this may be the first case I’ve seen where fans have taken a Mary Sue and made him a real character rather than the other way around.

[kittybellestark]

Hi guys I’m nearly at 100 followers so I think it’s time we discuss something important. I know I’ll probably lose followers for posting this but I think it needs to be said. I’m not going to add any tags and I don’t want any of y’all to get the wrong idea here, okay? So please read this through. I’m not trying to hurt anyone or come after them. I just want to give my personal opinion on this topic because as much as love the Irondad fandom and all the work here, there is a lot of drama too.

So let’s talk about Starker for a second.

First things first. I do not ship starker.

Obviously our fandom is most based on mcu canon. Where Peter is a minor throughout the universe and still is. I know that he is technically 21 in ffh and endgame, but we know because of ffh, that those who were snapped are still considered minors. (Flash ordering alcohol on the plane and them not serving him when it became known he was snapped)

For those who aren’t mcu but comic shippers, while I’m not certain on all the universes, I know there are a few where Peter is a full grown adult, so maybe he met Tony as an adult too. I’m not sure. Obviously that is a different story then mcu, so I’m not going to touch on that.

I personally do not ship the idea of Peter and Tony being together romantically or sexually. I don’t want them together or hope for them being together. I don’t think they’d be good together either.

But on that note, not everyone who writes or reads starker fanfic ships them. They are aware that it is wrong. Dark fics exist, non-con fics exist. For those who have followed me and read my work they know I canon that Skip sexually abused Peter at some point. There’s a rape scene in Peter Parker Went Silent, Straightening Things Out’s plot revolves around this unhealthy non-consensual relationship that Peter doesn’t feel he can escape because Skip is in a relationship with May. I don’t ship Peter/Skip but I use it to work through trauma and to create stories that others will read.

There are also so many people who are anti-starker but will also ship spideypool. Again another minor/adult situation. I know it’s canon established that Peter and Tony have a father-son relationship as it’s been confirmed multiple times over by RDJ and Tom Holland. But guys. Spideypool. In the MCU (as he is to be introduced soon, Ryan Reynolds is on the cast list for Dr Strange) DeadPool is an adult.

Again though, if you’re shipping based on comics where they are introduced as adults it’s a different story.

But to get back to my point, as writers we use these characters to project sometimes. I’ve projected on Peter in nearly all the fics and headcanons I’ve written. I’ve read dark fics too. At the end of the day it’s all art. People still read Lolita and the Handmaids Tale and all these other actual published works of fiction that have these terrible no good, should never be shipped relationships.

As a writer I use Peter to explore myself. He is based off what I am feel at any given time. While most of the things that I write about Peter don’t actually happen to me in real life, I use those situations I’ve written to deal with what has happened to me.

So maybe the people who write and read starker are also working through things. Maybe as a minor they were in an unhealthy relationship with an adult who should have known better. And maybe they see Peter and think ‘this character is relatable to him and I am processing things so this is what I will write about.’

The beauty of this app is we don’t know the people behind the screen.

I don’t ship Starker. I will never write starker. I don’t read Starker. Because I use mcu Peter and Tony and it makes me uncomfy.

We don’t know these other people. We cannot judge them. And we should never ever be rude and use words that can harm someone else, especially when we don’t know. We will never know what the writer is going through so we shouldn’t judge them.

If people actually, genuinely want Peter and Tony in and actual sexual and romantic relationship, that bothers me. But people who are writing things just to write and expand their abilities as a writer, or someone reading something because it shows up on their feed? I’m not going to attack them for it.

I don’t like Starker. I don’t ship it. People who do genuinely want them together sets off a red flag for me, especially when it’s mcu. To me it’s like wanting Lolita and Frank La Salle. Or June and Fred.

But guys. Not once have I ever been attacked for writing about Peter being assaulted by Skip. No one has sent me hate messages or wished the worst on me for writing Straightening Things Out, where Peter literally thinks Skip is helping him and doing the right thing. Not once have I felt unwelcomed to this fandom because I use Skip where another writer might use Tony instead.

So please, please do not wish harm on others. You can have your opinions. That is okay. We all have them. But don’t jump to conclusions that you don’t have any information of other than a tag. People pay and consume dark media, here people don’t pay and consume or write dark media.

