#my whole goal has been to create a story that

[starryserenade]

Another Fant Drabble (prologue?)

Commentary: AH! I was looking through my docs to try to find a different story I'd left unfinished, and accidentally stumbled upon a prologue I'd written up for the Fantasmic thing. Well, I say that as if both were the same concept. They weren't...necessarily. This one came first...still Parks, I think, but more background lore. Both could technically still work together. I can't decide what I'm going to choose if I continue this story, but I shall share this anyway! (I don't think I've shared it before?)

~~~~~~

What is imagination? 

A passive thought quickly swept away?  Or visions--dreams--yet unseen, seeping into reality in the quietest of ways.  

It’s the beauty of a prayer.  A glimmer of hope.  The impossible wish that whispers, ‘maybe it isn’t so impossible, after all’.   

And then, worn by the world, by its shadows, imagination is the darkest, most dangerous weapon to be found.

It is rare that something so powerful does not manifest a far greater creation.  And, unsurprisingly, manifest something did.  When the first dreamer dreamed, possibility was born.  Though you may better understand this by another name.

Magic. 

The world was shaken to its core and could never have withstood the full force of this new creation.  And so magic took its place in a realm all its own. Fueled by the imagination of those who dared to believe, this realm of dreams grew.  And in return, lent those dreamers glimpses of the stories that emerged within. 

But some dreams were nightmares.  Some dreams were wicked, vile things.  Some dreams had strings pulled by cruel hearts, whose visions blotted the pages of reality in thick, dark ink. Had they been allowed to grow unchecked, they may well have shattered the barrier between worlds, granting them untold power.

Light is not easily consumed by darkness.

Protectors rose to counter the shadows with dreams of their own.  Unwitting though they may have been, their relentless determination to cling to the light of the world was enough. They imagined grand tales in which good and evil might collide...but good would always prevail.  And so imagination--magic--in desperate need of heroes, breathed these stories to life.

There have been countless such protectors throughout the ages.  Some whose tales are known by nearly all the world.  Others who touched but a few, quiet hearts...though those often shine more brightly than any other. But to detail the battles and stories of each and every one would fill a tower of pages to the stars.  

So this story is about the legacy left by just one.  A tiny kingdom within the world you know, where reflections of magic from the realm of dreams managed to slip through...and found a place to reside.  It began with a creature smaller than any other--a miniscule, innocent idea that wriggled through the barrier and into the mind of a Protector in his greatest hour of need. 

And with time, that idea called another.  Then another.  And yet another.  Until this simple imagining summoned countless others by its side.  The kingdom grew, and the light that flowed from it was immeasurable.

But so was the shadow they cast.  

And with every new idea that managed to slip through, drawn in by the tiny, hopeful voice of the first, the gap between worlds widened.

The shadows saw their chance.

And that is where our story begins.

[maybe-boys-do-love]

It's wild that the whole global trend of gay-focused happy ending romance shows and movies has only been going on for *looks at calendar* a measly ten years!

Just ten years ago. 2014. That's when you get the discovery of a market for queer romance series and films with happy endings. That year the OG Love Sick in Thailand came out. Brazil puts out The Way He Looks, which deserves so much more credit than it receives for influencing the aeshtetics of the genre. Looking premieres on HBO, and although it had low ratings, it's an important touchstone. And, despite Nickelodeon’s censorship and shifting the program from tv to its website, the Legend of Korra confirms Korrasami in its season finale.

The next year, in 2015, we get Love Sick season 2, and China, pre-censorship laws has a few options: Happy Together (not the Wong Kar Wai one lol), Mr. X and I, and Falling In Love with a Rival. Canada, premieres Schitt's Creek. In the US, Steven Universe reveals Garnet as a romantic fusion between two female characters, and will proceed to just be so sapphic. Norwegian web series Skam premieres and sets up a gay protagonist for its third season, which will drop in 2016 and entirely change the global media landscape.

Then, 2016! This is the MOMENT. That aforementioned Skam season happens. Japan puts out the film version of Ossan's Love and anime series Yuri!!! on Ice. China has the impactful Addicted Heroine, which directly leads to increased censorship. The US has Moonlight come out and take home the Oscar. In Thailand, GMMTV enters the BL game and Thai BL explodes: Puppy Honey, SOTUS, Water Boyy, Make It Right, plus, the Thai Gay OK Bangkok, which, like its influence, Looking, is more in the queer tradition but introduces two dramatically important directors to the Thai BL industry, Aof and Jojo.

By 2017, Taiwan enters the game with its History series. Korea’s BL industry actually kicks off with Method and Long Time No See. Thailand’s got too many BLs to mention. Call Me By Your Name, though not a happy ending, makes a big splash that will send ripples through the whole genre, and God's Own Country offers a gruff counter-argument to problematic age differences and twink obsessions. This is also the year of Netflix reboot of One Day At a Time bringing some wlw to the screen, and the Disney Channel has a main character come out as ‘gay’ on Andi Mack ( I’m am ready to throw fists with anyone who thinks the Disney Channel aesthetic isn’t a part of current queer culture). And I'd be remiss not to mention the influential cult-following of chaotic web-series The Gay and Wondrous Life of Caleb Gallo: "Sometimes things that are expensive...are worse."

All this happened, and we hadn’t even gotten to Love, Simon, Elite, or ITSAY, yet.

Prior to all this there are some major precursors some of which signaled and primed a receptive market, others influenced the people who'd go on to create the QLs. Japan has a sputtering start in the 2010s with a few BL films (Takumi-Kun, Boys Love, and Jujoun Pure Heart). Most significantly in the American context, you have Glee, and its ending really makes way for the new era that can center gay young people in a world where queerness, due to easy access to digital information, is less novel to the characters. And the QL book and graphic novel landscape was way ahead of the television and film industries, directly creating many of the stories that the latter industries used.

There's plenty of the traditional queer media content (tragic melodramas and independent camp comedies) going on prior to and alongside QL, and there are some outlying queer romance films with happy endings that precede the era but feel very much akin to QL genre tropes and goals, many with a focus on postcolonial and multicultural perspectives (Saving Face, The Wedding Banquet, Big Eden, Maurice, My Beautiful Launderette, and Weekend). I don't mean to suggest that everything I’ve listed ought to be categorized as QL.

Rather, I want to point out how all of these new-era queer romance works are in a big queer global conversation together, in the creation of a new contemporary genre, a genre that has more capacity and thematic interest to include digital technology and normalize cross-cultural relationships than other genres (there's a reason fansubs and web platforms are so easily accepted and integrated to the proliferation of these series).

You're not too late to be part of the conversation. Imagine being alive in the 1960s and 70s and participating in the blossoming of the sci-fi genre. That flowering is where gay romance sits now. Join the party.

[lilyprettyremy]

How to Get Out of a Reading Slump:

Let’s be real—reading slumps happen to the best of us. One day you’re devouring novels like snacks, and the next, the thought of picking up a book feels like climbing a mountain. But don’t worry, this isn’t permanent! Here’s how you can reignite your love for reading with practical advice (and a little personal touch).

