#meta streams

[metamatronic]

POKEMON ZA ART STREAM

Drawing some fun Pokemon ZA fake NPCS! Come hang out and talk Pokemon!

[chicksdigsaurs]

Okay we're ACTUALLY finishing Endwalker Hildibrand this time and then checking out Hades 2 later

[irrealisms]

everyone in mcyt fandom talks about bad inventories but i feel like we don't talk enough about the different types of bad inventory & the ways that inventories can be characterizing. i took most of these screenshots but one or two of them aren't by me and i've just had them saved for a few months sorry. i'm taking inventories from various people across various servers (wild life, dream smp, hermitcraft, lifesteal, and 2b2t) to illustrate my point here

like there are inventories that are bad because they're empty:

but then there's also inventories that are bad because they're full:

and, like-- the different ways an inventory can be bad are also characterizing? an inventory can be bad because the items aren't stacked; or because it's empty of anything useful; or because it's so full of building/fight supplies that there's no slots left for doing anything else; or because it's full of random junk. it speaks to a character's position (compare tubbo's diamond sword and empty inventory to ranboo's netherite sword or zam's full inventory of potions) and the rules of the server they're on (tubbo's not wearing elytra because elytra aren't allowed on the dsmp; zam's inventory has chorus fruit and wind charges but no ender pearls because ender pearls aren't allowed this season on lifesteal) and what their priorities are (building, pvp, lore) and how organized vs scattered they are and so much more. another inventory i like:

like!!! that's so instantly characterizing, for both the character and the server!!!! 5 stacks of end crystals + obsidian. 6 stacks of tnt. 3 stacks of god apples and a stack of chorus fruit as your only food. the bucket of lava and bucket of water for lavacasting. the fact that the flint and steel is enchanted with unbreaking. that's a STORY--of the character but also of the server! this is not the sort of inventory you have on most servers! it's so focused around griefing--explosions, lavacasts--and pvp, and the stacks of god apples as primary food source are an instant warning sign for widespread duping. the chorus fruit not for fights--ender pearls are strictly better, and he's got some so he clearly has access to them--which means it's for escaping traps, which means that's a live concern. it's got a lot of pvp supplies but it's so wildly different from the lifesteal inventory in ways that speak to the differences in server rules and cultures. like, horrendous inventory in many ways. also, very good inventory in some ways. also also, delightful inventory! fascinating inventory!!! inventories are such a delightful source of instant characterization i love them so so much

[perseidlion]

Streaming in Kaos

Well, it happened. I can't say that I'm surprised that KAOS has been cancelled by Netflix. I am a little surprised at the speed at which it was axed. Only a month after it aired, and it's already gone.

That has me wondering if the decision to cancel was made before the show even aired. We have to remember that marketing is the biggest cost after production. If the Netflix brass looked at the show and either decided (through audience testing, AI stuff or just their own biases) that it wasn't going to be a Stranger Things-level hit, they probably chose at that moment to slash its marketing budget.

That meant there was pretty much no way that KAOS was ever going to hit the metrics Netflix required of it to get a season 2.

What makes me so angry about this (other than the survival of a show relying on peoples' biases or AI) is that it becomes a self-fulfilling prophecy. If you decide before a show is ever going to air that it won't be a success, then it probably won't be. If you rely on metrics and algorithms and AI to analyze art, you will never let something surprise you. You'll never let it grow. You'll never nurture the cult hits of the future or the next franchise.

Netflix desperately needs people behind the scenes that believe in stories and potential over metrics. Nothing except the same old predictable dreck is ever going to be allowed to survive if you don't believe in the stories you're telling.

The networks and streamers have a huge problem on their hands. They need big hits and to build the franchises of the future to sustain their current model (which is horribly broken.) But people have franchise fatigue and aren't showing up for known IPs like they used to. The fact that Marvel content is definitely not a sure thing anymore is a huge canary in the coal mine for franchise fatigue. People aren't just tired of Marvel, they're tired of the existing worlds both on the big screen and the small one. Audiences are hungry for something new.