I know it’s easy because you can’t see the other person. But please think before you post because sometimes ya’ll are saying things that are uncalled for.

I’m not condoning minor/adult relationships in real life. That is pedophilia and if you are a minor please know that adult who is telling you how mature you are and how much they love spending time with you and wants to be in a relationship doesn’t have your best interests at heart. No adult should ever call you hot or be turned on by you. A 22 year old should never be attracted to a 14 year old or 17 year old. That relationship is not consensual and please please please find an adult who can get you out of an unsafe relationship. And also a 14 year old and a 16 or 17 year old in a relationship genuinely a problem. Adults know relationships with minors are wrong. Even large age gaps in relationships can be extremely unhealthy

Leonardo DiCaprio never dating anyone over the age of 25, and knowing his last girlfriend since she was a minor for example. That is obviously very unhealthy pedophilic and of course grooming. Hugh Hefner having wives that are so much younger than him too. That’s not healthy, it’s scary.

But for those of you who have been in those situations as I know way too many people who when we were in highschool were in relationships with adults, you are allowed to write about it with any character you want, however you want. If you’re a person who hasn’t ever been in a relationship like that but wanting to expand on things you write and learn new skills to see if you can properly convey what is happening in a relationship such as Peter/Tony, you can do that too.

Wanting Peter and Tony together is the red flag, writing Peter and Tony together because you’re a writer and it’s hard to write a relationship where it’s obviously not healthy and Peter doesnt see the problem with it? That’s just writing. There’s trigger warnings and tags.

But let’s also be aware for those of us who canon Peter being Bi, there is also a pretty good chance that Tony Stark™️ was Peter’s sexual awakening. Like before he ever met Tony. I was 12 and in love with older male celebrities, it’s just a reality and maybe this was something that happening with Peter, it’s fiction who knows.

And on an unrelated thought if this irondad thing was real life we wouldn’t be romanticizing it. If this was Elon Musk who took on a personal intern, despite not being known for that, the intern is a child still in highschool, gets picked up from school by Elon to go to Tesla 3 days a week and then sleeps over at his house on weekends we would all be scarred. We would either think oh this child is Elon’s family, or we would think omg Elon is a sexual predator. Irondad is a weird thing for us to like. It is. We wouldn’t like it very much in real life. That’s a fact. But we are projecting. As writers and readers it’s what we do.

At the end of the day this is fiction and fan fiction. I’m not going to attack someone for liking something I don’t. I’m a full grown adult it makes my adult brain feel weird about the whole situation. That’s me. When I was in highschool I read adult/minor relationships even though I knew they were wrong and unhealthy because that’s what would show up on my dash. If any of my followers read/write starker it’s their business not my own, they like what they like and I like what I like. We interpret things differently and that’s okay.

Please stop attacking people, especially when you don’t have the full story. And also someone expressing their dislike to a ship isn’t an attack on those who do ship the relationship. So take a moment and breathe and think before posting anything.

To reiterate: this is just my opinion on things. Ships are complicated. I’m not trying to attack anyone or saying all people who write/read starker are doing it because they have trauma, there are many different reasons why a person may do so. There are also many different reasons why someone might ship starker. I don’t know these reasons but I don’t agree with the ship and that’s my own business. As a person who doesn’t ship starker I will never know some of these reasons and that’s okay. Just because I see shipping starker as a red flag doesn’t mean it is for everyone. Treat People With Kindness and please don’t attack or do anything that can be harmful just because someone’s views does not align with yours.

[ultrahpfan5blog]

Reflecting on Agents of SHIELD

So here we are at the end of 7 years. I have had a bit of a love/hate relationship with the show. There are times when I really haven’t liked the show and there are times when I have loved the show. Unlike many fans in the fandom, I don’t think its a perfect show. It has had more than a few missteps along the way. But it deserves credit on the things it has done right.