1. Start Small and Easy

Sometimes, the thought of diving into a big, heavy novel can feel overwhelming. Instead, reach for something light, fun, or even familiar. What Worked for Me: When I hit a slump, I re-read my favorite childhood book. The nostalgia pulled me in, and before I knew it, I was back in the reading groove.

Try This:

A novella, poetry collection, or short story.

A feel-good romance or an easy thriller that keeps you hooked.

2. Switch Formats

Who says reading has to be on paper? Shake things up with audiobooks, eBooks, or graphic novels. Sometimes, a new format is all you need to make stories exciting again. What I Loved: Listening to an audiobook while walking felt like having a friend tell me a story. It’s low-pressure and immersive.

Try This:

Download an audiobook for your commute or chores.

Explore comics or manga—they’re visually engaging and quick to finish.

3. Create a Cozy Reading Ritual

Make reading feel like a treat, not a task. Set the scene: grab a warm drink, snuggle up in a cozy blanket, and turn reading into a moment of self-care. What Helps Me: I light a candle, sip some tea, and read for just 15 minutes. Even if I don’t feel like continuing, I’ve created a moment of peace for myself.

4. Ditch the Guilt

If a book isn’t grabbing your attention, it’s okay to put it down! Life’s too short to force yourself through something you’re not enjoying. What I Do: I keep a “second chance” stack of books I didn’t finish but might come back to later. It takes the pressure off and lets me move on guilt-free.

Pro Tip: Give yourself permission to stop at any time. The right book will find you when you’re ready.

5. Set the Mood with Your TBR

Sometimes a slump happens because you’re not in the mood for what you’ve been reading. Change it up with books that match your current vibe. My Recent Trick: When I wanted cozy, wintery vibes, I picked up a snow-filled mystery, and it fit the season perfectly. It felt like I was part of the story.

Try This:

If it’s cold, go for a winter romance or mystery.

Feeling adventurous? Pick up a fast-paced fantasy.

6. Buddy Up

Reading doesn’t have to be a solo activity. Share the experience with someone who loves books as much as you do. What Worked for Me: My friend and I read the same book and texted each other our reactions. It made the whole process so much fun, and we got to geek out together.

Pro Tip: Join a book club, even if it’s online! Goodreads or apps like Fable make it easy to connect with other readers.

7. Take the Pressure Off

Sometimes, we fall into slumps because we set unrealistic expectations for ourselves. Forget about reading “x” number of books or finishing by a certain date—just read what you love. My Perspective: I stopped tracking my reading goals for a while and focused on enjoying the stories. That shift in mindset made all the difference.

8. Revisit Your Why

Ask yourself: Why do you love reading? Is it the escape, the knowledge, the way stories make you feel? Reconnecting with that "why" can reignite your passion. 💡 What I Remind Myself: Reading isn’t a chore—it’s a gift. When I focus on that, it stops feeling like something I “should” do and starts feeling like something I want to do.

9. Explore a Different Genre

If you’ve been stuck in the same genre, it might be time for a change. Trying something new can surprise you and pull you right back in. My Experiment: I went from contemporary fiction to fantasy and felt like I’d rediscovered the magic of reading all over again.

Pro Tip: Ask for recommendations in genres you don’t usually explore!

10. Go Easy on Yourself

At the end of the day, slumps happen. Don’t stress about it—it’s just a phase. The books will always be there when you’re ready. My Advice: Take it slow, experiment, and most importantly, enjoy the journey. Sometimes, stepping away from reading for a little while can also recharge your love for it.

Getting out of a reading slump is all about finding what sparks your interest again—whether it’s a cozy atmosphere, a gripping audiobook, or a change of genres. Be patient with yourself, and remember, it’s not about the number of books you read but the joy you find in them. So go ahead, grab that book, and take it one page at a time. You’ve got this!

[romnianistan]

It's a bit hard to articulate it because it's just a hunch that I have. The thing with Jane Eyre is that the main character (it's a first-person pov) is a painter and she has these very vivid descriptions when it comes to nature and the passing of time. For example this is how she describes summer:

"It was not a bright or splendid summer evening, though fair and soft: the haymakers were at work all along the road; and the sky, though far from cloudless, was such as promised well for the future: its blue- where blue was visible- was mild and settled, and its cloud strata high and thin. The west, too, was warm: no watery gleam chilled it- it seemed as if there was a fire lit, an altar burning behind its screen of marbled vapour, and out of apertures shone a golden redness." (chapter 22)

and this is how she describes the winter/spring transition:

"Spring drew on: she was indeed already come; the frosts of winter had ceased; its snows were melted, its cutting winds ameliorated. My wretched feet, flayed and swollen to lameness by the sharp air of January, began to heal and subside under the gentler breathings of April ..." (beginning of chapter 9)

those descriptions can be characterized by these three features:

personification of nature, emphasis on the agency of nature (nature is not passive in any sense)

description of nature and time is used to bring attention to the narrative and to the mental/physical state of the character

description of nature and time often happens at the start of the chapter, to set the scene

those 3 features are pretty specific to jane eyre; i haven't read all of 19th c british literature but those descriptions are really representative of charlotte bronte's style compared to, say, charles dickens for example (another writer jkr has obviously read and drawn inspiration from)

and those 3 features also characterize the way JKR uses descriptions of nature/passing of time in HP. this quote has it all:

"October extinguished itself in a rush of howling winds and driving rain and November arrived, cold as frozen iron, with hard frosts every morning and icy drafts that bit at exposed hands and faces. The skies and the ceiling of the Great Hall turned a pale, pearly gray, the mountains around Hogwarts became snowcapped, and the temperature in the castle dropped so far that many students wore their thick protective dragon skin gloves in the corridors between lessons."

but that's just how she generally describes the passing of time, even when she uses less words. for example: "As a dull March blurred into a squally April, his life seemed to have become one long series of worries and problems again." (that quote goes so hard) (both of them are from ootp)

both jkr and bronte use descriptions of nature work as a narrative device in the exact same way. i don't think it's too far-fetched to assume bronte influenced her writing style as i'm convinced jkr has read jane eyre (it's jkr, come on, ofc she's read it) (i'm also convinced jkr has read wuthering heights and you can see this in hbp. i should re-read wuthering heights but in english this time cause maybe there is some stylistic influence too idk)

Descent.

[mirjam-writes]

So. We've already established that when Aziraphale said nothing lasts forever, he meant that he would give up his bookshop to be with Crowley, and Crowley took it to mean Aziraphale would give up him for Heaven. But I think the same happened with Aziraphale in regards to Crowley's refusal to go with him.

The story began with Crowley being incredibly happy creating his star machines. Now, Aziraphale knows Crowley hasn't been that happy recently, living in his car and being miserable and grumpy. And he loves Crowley, so he wants to see him to be happy again! As happy as he was back in the beginning of time! He keeps insisting Crowley could be his second in command, and... what if Aziraphale, in turn, thinks Crowley is saying no to that instead of Heaven? What if Aziraphale also thinks Crowley just didn't love him the way Aziraphale thought? He knows Crowley has been lonely (that dicussion in Job broke my heart), but here we see Crowley choosing that lonelines instead of Aziraphale's company. Making stars was the happiest Aziraphale has ever seen Crowley, and he has a tendency to oversimplify things and not think things through when he has set a goal. He's stubborn to a fault, he speaks French in the human way! This whole season was full of refrences how Aziraphale thinks he can just make people happy if he tries well enough. I bet he plans to do that in Heaven too. He'll make that place happy, or else. He has a lot to learn.