It is telling that the most successful Marvel properties of the last few years have been the ones that do something different. Marvel is smart to finally pull out The X-Men because that is a breath of fresh air and something people are hungry to see more of.

There's pretty much no one behind the scenes (except for maybe AMC building The Immortal Universe) that is committing to really taking the time to build these new worlds. Marvel built the MCU by playing the long game. That paid dividends for a solid decade even if it's dropping off now. That empire was built not with nostalgia for existing IP (don't forget the MCU was built with B and C tier heroes) but with patience. Marvel itself seems to have forgotten this in recent years.

Aside from that, I think people really want stories that aren't connected to a billion other things. That takes commitment on the part of the audience to follow and to get attached to. People WANT three to five excellent seasons of a show that tells its own story and isn't leaving threads out there for a dozen spinoffs. We're craving tight storytelling.

KAOS could have been that. Dead Boy Detectives could have been that. So could Our Flag Means Death, Lockwood and Co, Shadow and Bone, The Dark Crystal: Age of Resistance, Willow, and a dozen other shows with great potential or were excellent out of the gate.

If you look at past metrics, you only learn what people used to like, not what they want now. People are notoriously bad about articulating what they want, but boy do they know it when they see it. Networks have to go back to having a dozen moderate successes instead of constantly churning through one-season shows that get axed and pissing off the people who did like it in a hamfisted attempt to stumble on the next big thing.

The networks desperately need to go back to believing in their shows. Instead, they keep cutting them off at the knees before they ever get a chance because some algorithm told them the numbers weren't there.

[jaguarys]

Thinking a lot about how by the time TCW comes about Anakin has already committed a grievous sin, already committed a massacre, already chosen his side in some ways. The man Ahsoka knows, the only version of him she ever gets to know, is built on an assumption of purity he has already lost.

He has already begun to fall, and this slip contributes in so many ways to his inability to pull himself back. Because the only person other than Padmé he tells his crime to is Palpatine, because he's the only person who won't judge him (and that in and of itself is a measure of his immaturity–– because he deserved to be judged).

And this contributes so much to Palpatine's control because he has this piece of the puzzle, this ability to go "Oh, but what about this?" any time Anakin tries to pull back from Palpatine's confidence. Because they both know if he ever admitted it to the Order he'd forever lose their approval, and that's what matters most. So Palpatine has this advantage, because he knows more about Anakin than anyone else and Anakin doesn't feel he can confide in anyone else.

But the thing is: for so long, Anakin wants to be better, wants to amend himself for this sin and more than once wants to confess to Obi-Wan, but every single time Palpatine is able to go "Oh but he thinks he's so much better than you, he would never understand you, he would judge you and tell the Order and they'd cast you out" but... Obi-Wan would have forgiven him anything.

I think a lot about Obi-Wan being such a Perfect Jedi (in the eyes of everyone else if nothing else) and how much that hurts Anakin. Because every time he tries to pull himself back from the ledge this epitome of what it means to be a Jedi is just there in his face reminding him of his own failure

[avoicebehindthestars]

Are we ever going to talk about how in GO!god's favourite film:

the protagonist is told it's okay to abandon her religious calling to pursue romantic love

the family flee the country so the father isn't forced to serve in forces that are obviously evil?

Yes? No? All right then.

[a-moth-called-mof]

No actually I'm going to say. I honestly think that was such a satisfying and fitting epilogue for something as unqiue as the dream smp. Maybe its vague about certain things and maybe it wasn't a picture perfect happy ending but it felt so satisfying, not just because of the original shit nuke ending and the way the server originally just slowly faded (although that contributes) but also, because it's a representation of the dream smp itself saying goodbye to its fans. Jack being the point of the view character is so fitting because he's been there since the early days and it makes it so that for once, we get to see C! Tommy from someone else's point of view without his own perspective offered. And that's so fucking impactful. When C! Tommy asked Jack where he'd been and that he hadn't seen him in a long time, he was talking to C! Jack sure but he was also talking to the viewers themselves by extension. The image of C! Tommy silently standing there and treating Jack, the point of view character of the viewers, like an old friend is so haunting and comforting in a way words can't express.