I remember the excitement when I hopped on board for season 1. Just coming off Avengers, this was supposed to be the tv spinoff where a whole world of exciting things were supposed to happen, interlinked with the movies. Turns out, it was a huge mistake to market the show like that. Thinking about it know, the potential challenges of that working out were obvious. Movies are written far before tv episodes are so doing that type of synchronization would be extremely difficult even if there weren’t tensions between the tv and movie divisions. In any case, season 1 was a clear case of a show treading water. The first 2/3 of the season was truly dull, barring a few good ones likes F.Z.Z.T. It wasn’t till T.R.A.C.K.S that the show started to find its footing with any sort of quality. The cast also seemed to be getting a handle on things. Clark Gregg smoothly transitioned without a problem as a lead but initially Ward was too blank a slate to really connect to, Skye was really annoying, FitzSimmons were just a bickering couple, and May was just the deadpan badass stereotype. But slowly the actors started to get a handle on things. The first sign of Elizabeth’s talent could be seen in F.Z.Z.T. Ming Na and Brett Dalton started to find more tinges of humanity in their characterizations. Iain really started to open out towards the end of the season and delivered what is still one of the most powerful scenes of the show in his confession to Simmons under water. I will be honest and say that Chloe wasn’t very good initially. It was partly the character and partly that the others seemed significantly better at the dramatic beats. The big Hydra twist gave Brett Dalton a huge boost as a performer. Its as if his handcuffs were taken off and he was suddenly freed and he became the most interesting character on the show for me. The Hydra plot of season 1 may still be the best story arc the show did, rivaled only by the Framework arc. I still don’t know which I rank higher, but that arc was the height of fulfillment that we got from the premise as originally pitched to the fans where the show synchronized with the movie story very well. And it was really the last time it happened. While most of season 1 was unfortunately handicapped, the final arc ended the season on a high which left me with great anticipation for what was next.

As we started second season, the thing that immediately struck me was that the show had completely changed. What again struck me was how Iain and Brett had really become the MVP’s of the show for me. Iain was heartwrenchingly brilliant in the first half of season 2. Again, one of the scenes of the show for me is when Fitz finds Ward in the basement. Brett and especially Iain just acted the hell out of that scene. The story arc of SHIELD vs Hydra was always one of the strong points of the show. That’s where the strength of season 2 lies. They played on the toxic Ward/Skye dynamic really well in those interactions in the basement. Brett really found the perfect balance of creepiness and sincerity in those scenes. In the midst of it all, we got some new additions in Bobbi, Hunter, Mack, and Kyle Machlachlan as Skye’s father and the transformation from Skye to Daisy happened. Honestly, Kyle was the highlight of the new additions in the season. He was there throughout and was kind of the emotional heartbeat of Skye/Daisy’s story in season 2. I wasn’t a huge fan of Mack in season 2. He had this passive aggressiveness towards anyone who wasn’t Fitz. I liked his dynamic with Fitz. Definitely the FitzSimmons stuff was hard to watch with it being so heartbreaking. Little did we know how much more there was to come. Bobbi and Hunter I was largely indifferent to. Bobbi was a badass and Adrianne Palicki is gorgeous but I never got overly invested in her. Hunter was hilarious at times and sometimes annoying. I liked how he was with Fitz. I felt Iain brought out the best in everyone this season. I wasn’t a huge fan of the second half of the season. I think the whole SHIELD vs Real SHIELD arc was pretty dumb and even the Inhumans story could have been better executed. Also, they took a wrong turn with Ward by the end of season 2. They had real potential with Ward being a wild card character who could be on hero’s side or villain’s side depending what benefits him, but instead they made him pure villain by season end.