Both of them go off believing the other didn't love them as much as they thought, because they completely failed to understand each other. It's as if they are in love with their imaginary versions of each other, which are pretty close to the real thing, but not quite, and they stumbled upon that 'quite' real hard.

[lurkingshan]

Japanese QL Corner

We have officially entered another bangers only era for Japanese queer media; I am loving all of these currently airing shows. These are all streaming on Gaga or provided via fansub (feel free to ask if you don’t know where to find them).

Our Youth

This show is killing me with the quiet yearning and the push and pull and Hirukawa's whole entire deal. The way Hirukawa and Minase keep drawing closer together before stepping back. The way they have created their own little bubble in Minase's home, and how they can't be that way together in other spaces. The way Hirukawa is so desperate to be close to Minase and Minase clearly wants it too, but doesn't really understand himself yet and so keeps rejecting it. I was so sad when Hirukawa admitted he provoked his dad on purpose so that Minase would let him back in; I hope Minase will ease off on the barriers from here on out. I know something bad is coming and I just want them to have a little bit of happiness before we get there.

Love is Like a Poison

The battle couple was tested this week as we finally found out Haruto's connection to this case with an assist from the lady restaurant owner, his past as a con artist was revealed to Shiba's employer, and Shiba's boss demanded that he cut ties. I was so very proud of Shiba when he did not waver about what is most important to him, and worried when Haruto took off and left his ring behind. I'm keeping the faith, though; I don't think Haruto is leaving Shiba.

Love in the Air Koi

Okay, first of all, let me get a scream out about that sex scene, because good god did they deliver. Nagumo Shoma is a gift to us all (I will be seeing that back roll in my dreams), and I thought their chemistry now that Rei has figured himself out was fantastic. The whole sequence from the time they left the race track was beautifully shot and performed, and the intimacy felt very real. Aside from the sex, one of the things I like most about this narrative is the belief that a relationship can be the reason you get your life together rather than a distraction from your goals. Rei has all the skills, but he's been lacking focus and drive, and that's exactly what Arashi is giving him. I really liked the way this episode weaved their different subplots together to show them both working toward something, and how their success brought them together in the end. They are good for each other! I also really loved all the Rei and Kai moments in this episode, and that Kai continues to be a perceptive and supportive friend. Kai's own story is coming soon, and we got our first glimpses of it at the end of today's episode. I'm impressed with how this adaptation has streamlined the story to cover every important beat in half the time without ever short changing the relationships.

The Fragrance You Inherit

This week Sakura was reunited with her long lost love via their scheming children, and I loved every minute. My favorite thing about this drama is the relationship writing. Sakura and Toki have such a lovely bond, and I like that he realized after surprising his mom with Mone that it may have been insensitive, and that he cared enough to check in with her about it. Sakura is also a great mom, supportive of his relationship and sensitive to his feelings even as she is grappling with her own shock at this reunion. I also really love that Sakura has such a good friend in Ryosuke (who continues to flag as queer to me). I'm excited to get to know Mone better as an adult and see where the story takes us. You can find the show here, with big thanks as always to @isaksbestpillow for providing English subs.

[gummilutt]

250 followers Custom Memory Bonanza

It's finally time! To thank all you lovely people for your support, I have been working hard to get this ready for upload and here we are. Today I am sharing my custom memory object, and my library of a whopping 201 custom memories. Based on the wonderful Tattered Diary by DiLight over on MTS, and the tutorial she shared of how to make your own custom memories.

I've always cared a lot about memories, to me they tell the story of the Sims life. Some of you from MTS may recall when I did the whole several year rebuild of my hood, replicating every last detail of the original. I'm memory crazy, okay? And when DiLight gave me the power to make my own, I may have gone a tad overboard. Or just the right amount, you get to decide :P DiLight taught me most of what I know about making custom memories, and the base BHAVs are from her, but as I've learned more I've added some bells and whistles that I hope you will enjoy. It's a new clone and separate GUID from the original tutorial object set up by DiLight, so if you have your own you can have mine too without issues :) Found in misc/misc, costs 1 simoleon.

Download on simfileshare

Features - Brand new form, created by me. Resized BV photo album with new mapping and new texture (seen above, in game pictures at the end of this post). I wanted something that was uniquely mine, and that you don't necessarily have to hide away in the attic or under the foundation. If you don't like it, you also have some additional model forms you can switch between through the pie menu. - Adaptable dynamic menu. Thanks to a really neat trick from @picknmixsims the menu reflects the memories you put in your downloads. If no file with the correct guid is found, the option for it won't show. Which means that although I am crazy enough to have 201, you can go ahead and only pick your favorite ones and the object will automatically detect and adapt the menu to that selection. - Memories all have a custom icon, that's made from game icons from TS2 or TS3. Some I am quite proud of, some are admittedly not great. Not everything is easy to convey through game icons, but I've tried my best, I hope the effort shows. 5 memories have icons that are not from the game, but I tried to match them to the aesthetic as best I could. - Memory subject menu shows only relevant age groups. For example, if the memory is about having a baby, only baby/toddler Sims will show as options. Goal being to keep menu as concise as possible. If you wish to assign memories retroactively, please see jonasn's excellent Memory Commander object, which has support to add my custom memories without age limitations. As well as a whole lot of other useful memory-related stuff. - Extensive documentation detailing everything you may need to know about the memories (text, icon, background, who can get it, who they can get it about, repeatability, where to find it on the object) to help you select the ones you want for your game, and familiarize yourself with them. - English and Swedish translations of memories, and object menu. If someone wants to add their language, that would be great but it's a lot of work so I don't expect it. You are welcome to share your translated versions directly if you wish, or you can send them to me for me to update files shared here :) If you want to learn how to translate the files directly, Episims has a great tutorial found here.

Examples of types of custom memories included - Extended family members memories (got cousin, got aunt/uncle, got sibling, got twin sibling, got great grandchild, got stepparent, got stepchild) - Birth related memories (pregnancy, becoming parent, late in life parent, had multiples birth, premature baby) - Marriage related memories (divorce, parental divorce, custody things, alimony) - Relationship related memories (fighting, breakups, additional love memories) - Woohoo related (memories for specific woohoo locations, repeatable generic woohoo/public woohoo) - University degree related (declared major memories, got a minor degree memories, got a major degree memories, for remembering having studied multiple things and being able to see what major your Sim chose without looking at their diploma) - Loan related, for remembering taking and paying off loans of different types - Moving memories (first apartment, child moves out, various memories for sims moving in with others) - Kids related (child's first day in school, got their own pet, nursery rhyme, giving up for adoption, living at orphanage)

Mods automating delivery of my CC memories (more to come) Learned nursery rhyme from - Found here, by me Wrote restaurant guide - Found here, part of jonasn "Novel Writing Improvements" mod

Credits: DiLight, @picknmixsims, @morepopcorn, @latmosims, @joplayingthesims, maxon, @keoni-chan. For detailed info on how they all impacted the creation of this, see readme :) Policy: Give credit to DiLight, beyond that, totally open. Enjoy!