And then there's just the entire theme of grief and moving on that's present throughout the entire thing? C! Jack and Tommy both reminisce about how much the SMP impacted both of them. They look on at C! TECHNO'S HOUSE as they talk about how despite all the shit it put them through, a part of them misses it and longs to be back there again because there were things there that were fun and that meant something to them. It's so fitting on a metatextual levels. The characters are reminiscing about the SMP's old days "before everyone left" and so are the content creators through the characters but also, so is the audience. The viewers. The old fans who clung on. The fans who who didn't. The fans who, despite everything the server put them through, still wanted to tune into a livestream for even a chance of seeing it again.

I just feel like the stream represented so many of us. When C! Jack says he didn't like the person he was back then but that doesnt mean he was bad, I just feel like that encapsulates so many of us during the pandemic. Like many (I think?), I used the dream smp as escapism. I was in a really bad place and I was avoiding most of my irl friends. I hate who I became during those times. But also. I had so much fun. I would tune into streams every day and scroll tumblr and the fandom made me feel so happy and included and I loved the inside jokes and I loved the characters and I loved the streams and I loved everything and a part of me still misses that. I was avoiding everything in my life and I was so isolated but I was so full of excitement and bliss and fun when I would tune into those streams. I've kinda spent the past 2 years lowkey hating who I was. But this stream, C! Jack's line and reflection specifically, genuinely made me realise that maybe I shouldn't idk view my old self so negative and that he (who I was) was probably just trying his best during a tough time even if his choices weren't always the most functional. That I've improved and that that's okay and good even. And that maybe just because I like who I am now doesn't mean he was bad.

Idk there's also something about C! Tommy telling C! Jack he might never see him again and C! Jack telling him that that's okay (also again image of C! Tommy looking at the viewer's point of view and telling them he'll probably never see them again...). There's just something about growing up and how you kind of lose contact with some people and how that's normal and it's okay and it happens and how that ties back into some of the dream smp's themes about growing up. But also there's a bit of grief there and that's okay. Idk there's something so visceral about the last piece of media about the dream smp literally being about grief and moving on and about how the characters literally say goodbye to eachother after everything but also about how that's okay. Idk I wonder how many people feel similarly

To conclude this, I feel like the moment in the stream that hit me the most was CC! Jack being happy he let go of the manishroom (and the server by extension) and that he's moving on but then later saying "I didn't like letting go of the mushroom. Felt like I wanted to cling onto it forever" and something about that just hits. Idk there's something how the characters both feel such a unique pain and longing for the old times in universe and how that reflects how the audience and streamers themselves feel and there's something about how I genuinely don't think something that wasn't as accidental and beautiful and messy and painful and earnest and flawed and unique as the dream smp could ever capture that feeling. And I think I love it for that. And I think I love the epilogue for representing that. And I think the dream smp said I love you and goodbye to its viewers with that epilogue and I think I said it back.

[wistfulwatcher]

the death of reruns was the death of television.

we talk a lot about why streaming is killing television, but i think one factor that is under-discussed is syndication. there have been some good short-run series, but the majority of our most beloved series had long runs. like, 5+ season runs. runs that hit that sweet 100 episode mark, meaning they qualified for the most lucrative syndication deals. streaming shows are reducing and eliminating the need for such deals because they’re so siloed. instead of making a syndication deal with another station (and paying your creatives fair residuals), streaming services host their shows on their own platforms and instead pay the streaming rights residuals that are nowhere near as fair.

because these streaming networks (both streaming-only, like netflix, and core networks with original content streaming, like cbs and nbc) aren’t selling their shows off-platform, they don’t need to hit any kind of episode landmark to be cost-saving. you can host a show in any increment, so having a 20-episode series is the same as having a 60-episode series. except the 60-episode series, of course, takes longer and costs more to produce. as long as a network makes one season of a show, they get to market it for new viewers. and once they feel they’ve gotten all the new subscribers they will out of a series, they drop it to save money.

until there is some monetary benchmark incentive to get a series past one or two seasons, television as long-form storytelling is dead.

[muffin-snakes-art]

Did a doodle stream on my YouTube channel and here are the results. A successful harvest!