Season 3 started off ok. Again, Iain was heartwrenching in the season premiere and Elizabeth turned up in full form in her solo outing. I honestly did not care about the whole Will drama. It felt very soap operaish for them to use this to create a love triangle which actually goes nowhere. Again, I felt they didn’t do enough with Ward even though Brett Dalton gave it is all. Certainly it was the most straight up villainous version of the character. Powers Boothe came in and did a great job with all his gravitas as a Hydra leader. It was in season 3 I started feeling Chloe Bennet started stepping up to the plate. In all fairness, one of my issues with some of the initial seasons were that it was so heavily Skye/Daisy dependent and everyone else felt more interesting to follow than her. This season allowed Ming Na and Clark Gregg to show some shades of regret and anger respectively. I was annoyed when they killed Ward because of wasted potential but Brett stepped up to the plate with an excellent turn as Hive. Bobbi and Hunter’s goodbye was sad though, as I said, I never got a personal attachment to those characters. One of the big misfires unfortunately was Lincoln. I have seen Luke Mitchell be compelling in other roles but Lincoln just did not work. Not as a character independently and not as a love interest for Daisy because they shared no chemistry. In a way, his death at the end felt like the writers dumping him and just admitting they didn’t know how to make the character work. We also got introduced to Yo Yo who would last the remainder of the show. It was kind of an uneven season but overall enjoyable. Didn’t reach the heights of the best parts of season 1 and 2 but maybe more consistent overall. I was really sad to say goodbye to Brett Dalton who was my second favorite cast member after Iain at this point.

Season 4 probably stands as the overall best season in terms of quality. Splitting the season into three pods really helped with the pacing with an increased amount of story. It was also the first season since season 1 where SHIELD existed as a functioning public agency and not just a bunch of agents working in secret. Robbie Reyes was incredibly badass as Ghost Rider. His pod was probably the weakest of the season but his presence overshadowed all the regular SHIELD cast members. The villain story was kind of weak but the backstory with Robbie, his thankfully platonic dynamic with Daisy, and the story of the developing technology of AIDA was fascinating. The LMD arc was better because AIDA and Radcliffe became serious legitimate and realistic threats. The acting also was top notch. The finale of this arc, Self-Control, is one of the show’s top episodes where Chloe Bennet was amazing as was Elizabeth and Iain was genuinely frightening as the LMD in the few minutes he had. But Framework just killed it. Brett Dalton coming back was wonderful. I really wished they had found a way to bring back this version to the real world. Iain delivered a seriously terrifying performance as the Doctor. Elizabeth, Chloe, Clark, Henry, Ming Na, John Hannah, and Natalia were all great. But the season’s MVP was Mallory Jansen, who played multiple iterations of the character throughout the season. My one issue with season 4 was I felt that she was built up in the finale a lot but then got taken out too easily. But overall, great season.

Season 5 is where the show kind of lost my interest. I am genuinely not a fan of the season and don’t have much to say about it. I felt it became outlandish and silly, while simultaneously becoming overly grim and morose which just didn’t work tonally for me. The acting continued to be top notch across the board. Iain continued to be a highlight all season with his breakdown episode being one of the most painful to watch. FitzSimmons wedding was lovely and kind of a welcome relief in a very dark season. Clark Gregg, Ming Na, and Chloe Bennet were excellent towards the end when playing out Coulson’s deteriorating health. Natalia also got to have some meaty story for really the first time on the show. But the budget constraints were clearly showing with the entire season being played out in the same grey halls and honestly I just never felt invested in the story. I knew the world wouldn’t end and it just became unendingly morose. Enoch was kind of the highlight in terms of humor in the season. Deke was introduced and I felt the same way as I felt about hunter. He was fun at tmes and other times annoying. The grandson revelation was kind of cool but I feel they have never done all that much with that connection. Maybe if the entire season was half a season’s plot, it would have been more palatable.

Season 6 was a minor improvement though still not great. The villains were again the big downfall of the season. I felt the show showed an inability to let go of Clark. Sarge was really not compelling and not a character that utilized his Clark Gregg’s best traits, which is his easy every man type nature. I could care less about the Shriek and Izel. We got to see May as a badass several times, which was nice but it was the space advanture that I enjoyed more. Whether it was Daisy and Simmons getting high on space mushrooms, or Enoch and Fitz being BFF’s in space, it was the show getting back to having some humor. Certainly a shorter season helped with regards to pacing. But it was still a rather unremarkable season which ended on a promising note.