[tabithatwo]

are we ready to talk about shauna's barely hidden but somehow very ignored psychosis and how it, like a ton of her other qualities, is brushed aside by both those around her and the audience? like, i think its clear that a central focus of the show is the way lottie is the only one who got stuck in a facility (and natalie in and out of rehab being the next closest to reckoning with her shit) when the rest of them are very clearly not okay. as a certified Crazy Girl, i've been weary of how they'll handle lottie's story line (blurring psychosis and the supernatural is a very delicate and tricky thing and thus far i've been sort of just waiting to see where it goes). our data on and understanding of mental health is incredibly limited for a lot of reasons (but that's a rant for another time) but there is a large mainstream misconception of when hallucinations and delusions can happen. psychosis isn't just something that happens in schizophrenia and its very complex, so if you want to learn more there's plenty of info out there i'm not going to get into it here, but it happens in a lot of other cases. psychosis is, most simply put, a loss of contact with external reality. ptsd can cause psychosis, especially auditory and visual hallucinations.

so shauna is shown to have these experiences and i didn't realize that they were being so heavily overlooked by a large amount of people until the reaction to the scene where she beats lottie nearly to death. shauna is introduced in s1 as having hallucinations of jackie 25 years later. she is shown to disassociate. in 207, she both holds the baby's body and believes the delusion that they ate the baby. the episode shows her fighting the delusion until she can't anymore. meanwhile, adult shauna tells lottie she keeps callie at arms length out of "fear that she would die...i guess? or maybe that she was never even...real to begin with." then she adds "i think something is broken, lottie." implied: she's broken. something is wrong with her. this is the is the most honest about her mental state we've ever seen shauna be.

why? because lottie has always been and likely will always be perceived as crazier. lottie is the one they pin it on, lottie is the cult leader both then and now, lottie is the scapegoat, lottie is the one who got sent to switzerland. i think there's something to be said for the effect lottie has on people (again, a whole other post) but honestly, that alone is enough. shauna is feeling vulnerable for a lot of reasons and she can tell lottie that she thinks she's crazy, that she's never quite sure her daughter exists, that she's constantly afraid she'll die to the degree that she doesn't let herself interact with her in a real, tangible way, because it's always safer to tell the crazy girl you're crazy, too.

and lottie knows. shauna knows that. lottie clocked her psychosis almost immediately, when she was in the meat shed for all hours. the other girls were shocked by the makeup, and their shock was so fucking strange to me when i watched it, but now on reflecting i'm realizing maybe its the lottie effect. like, have i done the shit shauna has? abso-fucking-lutely not lol. but does my mind work in a way where i immediately would assume shauna was doing something along the lines of the shit she was doing out there, because to me its like...what else would it be? yeah. like sees like, in a way. lottie knows what this looks like at baseline, even if its coming out way different in shauna. even if in shauna it looks like aggression and violence a lot of the time. lottie gets it.

jeff doesn't get it, he thinks strawberry lube is too wild. taissa gets it to a degree, and we see shauna be the second most open with her, but tai suppresses and hides it a degree that she wouldn't dare step foot in a therapist's office (this is yet another thing that makes me crazy but is a whole other post lol). shauna's main goal in this life she's created is pretending to be normal. and she's like, impressively bad at it. but people let her, because what else are they going to do? addressing the clear issues is taboo, because we categorize people so heavily. she masks better than lottie, but it's fucking wafer thin. you see this when she interacts with people who aren't her family or the other yjs. the way she speaks to the taylors? to adam? shauna is only sometimes masking passably when she's in her set world, where she has a routine, and is surrounded by people she only has to half-convince of her sanity.

if shauna is honest about the level of psychosis she experiences, she knows she'll end up like lottie. and i think there's an argument to be made that the people around her (which at this point in her life is pretty much just jeff because she's done another common thing and insulated herself from other people, re: the way she behaves being clockably off to others who won't overlook certain things or can't relate) understand that too. it can't be addressed, because then in their minds there must be action of some kind if it is. (taissa yelling you're acting crazy, shauna is one of the most purely terrified moments we see of her in relation to shauna, because she knows she's admitting something. jeff yelling something to the same effect after the carjacking, same thing.)

the person we see try to get shauna to open up about it is callie. her teenage daughter, who bares the brunt of her difficulty maintaining reality, (who knows that shauna has never accepted her fully as her child, and seems to actually sense that there is a deeper reason for that), asks her to open up. she tells her after the club scene that she knows something is wrong. she even mentions jackie directly. she spends all of s2 trying to relate to shauna, to get her to be open with her about everything. there's no way shauna's trauma and psychosis and general issues have gone unnoticed by callie. daughters always know. they see it in their mothers before they even have a concept of the world. so we're watching a 16 year old try to get her mom to open up, because she doesn't understand fully why that's so dangerous to shauna. to callie, it may even be a secret she thinks other people are in on that she's being left out of. i think maybe she's realizing that it isn't personal and that shauna is guarded like this in general, and we're watching that happen.

callie is learning to care for and relate to her mother and she doesn't see why shauna won't let her in, because to her it's an innate truth that she'll be by her side no matter what (if only she'd let her be). she has unconditional love for her mother and that is the scariest thing in the world to shauna, because the last person who had unconditional love for shauna died because shauna didn't know what to do with it. a baby she never got a chance to meet in reality could've replaced the love that jackie gave her, and shauna was maybe starting to look forward to that, but that ended before it began. so twice shauna has killed that figure in her life. the one who loves her wholly and for who she is, which is terrifying to shauna in it's own right (she tried to take that away from jackie in their last moments, maybe you never really knew me, because that would be easier. shauna can't handle someone really knowing her because she can't handle really knowing herself because, again, that means addressing things that go unaddressed). and she doesn't plan on killing that figure again.

(if callie's even real, because the baby wasn't real when she met him and jackie wasn't real every time she's talked to her in the last twenty-five years, so who the fuck is to say callie is real?)

[gffa]

TALES OF THE EMPIRE wound up being a mixed bag for me, there was a lot I enjoyed but there was a lot that just felt really unfulfilled. Morgan's episodes were very pretty to look at but I couldn't help thinking--the entire time I was watching, even--that Filoni's not great at creating new characters that can carry entire episodes like this, none of this felt particularly necessary or like it was fulfilling a void that I wanted to know more about. It doesn't help that I still think her arc in live action was badly handled, that if she was meant to be a Nightsister from the beginning, her first episode should have dealt with that, instead of springing it on us later, so when filling in the background of her on Dathomir in TOTE, it brings all that up for me again.

Morgan's first episode was so pretty and it was interesting to potentially get more Dathomir lore (even if it's incredibly thin and I felt it was too close to the "we see others suffering in the galaxy, but we don't want to get our own hands dirty by fighting for other people or getting involved in helping others, btw we're morally better for that :)" trope for me personally) but everything on Corvus just felt superfluous to me and I spent time trying to figure out why I felt that way. If they had done her story this way or that way, would I have enjoyed it more? If they had included this or that, would I have thought it more necessary?