[bvckbiter]

re annabeth and friendship in pjotv: frankly, i think this is one of the most egregious changes in the show because it's a change rooted in writers actually having a grasp of the foundations of annabeth's personality but taking it in an erroneous trajectory. the writers are correct in that annabeth's (unusually) long stay at chb has a massive impact on her character, particularly in that she's desperate to test her mettle outside of camp. however the show also takes this to mean that annabeth struggles with being a kid, making friends, learning pop culture, being human. odd as hell, because if anything, annabeth being in camp means that she's literally surrounded by kids just like her - neurodivergent demigods, which i think is an extremely specific experience that only campers would understand.

compare that to percy, who by all logic, is alienated. in the mortal world, he's bullied, he's transferred from school to school, his stepdad is abusive and makes him feel like a burden onto the household/his mom. there is a good reason why grover is percy's only friend - a relationship which is also thrown to the rocks when percy finds out that grover and mr brunner basically gaslit him about mrs dodds. THEN HIS MOM DIES TO GET HIM TO CAMP, but even getting to camp doesn't make percy's situation much better either (which is something that the show passes over despite the book actually making sure to highlight it), because he's still in danger from enemies both within camp and from outside. cherry on top of course is the quest prophecy telling him that he will be betrayed by one who calls him friend. in a weird way, the problem with show percy is the opposite on annabeth's: he's (kind of) going in the right direction but i think there is error with the writers' fundamental understanding of where percy is coming from.

all this to say: there is a reason why in the books, annabeth is the one to make the offer of friendship to percy. is she socially awkward, abrasive, and blunt? yes! but she's not closed off; she's a deeply emotional person who longs for someone to be permanently in her life, which btw tltm perfectly captures with the invisibility cap extrapolation.and i think what's admirable about annabeth is that for all her roughness, she wears her heart on her sleeve and is every bit a 12-year-old girl, veteran camper status be damned. percy may be goofy, funny, sarcastic, but the devil-may-care impertinence is stemming from a place of deep-seated resentment that is only softened in the succeeding books because he finally feels like he has finally earned his belonging somewhere.

tldr: am still scratching my head at the "i think you were about to call me a friend" and "be a kid" lines

[gaywarcriminals]

On Mouthwashing, Qijiu, cruel characters, and the role of discomfort in blorbo analysis. 

I recently watched a playthrough and some video essays about the indie horror game Mouthwashing (spoilers ahead). For those not familiar, the game follows a man named Jimmy in a crashed spaceship where he reveals himself to be an unreliable narrator and fucked up in a variety of ways as the game progresses. 

Although I’m not immersed in the fandom and thus have a limited sample size, I noticed that people treat him as nearly inhuman. He’s the sole bad actor, a terrible monster destined to hurt everyone. I find this deeply ironic considering the game’s themes of responsibility and accountability: isn’t this kind of dehumanization absolving him of his responsibility to act decently?

It’s also strange to me, because the game goes at lengths to show Jimmy has an enabler. Captain Curly is Jimmy’s friend and boss who is made aware of Jimmy’s erratic and violent behavior multiple times, chooses to do nothing, and ultimately makes possible many deaths through his inaction. Aside from Jimmy’s public outbursts, there are even scenes with a specific member of their crew expressing how unsafe she feels around Jimmy. Despite this, a decent portion of the fandom sees Curly as nothing more than one of Jimmy’s victims, which is curious to me when placed in contrast with Yue Qingyuan and Shen Jiu.

Yeah yeah I’m blorbo-brained, but I think there’s a lot of points for comparison between Qijiu and Jimmy & Curly, at least in terms of their dynamic and social roles. Jimmy and Shen Jiu are both antisocial assholes with an unhealthy fixation on the generally well liked and affable guy just above them on the totem poll. They’re both convinced their superior is looking down on them, and resent the power he has (SJ less so, he has a lot of other reasons to resent YQY). They both use what power they do have to abuse those below them. Curly and YQY, for their parts, are shown to be explicitly aware of most if not all of their friend’s worrying/dangerous behavior, but do nothing meaningful to stop it. 