Season 7 has been the best season since season 4. I feel that the first half the season was awesome. Rediscovering the fun, natural lighting, and better character interplay. Not having Fitz around was a bummer since Iain’s my fav cast member but we got the delightful surprise of Enver joining the cast as Sousa who I absolutely loved on Agent Carter. He has helped fill the void for me. Certainly has brought more than his share of humor and heart to the show. Again, the season’s weakness has been its villains. The chronicoms were initially good physical threats and certainly what they did to Mack’s parents was horrifying, but when Nathaniel Malick took over, the season has kind of stuttered for me. He just doesn’t cut it as a villain, especially for the final season. Chronicoms also don’t really cut it beyond the physical threat. The new additions of Kora and young Garrett are too last minute for me to feel any sort of threat from them. Certainly the time loop episode was amazing and the developing relationship between Daisy and Sousa has completely taken me by surprise. Its a mixture of good writing, good acting, and natural chemistry that this pairing has been something I root for, even though I loved PeggySous. But the show inexplicably got stuck in the 80′ and I really felt they should have gone through the periods to catch up to present day. Certainly the Jiaying story helped with some character reconcilliation for Daisy but I think there could have been more interesting stories had they progressed to more modern times. In any case, that leads to the finale. Hopefully the show ends on a good note. I don’t think it will be everything I want it to be because there are too many things on my wishlist, like a Ward return, which are unlikely to happen. But I hope for that its largely emotionally satisfying. Its been a good, if uneven ride. I would say its probably my second favorite Marvel show after Daredevil, but its longevity shows that it has developed a loyal core of fans. I may not get as emotional as a lot of the core fans, but it will feel weird that there will be no more Agents of SHIELD. It is the end of an era with it being the last of its brand of Marvel shows with all future marvel shows being direct movie spinoffs. I don’t anticipate we will see these characters in this form again, but who knows? Maybe someday?

Edit: My thoughts on finale

Overall, it was.... fine. I don’t know what I was expecting. I liked how the characters ended up but the whole thing felt oddly safe and a little emotionally hollow. They should have been a little braver and genuinely killed a couple of characters. Like I said earlier, there were a lot of things on my wishlist that didn’t happen, but I had kind of reconciled to that. The action was really good, but my apathy for the villains led to me being less interested in the whole story and the whole “empathy being the savior” was a little goofy for my taste. Regardless, far from the worst finale around but also not the greatest but reasonably enjoyable. Kind of like the show in a way, which makes it fitting. 

[the-lightning-strikes-again]

I really don’t get why people keep saying Allura was SO awful or horrible to Keith after learning about his heritage. She just gave him the cold shoulder for an episode or two, and it’s not like they brought this up later in the show as a way for her to hold some other grudge against him. People are just blowing it up as something bigger than it actually was. And like many people have said, her liking or “suddenly” being nice to Lotor wasn’t bc oH he’s Altean (1/2)

Continued anon message: “There were several moments between their first close encounter and him revealing his heritage which prove that trust was developing before then, but I guess people just overlook those (2/2)”

Hi, anon! Thanks for the note! Yeah, haha, this topic of “is Allura racist?” is an interesting one because for me, it boils down to looking at the show’s design decisions and details. And those design decisions came from real human beings who aren’t any more objective than the rest of us. So as a content creator myself (who feels incredibly human and and whose stories and portrayals are also imperfect by virtue of their imperfect creator), I have to recognize that it’s impossible to create a totally woke, unproblematic creative product—and it’s also impossible to ensure that everyone around the world interprets everything in exactly the same way, no matter how well-intentioned the project.

That said, I do think a lot of fans are victims of how this show may have manipulated/gaslit them to feel, not just about Allura but also about other characters and events as well—and that there are benefits to analyzing what went wrong with VLD.

My hope is that, as content creators and fans, maybe we can learn from VLD’s narrative mistakes or even better understand how two fans can have totally opposing interpretations over the same creative work. In the case of VLD, as I’ve mentioned before, the show uses a screwy and imbalanced narrative lens when portraying victims. To add to that, the show design also consistently undermines details foundational to the show universe (such as using an unreliable narrator to express what the show actually accepts as objective fact or history). This is important, because the way in which something is told/shown ultimately manipulates audience emotion for or against something. This gets into how propaganda and subliminal messaging work at a technical level. And when the narrative lens is handled in a biased way that undermines other story elements, audience reaction/interpretation gets messy, no matter what the stated events/facts are in the story. We are attuned to pick up on cognitive dissonances (inconsistent patterns) as part of our human survival instinct.