And ultimately I just kept coming back to that I don't really care about Morgan Elsbeth enough that I wanted three animated shorts dedicated to her, when I could have had so many other characters get fleshed out better. I appreciated that they were showing two characters on opposite journeys, that Morgan was falling into the dark step by step, while Barriss was slowly clawing her way out of it, but that's about all that I appreciated of Morgan's story (other than the beautiful animation).

But I'm not sure I feel like Morgan's motivations were all that well planned out. It's clear that she's looking for revenge and trying to find a new family at the same time, but it's not really clear why she's working with the Empire or how she thinks this leads her to her goals. Grievous is the one who murdered her village, how does working with the Empire (as the Separatists were folded into the Empire, too) achieve that goal? Who or what is her revenge focused on? Is it that she just wants the whole galaxy to burn, because if her village burned, so should everyone else? I feel like that's probably what they were going for, but that it could have been more coherently written.

Barriss' episodes hit a lot harder, where I'm glad that she at least got an arc, but I feel like it just missed so many marks, like why even have Vader there, I'm all for gratuitous Anakin cameos, he's my trash can man and I'm always excited to see him, but absolutely nothing was done with him, despite that he was looking Barriss right in the face there. Not even a moment of showing the audience, "Oh, his soul is so far into the dark of fear, hate, and rage that he doesn't even care about her anymore." Just nothing there, like there was no connection at all. How do you go to the lengths of putting Vader in a scene with Barriss and then treat it like there's no history between her and Anakin??? So completely unsatisfying!

And then it's another series where other guest appearances would have made sense--Barriss has a whole unfinished story with Ahsoka and you don't include her here? I'm as tired of Filoni putting Ahsoka in everything as anyone else, but here it would have made sense and would have brought that relationship full circle on-screen, Barriss' betrayal of her and her clawing her way back to the light after all the trauma and hurt, there's so much she and Ahsoka would have between them. And then nothing.

Or Barriss' relationship with Luminara, TCW never really got into how that must have felt for Luminara, to have her student betray the Jedi so profoundly, for her to fall to the dark, there's such a well of potential there and it's just entirely ignored. She mentions Luminara once and it was a lovely mention, but there's no sense of resolution or completion to that arc.

I did enjoy her story with Lyn and I try not to compare what the show wanted to do with what I wanted the show to do, but I couldn't help it. During all those scenes, all I could think was that this could have been so much more powerful and complete if it had focus on Barriss' established relationships and characters I already care about, because a new random Inquisitor is just not going to hold the same weight for me as my pre-investment in Ahsoka and Luminara. (On the other hand, with the way they butchered Luminara in the last season of TCW, maybe I dodged a bullet!)

For all that negativity, though, I really loved that Barriss found herself in being a healer again, that she found the light again. That's all I've wanted for my girl!!!! (That and put a headdress on her, ffs.) I legitimately took in a hard breath when she said, "Then you have one more Jedi to deal with." because Barriss is still working through too much to fully come back to clarity re: the Jedi at that point , but when it really came down to it, when she really saw what the dark side really was, part of her still was a Jedi. And the way she spoke of her time as a Jedi, once she had a clearer, lighter head again, was sweet, I was so surprised that we got that much from her, but I'm so glad because, if nothing else, Barriss herself deserves to be in the light again.

The way she was settled into her own skin by the time she confronted Lyn on the icy planet, the way she genuinely wanted to help her, but wouldn't let her hurt innocent children, the way she could sidestep Lyn's predictable moves and could stop the blade with just a hand held out, she found her path and what she wanted to do, and oh it was so lovely to see Barriss finding herself again. I loved so much that her unshakable compassion did reach Lyn, it was such a satisfying arc for Barriss to reach that place after all the people she'd hurt. I loved so much that Barriss getting back to this place does a lot to remind us that her foundation is a compassionate one, even if she was lost to the dark for awhile.

I just wish that there had been acknowledgement of those she hurt, the people that died because of her, the betrayal she stabbed people in the back with, rather than just "sees the dark side is bad, walks away, finds the light again", which goes back to that this feels like a generic story that's mostly impactful because I'm filling in the gaps myself because I already know Barriss as a character, rather than that it continues the story that was previously told about her.

At the end of the day, I enjoyed it and I recognize that I'm being a little unfair in how I'm saying I wanted this, this, and this, rather than digesting what the show itself wanted to do, but when you're crafting two stories that are specifically about showing us the journey of two characters that originate elsewhere, you're drawing on the stories from those other origins--except TOTE decided to only halfway do that. There's a lot to love in these shorts, the animation was incredible, the voice work was incredible, Barriss' emotional journey was incredible and I'm so thankful that they even gave her any kind of compassionate resolution. But the specter of how much the shorts ignored hangs over it too heavily for me to say that they were anywhere near what they could have been imo.

[sophegg]

hey. I know everyone is feeling a lot of things right now and most of them aren’t great, but it’s okay to still acknowledge that at its core, the QSMP was a good idea. it may have been managed poorly and my heart goes out to all the admins that worked so hard for nothing in return, but they worked so long and so hard for a reason: they truly loved and believed in the concept. even if you no longer feel comfortable engaging with the project or content about it going forwards, we owe it to all these people who worked so hard to acknowledge that the stories and characters and builds and puzzles they created were AMAZING. I wish they were able to create these things under better conditions, but I’m not going to go back and say everything about the QSMP sucked.

the whole goal of the QSMP was to bring communities together, and translation software was well developed to do so. we now have an extension that right now is allowing Portuguese speaking and Spanish speaking chatters to watch and enjoy their favorite CCs compete in Liar Liar on the Tubbathon, even though they are speaking English. it’s led to so many English speakers being inspired to learn a new language and to watch non-English speaking streamers, and so many friendships across language barriers have formed. we can and should discuss the problems with the server, but we can also reflect on all the good that has come from it.

[equallyreal]

Transmission Received: The Call Is Coming From Inside The House And I'm Mad About It

Or, a response to National Novel Writing Month's stance on Artificial Intelligence.

But before we get into that, a quick story update: I actually haven't been working on much of anything lately due to some IRL issues going on (nothing too serious, don't worry, I am still alive and healthy). The Edge is going to be on a soft break until I get my energy levels back up to serious writing levels, but I will continue to make update posts to keep people in the loop about how well I'm recharging.

Unfortunately for the people behind National Novel Writing Month, while my energy levels might be low, my spite levels are always at an all-time high, and they are fully fueling me to take down their official position on AI. But first, a timeline.

I wake up to a message in a group discord I'm in with a screenshot of National Novel Writing Month making some...interesting comments about their position on AI.

While going to tumblr to see if anyone else is talking about this, I find this post my @the-pen-pot featuring the screenshot I saw. In the responses, I see @darkjediqueen saying that the article had been updated @besodemieterd giving some information that I'm going to keep secret for now because it creates a truly amazing punchline.

I get off tumblr and read the updated article.

I feel a deep rage in my soul that cannot be tamed by group chat participation, and I click the "write a post" button.

So, with that out of the way, let's break this down, shall we?