If they’re so similar, then why in the case of Mouthwashing is Curly often absolved of his complicity in the face of Jimmy’s overwhelmingly awful actions, whereas in the Scum Villain fandom, it’s just as common to see people pin all of SJ’s actions on YQY and vice versa?

Now, there’s a couple obvious reasons for this. For one, Mouthwashing is a horror game and Jimmy very effectively makes himself the antagonist, which lends itself to the interpretation of him as a the monster afflicting the other characters. For another, Jimmy sexually abused a shipmate, which is a particularly despicable crime (although so, I would argue, is child abuse). There’s also the fact that Curly is very physically robbed of agency for most of the game’s runtime, which might make it harder to see his power and agency before that point, but perhaps the most important difference is that to fans, Jimmy is deeply unlikable, and Shen Jiu is not. 

Personally, I think the reason a lot of people make Jimmy out to be a monster and Shen Jiu to be tragically misunderstood is simple: it can be uncomfortable to like a bad person. 

I don’t think there should be any shame in liking characters who are fucked up people that do horrible things, but I think it chafes at some sensibility within many of us, learned or innate, when we feel such deep emotional connection to a character who’s actions we would normally morally condemn. 

I’ve definitely observed that in some parts of the Shen Jiu fandom– it's the kind of sentiment that leads to discounting his canonical actions in favor of fanon. I’ve never found those fanons very compelling because I have never had any discomfort with Shen Jiu’s canonical actions— in fact, him being a despicable if pitiable mess is what drew me to him (I’m typically quite the fucked-up-evil-guy liker). For once, though, I find myself on the other side of this discomfort with Yue Qingyuan. 

I was thinking today about how one of the earliest things YQY says to SY!SQQ— his 9th line in the novel— was telling SQQ that LBH is strung up in the woodshed, where SQQ always leaves him after beating him. It implies not just that YQY knows about this singular punishment, but that this is an extended pattern of behavior. To me, YQY seems uncomfortable with the situation, but he does nothing to stop LBH from being abused aside from telling SQQ to “be less hard on him”, even though he’s the only person in the sect above SQQ, and potentially the only one with the authority to stop him. 

If Yue Qingyuan knew, did Luo Binghe know the sect leader had found out? Did Luo Binghe know he had been abandoned to his fate?

Like Curly, I think that Yue Qingyuan’s most unforgivable fault as a character was enabling Shen Jiu’s abuse of Luo Binghe and potentially other disciples. I think YQY’s motivations made sense, and I understand the choices he made, but when I think about it for too long I can feel a deep pit in my stomach grow. 

Why does YQY’s arguably lesser crime of enabling SJ bother me so much more than SJ’s own direct actions? Perhaps because I still want to see Yue Qingyuan as a good person, whereas Shen Jiu has already declared himself evil. Maybe I’ve been a little bit caught up in our unreliable narrator’s point of view. 

Fascinatingly, despite his adoration for Luo Binghe, Shen Yuan cum Shen Qingqiu never (to my recollection at least), blames Yue Qingyuan for SJ’s actions. Instead, he sees YQY as one of SJ’s victims— someone that SJ as good as killed, even if it was LBH’s orders that loosed the arrows. 

Shen Qingqiu has a tendency to, for lack of a better term, woobify his favs, and although LBH is by far the most frequent recipient of this treatment, I’d argue that YQY actually receives it more consistently. This is partially because he’s relegated to friendly NPC whereas poor Binghe is the Big Scary Protagonist, but the only time in the whole novel I can think of SQQ seeing YQY as a person capable of harm and fucking up is after YQY’s confession where SQQ puts it together with SJ’s flashbacks, but even then, SQQ sees him more as a cautionary tale for him and Binghe than someone who’s hurt others. Given this narrative bias, I’m honestly surprised* that more of the fandom isn’t simping for YQY too.

Ultimately, I think this discomfort is normal and worthwhile– something to lean into rather than away from. I’d even say it's necessary, should we ever hope to be more media literate than Peerless Cucumber.

*well, I’m not, but that’s a whole piece of fandom history better left untouched

[metamatronic]

I’M NAMING ALL THE POKEMON AND DRAWING THE ONE’S I DON’T REMEMBER!