I’m not convinced that VLD dev team wielded the Power of the Narrative Lens very well—if it had, season 2′s portrayal of the conflict with Keith and Allura would have looked different.

In an s2 with a more balanced narrative lens, we likely would have seen at least flashes of Allura’s memory, showing some s3 backstory of Allura’s fear upon realizing that previously faithful Galran allies were killing multiple civilizations upon an order from their own kind...and coming for Altea next. Or maybe there would have been something/someone else involving Allura’s traumatic experiences so that the audience could have an empathetic, emotionally connective moment with her. We would have, in equal parts, still seen Keith’s plight as the suffering saint trying to figure out what being half-Galra means. And we would have seen the other paladins trying to resolve the conflict and understand how to recalibrate together as a team and a family.

Instead, in provided canon, we see Hunk (of all people, why Hunk?) make racist microaggressions at Keith, further alienating Keith without any recourse. And for Allura, the visual lens shows her making a cold glare at Keith without further explanation. It’s a very alienating moment. In season 2, you feel that coldness from Allura because the show’s visual lens aligns you to Keith’s gaze for several agonizing seconds, and the narrative bias of the animation is to show Keith as the singular victim in this situation. It is a very targeted, lonely, and disquieting moment for Keith. The other paladins and their reactions to Allura and Keith even feed into this. It’s not until s3 that we get an emotional glimpse into the omnicide of an entire solar system—and even then, that history focuses more on the motives of the instigators rather than showing the brutality experienced by victims. By that point, we’ve blown way past the s2 issue, which creates another layer of cognitive dissonance: that the situation doesn’t feel totally...resolved, somehow, even though plot-wise it actually is.

So I think there are indicators that the dev team’s own biases and agendas informed, at times for the worse, the very lens through which we consume the VLD story. I don’t think the dev team was aware what tackling genocide while visually portraying Allura’s trauma as antagonistic and alienating would result in? And I think this oversight gets into why some fans feel a certain way about literally anything in this show, haha. So I feel like we’re all victims of a show with amazing potential and incredibly fascinating elements but just…poor execution. 

One other thing I have to give faith on when I have a disagreement with another show fan—it’s a 78-episode show. How often are people holistically watching and critically reviewing this show in order to catch every little detail? I’m pretty sure I can’t remember all the details either, even though I re-watched the show not that long ago. So there’s a whole other layer here, where fans have a separation from the source content itself. So take those emotional negative “impressions” people developed while watching s2 or any other moment where Allura has been less than the ideal woman (oof, fandom is so forgiving with men but so unforgiving with women), and then suddenly muddy those memories with 2 years of not re-watching the show holistically. Typically, the brain is better at storing negative reactions than positive ones. So if someone had a negative reaction to Allura’s actions with Keith in s2 or elsewhere, without an empathetic moment to balance it out, then that negativity is going to stick, and every detail to the contrary is going to fade out.

I know for me, I’ve really had to fight the memory problem because after over a year, for example, I was building up impressions about VLD history that actually were missing some important details from s3. And that was kind of a shock to me. So I do think selective memory plays a part in adding to a biased dissonance one might feel from the actual story.

Ultimately, this whole unnecessary fandom split on “is Allura racist?” is one reason why I feel that VLD—for all of its good things that I genuinely love so much—had a lot of troubling issues. Despite all the canonical good that Allura ends up doing and how she overcomes trauma to champion genuine peace for all, there’s subliminal messaging against her because of how the visual and narrative spins  or hides things. And that issue has nothing to do with the characters but everything to do with the development team and how the show was written/directed. And that, I think, informs ongoing fandom perceptions of Allura and creates just some really painful and unnecessary messes, to the point of creating an overall inaccurate take like “Allura is racist” when in fact, she’s just traumatized from very real and significant abuses and overcomes that, even.

It really makes me, as a writer, try to look at my own stories and attempt to understand “why” I portray certain things as I do while writing—and if that lens portrayal is really the best one for the effect/message I want. Because the way in which a story is conveyed can really play mind games with the audience, and that might not be the right effect for a story that isn’t another Inception or Crying of Lot 49, lol.