The original post, as seen in the screenshot of the above post, contained the following two paragraphs:

NaNoWriMo does not explicitly support any specific approach to writing, nor does it explicitly condemn any approach, including the use of AI. NaNoWriMo's mission is to "provide the structure, community, and encouragement to help people use their voices, achieve creative goals, and build new worlds—on and off the page." We fulfill our mission by supporting the humans doing the writing. Please see this related post that speaks to our overall position on nondiscrimination with respect to approaches to creativity, writer's resources, and personal choice.  We also want to be clear in our belief that the categorical condemnation of Artificial Intelligence has classist and abelist undertones, and that questions around the use of AI tie to questions around privilege.

This was all I saw when I first heard about this, and this on its own was enough to tap into my spite as an energy source. The second paragraph, in particular, was infuriating. "People who argue against AI are classist or abelist" is a terrible take I've seen floating around AI Bro Twitter, and to see it regurgitated by an organization that is supposed to be all about writing was, to put it simply, a lot.

But, as noted in the timeline, I did see that they had updated the article (about two hours ago as of me working on writing this), so I went to the updated post to see what was said. Somehow, it had gotten worse. I'll be addressing the updated post on a point by point basis, so if you want to read the whole thing without my commentary, here you go.

The first paragraph is the same was it was in the screenshot. The first major different is an added paragraph that begins like this:

Note: we have edited this post by adding this paragraph to reflect our acknowledgment that there are bad actors in the AI space who are doing harm to writers and who are acting unethically. We want to make clear that, though we find the categorical condemnation for AI to be problematic for the reasons stated below, we are troubled by situational abuse of AI, and that certain situational abuses clearly conflict with our values.

First off, I find it a big troubling that while they discuss bad actors in the AI space, they won't acknowledge that these same bad actors are often the ones pushing the whole "being anti-AI makes you morally bad, actually" accusations with the most fervor.

Second, why are you not more strongly discussing and pushing back against the "situational" abuse of AI? Why is the focus on how using AI can be good, actually, rather than acknowledging the fears and angers of your userbase around how generative AI is ruining an art form that you claim to want to help foster? I have a theory about this, but we're saving that for a bit further down.

The paragraph concludes:

We also want to make clear that AI is a large umbrella technology and that the size and complexity of that category (which includes both non-generative and generative AI, among other uses) contributes to our belief that it is simply too big to categorically endorse or not endorse. 

The funny thing is, in a vacuum, I don't have a problem with this statement. They're not wrong: AI is an umbrella term with a lot of complexity to it, and I can see how people would be hesitant to condemn the technology as a whole when there are uses of it that aren't awful. If their whole statement had been this, I would have less of a problem with it (still some of a problem, sure, but I wouldn't be writing a lengthy blog post about it) But they had to delve into how Being Against AI is Morally Bad, Actually, which is where the post continues from here.

The last big change between the screenshot and the updated article is in this paragraph:

We believe that to categorically condemn AI would be to ignore classist and ableist issues surrounding the use of the technology, and that questions around the use of AI tie to questions around privilege. 

This is much less strongly-worded than the original paragraph. If I had to guess, they got a lot of criticism regarding the original sentiment (namely, assuming that disabled and poor people can only make art if a machine does it for them is actually way more abelist and classist than saying generative AI is bad), and dialed it back through this rewording. They could've just worded it this way from the beginning instead of saying the dumbest possible thing they could've, but whatever.

I don't know if the rest of this was in the article from the beginning or if it was added later, as the original screenshot I saw only showed the first two paragraphs. Regardless of whether this is them trying to cover their asses by explaining logic they should've explained from the start or if this was always here, I still have major issues with these points, so we're going to address them next.

(As a quick full disclosure note: I had to transcribe the rest of the article instead of copy-pasting it because I lost the ability to do so at about this point in the blog writing process. I don't know what happened or why, I just wanted to let you know that almost all typos are my fault, but beyond that I recorded the text as-written at the time that I had the article up in another tab. I promise.)

Classism. Not all writers have the financial ability to hire humans to help at certain phases of their writing. For some writers, the decision to use AI is a practical, not an ideological, one. The financial ability to engage a human for feedback and review assumes a level of privilege that not all community members possess.

You may note that they are discussing the use of AI at what seems to be the editing process. As someone in my group chat pointed out, National Novel Writing Month has nothing to do with editing, and everything to do with writing. The only way you can currently use AI for the act of writing is if you use generative AI to do it for you, which is, I think we can all agree, not actually writing and is actually bad. This emphasis on editing ties into the punchline, which we'll be getting to shortly.

On a final note before we proceed though, I would like to carry over an argument about this matter that is used in the small business/handcrafts sector: If you can't afford it now, save up for it. Don't devalue the work of other people (in this case, editors and things like sensitivity readers or beta readers) by saying it's too expensive and I can get it cheaper on Shein by using AI. Save up and support your fellow workers if it really means something to you, or just do the editing yourself and hope for the best. (Disclosure: I don't have an editor. Or a beta reader. I can't say my writing is the most polished all the time, but I get by just fine.)

Abelism. Not all brains have the same abilities and not all writers function at the same level of education or proficiency in the language in which they are writing. Some brains and ability levels require outside help or accommodations to achieve certain goals. The notion that all writers "should" be able to perform certain functions independently or [sic] is a position that we disagree with wholeheartedly. There is a wealth of reasons why individuals can't "see" the issues in their writing without help.

First of all...just say "disabled." I promise your hands will not fall off if you type that word.

Second, level of education should really fall under the class bullet point, but that's just me nitpicking.

Third, I would argue that the real goal here shouldn't be to say "no using AI is fine, actually", but rather to a) dismantle the idea of what writing "should" look like in order to make it more inclusive, and b) fight back against people who bully imperfect writers. Those are actually more noble goals than propping up a corrupt industry by using the disabled as your scapegoat.

Fourth, the dangling "or" is not a typo I take credit for. It was in the article as of me transcribing it. If I had to guess, there was more to this sentence at some point, and they just didn't fully delete the thought.

Fifth, funny how this is once again more about the editing process of writing and not the writing part. Even more funny when we view the final point.

General Access Issues. All of these considerations exist within a larger system in which writers don't always have equal access to resources along the chain. For example, underrepresented minorities are less likely to be offered traditional publishing contracts, which places some, by default, into the indie author space, which inequitably creates upfront cost burdens that authors who do not suffer from systemic discrimination may have to incur.

This one really pissed me off, because the indie author sphere is actively under attack by the use of AI. AI-created scam books on Amazon's kindle publishing platform are increasing and actively stealing attention and money away from human authors (see this article). Sci-Fi magazine Clarkesworld had to shut down new author submissions due to the influx of AI generated stories, and while the head of Bards and Sages cited physical and mental health problems as a reason for shutting down the company entirely, having to weed through AI generated submissions and the way such bad actors are impacting the industry were listed as the final straw. There are probably even more examples of this, but I only did a cursory google search to avoid being here all day.

Simply put: AI is not helping authors who have to go to the indie space in order to escape systemic problems. It is actively killing the space instead. I don't want to sound doom and gloom, but if this keeps up, these authors aren't going to have anywhere to run to. A refusal to condemn the ways in which AI is impacting these spaces does, in my opinion, make you complicit.