Come hang out and watch me suffer! Please refrain from actually naming any Pokemon though! After all, If I forget your favorite, I’ll be drawing it! :)

[chicksdigsaurs]

Live now with the Endwalker arc of Hildibrand! I haven't done this one yet so we'll experience it together!

[burr-ell]

#no literally like. why not just have it take place somewhere else. if you’re going to take all the steam out of the anger #and the desperation and the settling grief like #vex hunched over percy’s body . scanlan asking her to join the rest of them and she refuses to leave percy’s side (now. when it’s too late) #scanlan fucking. carving a crest into her forehead. keyleth weeping . #and like obviously they can’t do everything. i don’t expect them to #but even if they do have a group kill ‘this is for percy’ moment with ripley later it’s like. the energy is gone #part of what is so like. horrible and compelling about that moment is like. their grief is still being processed in its immediacy #and it is complete Vengeance that they are wreaking on ripley in percy’s name #not retribution because that would just be a shot between the eyes. #but like percy wanted for his family. every member of vm wants their pound of flesh #and that simply Cannot hit the same or similarly if they’ve buried him and sat by his coffin and slayed a dragon while saying ‘for percy’

Part of what makes that moment so compelling and enduring is that Vox Machina is enacting the very vengeance Percy explicitly let go of during that fight by forgiving her. They're turning all of Ripley's cruelty back on her and just straight up torturing her to death and Vex in particular gets two final quietly vicious shots, and then the battlefield goes quiet...and none of it mattered. Percy's still dead, he didn't make it through the fight when they know he should have. It's an incredibly bittersweet moment of hollow victory and it's a feeling shared among the entire team, because they're now realizing what Percy did—vengeance and catharsis don't bring back what you lost or make anything right.

And now? Even if they go chase her down, it won't hit the same. There isn't a quiet battlefield where two shadow archetypes met and neither made it out but one is grieved and loved and that makes all the difference. Instead Ripley gets to sail off and, I dunno, feel bad about herself? Get more unhinged? Ask herself how she managed to get punked by a 23-year-old twice? Why is it so damn important to keep her alive at this point, other than "well we blew our load on Thordak in episode 9 and the last three episodes have to have some tension (and we haven't really put in the work to make Raishan vs Keyleth compelling enough to carry the end of the season)"?

[vaguely-concerned]

just had the thought 'in the end the most important thing varric taught rook was how to make a home for, with, and in other people' and then I had to go lie down on the floor and clutch at my head in unceasing agony for a few hours, as you may well imagine. hawke and the kirkwall crew........ in the end you kind of saved the world a bit in the most characteristically indirect and chaotic of ways. not by anything in particular that you did or achieved or accomplished (lmao imagine!), but just by -- having existed, and by the love that was always there, despite it all, in all its imperfections, even when no one was saved by it in the end. you're not here right now and you're not quite haunting the narrative but I hear your voices bickering and arguing and laughing from the other room. (and so, I think, does varric. all the time.)

'did you think you mattered, hawke? did you think anything you ever did mattered?' yeah actually, varric says with da2 and keeps saying through the series. you were here. and I loved you. and as it turns out that mattered more than almost anything in the world, no matter how long it lasted or how fucked up it was at the time or what else happens, because varric manages to pass that feeling, that intangible... home, that echo of you all as you were together, that love, hopefully the best parts of it, on to someone else for them to bring with them on their journey, with their family. and maybe the world will be kinder this time. you never know. merrill's line of 'Everything affects everything. We were born, a bunch of things happened, and now we're in a mess with our friends.' varric's greatest fear of becoming his parents. even through the wreck and the ruin of the world, ghosts upon ghosts upon ghosts of love -- malcolm hawke, who we never even see, but his life touched hawke's and hawke's touched varric's and varric's touched rook's and rook is passing it on to the family they're creating. the unbroken legacy of love shines through in ways that are stronger and stranger than any magic. help

[jurygarroth]

aaron may be the single most misunderstood mcd/mystreet character and it’s not even funny it’s actually really stupid and baffling