On a final note, you might notice that this point is seemingly once again focusing on editing, not writing. Which means it's time to unveil the punchline pointed out by besodemieterd, the response that made me lose my mind:

They made this bullshit up to justify them getting into cahoots with an AI company called ProWritingAid, it's all over their instagram.

I immediately ran to factcheck this...and it's true. ProWritingAid is, in fact, a more in-depth Grammarly that uses AI for its functionality. They are a sponsor for National Novel Writing Month, and the first three posts on their instagram are dedicated to this partnership.

I completely back up besodemieterd's belief that they wrote this article to justify their taking this sponsorship. If I had to guess, they started taking a lot of flack for taking ProWritingAid as a sponsor and wrote this article in order to defend their decision to do so without actually saying so directly.

I don't want to shame NaNoWriMo for taking sponsors on the whole, as they do need money to stay afloat. However, taking an AI company as a sponsor and then defending their stance by essentially calling people with concerns about this morally wrong and bad is, as the kids say, clown behavior. This is clown shit. It's laughable, it's cringe, it's incredibly disheartening. It's so, so bad.

The next paragraph is just about how they "see value in sharing resources about AI and any emerging technology, issue, or discussion that is relevant to the writing community as a whole." Since my stance on this can be summed up as "AI bad and platforming it is bad", I'm going to skip over this paragraph. I will, however, address their last paragraph:

For all of those reasons, we absolutely do not condemn AI, and we recognize and respect writers who believe that AI tools are right for them. We recognize that some members of our community stand staunchly against AI for themselves, and that's perfectly fine. As individuals, we have the freedom to make our own decisions.

So, basically, you're incapable of saying "no" to money and decided to lean into the talking points of bad faith actors and refuse to address the destruction that generative AI is wrecking on the writing world in order to justify why you took a certain sponsor. In taking this middle of the road, individual choice-ass response, you also threw human editors and beta readers under the bus by justifying the use of technology that actively removes them from the space. You are making the writing world a worse place, which is absolutely crazy when writing is supposed to be the thing you're all about.

Truly amazing. And they're doing this on Labor Day, too.

In conclusion, I will be dead in the dirt before you spot me participating in National Novel Writing Month again. Which is probably for the best. My life can only handle so many self-imposed deadlines. I guess I should be grateful to them for removing one from my plate.

[nkjemisin]

Hey there. I'm writing a story set in New York City and am not American. I have few characters, but most of them are arab or white. I can't help but feel a bit wrong about it, given that America is much more diverse than that, and NYC being an emblem of that. Do you think I should force myself to include more representation or should I just tell my story, and leave that more diverse cast to some other story I could write? I know this is a neverending debate and there are many opinions about it, but I've always agreed with everything you've said in matters of representation in fiction, and so I'd be curious to know your personal answer on it.

I'm a little confused by how you're using "representation," here. It sounds like you think representation = "randomly sticking BIPOC everywhere." I think when most people use that word, it means something more like "create an accurate or at least plausible depiction of a group or place." In actual New York, there are plenty of Middle Easterners and white people who live in relatively homogeneous small communities where they might only see someone of a different ethnicity on the subway. If your story is set in one of those communities -- and you do stick some random BIPOC in that subway scene, because that's plausible -- then it sounds like your characters might be an example of good representation.

(Note: if you're not writing something set in the real world, but it features human beings, it needs to represent humanity as a whole, unless there's a good in-world reason not to. But if it's our world? You can get specific.)

Here's the catch, tho: plausibility is relative. If you've absorbed some biases and haven't done enough research, then you might end up writing something that feels plausible to you, but which isn't actually representative or plausible to anyone else. The way to avoid this is to do the research and check (to the best of your ability) your biases. For example, you aren't American, I assume you've at least visited NYC? If not, you should. You can visit some of the communities I mentioned! You can eat in restaurants, visit mosques, have conversations with actual real people who are living the life you're writing about! If you don't have the time, money, or spoons to do that, there are other ways to do good research -- films and YT/Tiktok videos made by people from the communities in question, for example. But you'd need to watch a lot of them to get a good representative sample.

I recommend this book to all the writing students I've taught at Clarion, and other writer workshops: Writing the Other, by Nisi Shawl and Cynthia Ward. There's a particular part of it that seems relevant here, which is a kind of hierarchy of "appropriate" appropriation, I think first mentioned by Diantha Day Sprouse but included in Writing the Other. Basically it says that if you want to write about a culture that isn't your own, you can learn about that culture in one of several ways: a) You can be an Invader, and just go take whatever intellectual and artistic tidbits from that culture that you want, regardless of how damaging this might be to members of that group. Example: non-Indigenous people who write about actual secret practices, or who encourage the desecration of sacred places. b) You can be a Tourist, in which you're still mooching from that culture, but at least you're figuratively paying someone for it and accepting tidbits that the culture has chosen to sell. Example: getting a sensitivity reader. Or c) you can be an Invited Guest, who brings in as much as they take out, and who has formed relationships that are beneficial to all involved. Example: being part of an exchange program, both as a student and later as a host, and maintaining those friendships outside of the program.

The goal is to be an IG, but that isn't always possible. Tourist is still better than being an Invader. (...I feel like I'm leaving out a category. It's been a while since I read the book; any more recent readers want to check me here?) But the closer you can get to actually participating in that culture, the more your work will be informed by reality instead of biases or misinformation, and the more likely your work will read as plausible not just to you, but to your widest possible audience -- people familiar with the culture and people who aren't.

(I'm a little concerned about your phrasing of "force myself to include more representation," note. Why would that need to be a forced thing? A writer's goal should be to write something that feels lived-in and authentic to [if it's a real place] most people's experience -- not to meet some arbitrary standard, but because that's how you master immersion and characterization. If good immersion and characterization feel forced to you right now, that suggests you need more practice. I recommend writing short stories!)

[54625]

I'm not sure if this is the end for the QSMP, but I wouldn't be surprised if it were shut down soon after this.

The eggs have been the lifeblood of the server since they were introduced, and having some of them permanently gone from the server is devastating for so many reasons, and bodes terribly for the future of this project. My optimism has run out. I will still wait for updates but I have no hope.

However, I wanted to write a piece for the community here on Tumblr. I know we're all very emotional right now, because while we have no confirmation that the QSMP will permanently close, we now have good reason to assume there might just be no other clear path out of this.

To the community:

Do not feel like you have to stop loving the server and everything it created. Do not stop creating art. Do not stop sharing why you loved the characters and the story and the world.

To completely boycott everything QSMP, you are discrediting the incredible work that the admins put into the server purely out of passion and the kindness of their hearts. Do not waste their sacrifices. Talk about the server and everything they did for it, give them recognition, let them know we love and appreciate all the time and care they poured into this project. Thank them by caring about their work that they put so much of themselves into.

To completely boycott everything QSMP, you are ignoring the beautiful friendships it created between content creators who otherwise would never have met, and the way it ignited such a fierce determination to learn about others' cultures in them. You are forgetting how much these streamers strived to tell engaging, relatable, fun stories, by themselves or with each other, and to have their fans talk about how much they liked their newest lore. You are refusing to acknowledge the effort put in by everyone on the project to tell amazing stories through the language barrier.

And to completely boycott the QSMP, you are denying yourself the fact that you loved this server; the eggs, the streamers, the stories, the cultural events, the laughter, the sadness, the friendships, the ship ships, the builds, the mods, the languages. You are part of this server for enjoying it's wonderful vitality and beauty and hilarity. As a community, we all are.

I have had my gripes with the QSMP fanbase, as anyone has gripes with the dysfunctional mad household they live in, but at the end of the day, I love it so much. This has been my first time actually being part of a fandom; interacting with people and sharing my art and my ideas, getting into silly debates and arguments, running my mouth off more than I should. I love this bizarre toxic fandom for all of it's worth; I love the fanfic writers (even if I think their characterisation is terrible), I love the fanartists (even if they give Pac those yellow scleras that always make me think of jaundice), I love the live bloggers (even if they clog up the main tag), I love the people who write analysis, the people who make animations and animatics, the people who webweave, and all the other things people in this fandom do to interact with the media we all collectively love and bond over.

We do not need to let this be the end of our community, as we can still share our admiration for the hard work put into this project, lift each other up, express praise where it is warranted.

And we can talk to each other, we can vent about how this has negatively effected us (provided we tag it appropriately 👁️👁️) and respond in kind to those seeking someone to speak to who relates.

The QSMP taught us the value of communication. While behind the scenes, it itself did not abide by it's own rules, we can. The QSMP itself is not the figurehead of communication; the content creators and the fans it sent this message to are. We can be an example of what the QSMP should have stood for.

I do not love the deeply flawed execution of the QSMP, but with my whole heart I love the idea; the ambition, the goal. It was noble. It, to some extent, worked.

It united communities.

Let it unite ours.

[rachetmath]

Jaune More MC Ruby?

Ruby: That’s why I’m the MC and you're the side character.

Jaune: So because you have silver eyes you’re special?

Ruby: Yep.

Jaune: Even though I cheated Beacon.

Ruby: Yep.

Jaune: I was bullied.

Ruby: Yep.

Jaune: My partner is dead. And because I let my guard down, Ozpin died, and Oscar had no choice but to come on this journey. You know,  because of me.

Ruby: Yep.

Jaune: And because Cinder, who works under Salem killed my partner, I have beef with the main villain and her whole crew.

Ruby: Yeah.

Jaune: Salem, who I have way more in common with than most people, the deemed goddess I’m defying her, just like she did with the brothers over a loved one's death. Are you following me so far?

Ruby: … Yeah…

Jaune: Hazel, who mind you, lost his sister. He lost his sister because of the world Ozpin had created, like I did, with Pyrrha.

Qrow: She had a choice.

Jaune: A few days' choice which turned into minutes when Beacon was attacked. Then discovering how bad the situation is, you know with Salem being immortal, I almost hurt if not killed Oscar, making me at the spur of the moment,  just as bad as Hazel. And mind you I was willing to fight you on that.

Ruby: Uh… yeah…

Jaune: Tyrian, has the opposite to my semblance. Wasn’t he more interested in me than you? And you were his target.

Ruby: Mmhmm.

Jaune: Let’s talk about Cinder again. Cinder had two stray kids who followed her. I have Ren and Nora. Neither have parents. Also, we both want power but for different reasons. We even have different views on destiny.

Ruby: Oh damn.

Jaune: Atlas. Oscar did Ironwood not act like how I did in Argus but worse?

Oscar: Yeah he did. Jaune even saw Salem in person before you did.

Yang: So did we. You saw her face to face.

Oscar: I’m Ozpin. What is that supposed to mean?

Ruby: Oscar, not helping.

Jaune: Neo. We both lost our partners. The difference is that I have friends while she has none. The cat, him, and I almost have the same ability except he manipulates your soul or takes it. He might as well have been a devil version of me.

Weiss: O. Dear lord.

Jaune: Watts. … … … You know what no. He-he was no. Like he could have done better, he’s an example of being smart yet making the dumbest choices. 

Weiss: True.

In the Twilight

Watts: What?! My decision was understandable.

Ironwood: No. No, they were not.

Penny: Like you could have logically put your two weeks in and left for another kingdom. Or country. Like Vale. Mistral. Anywhere. You could have helped where you could've been needed. Which would have made you better than my father.

Watts: I wasted my life.

Back to Remnant 

Ruby: Um….

Jaune: You know what I have to ask this question. What is the moral of the story and how does your character fit into this?

Ruby: Well my-

Jaune: Let me retort. I lied. I was bullied. I had no idea about anything in the hunting world. I needed a teacher. I lost someone important to me. I have beef with the main villains. I train to get stronger to be of use to others.

Ruby: So?

Jaune: Okay. No one believed in me. But I still went to chase my goal. I lost the best thing in my life. I still moved forward. I had to kill someone. Still moved forward. I’m an old man trapped in a boy's body. Still moving forward. Fighting the odds that are stacked against me. I have seven who no one knows about. Yet your family is more interesting.

Ruby: Your point?

Jaune: The moral of the story is that no matter your circumstance you can always be better. Never allow destiny or grief to influence your entire life. No matter what odds that stand before you,  you can ultimately change your fate. And no matter the darkness a simple soul can light up the night and unite everyone against a greater evil. Even when the whole world is against you, you are never alone to endure it. If we stand united and look past our differences only then the wor;d would be a better place.

Ruby: Well my mom died at Salem’s hands.

Jaune: And?

Ruby: It's still relevant.

Jaune: You're right. But how many times has your mother been mentioned and you bothered to get information about her?

Yang: I-

Jaune: Bitch shut the fuck up. You were looking for the deadbeat mom more than the mom who stepped up.

Ruby: Well um… um…. Damn. Oh, but I-

Jaune: You weren’t the sword. I may not have known Penny as long as you, but the fact, that I could've saved her proved her death hit harder than Pyrrha's. I’m close to walking in Raven’s path.

Ruby: Shit.

Jaune: And back to your mother. She was a silver-eyed warrior. But Salem is still here. Do silver eyes work on her?

Ruby: Um.

Jaune: Because Salem is still both the brothers' creation. The old humanity. She can't be phased by the black liquid even though everything they touch decays. 

Ruby: She's immortal.

Jaune: Yeah but again when Maria told you her story didn't she try using her silver eyes on humans and it didn't work? 

Ruby: Cinder.

Jaune: Grimm arm.

Ruby: The hound. 

Blake: Silver-eyed person too but only stunned them.

Ruby: Blake.

Blake: What a minute he had animalistic ears. Should I be concerned for my people?

Jaune: Yeah… we’re not getting into that. The point is if you go see Salem and your silver eyes don't work then your mom died for nothing.

Ruby: Oo. Um…

Jaune: And let's get back to the other villains. Besides Emerald, Mercury, and Tyrian, some of them have valid reasons to join Salem. 

Ren: Jaune!

Jaune: Ren, your village got destroyed.

Ren: Nevermind.

Me: Hold up. Let me start. With Cinder, a huntsman saw what she was going through and didn't bother to help her. She was alone. The world abandoned her.  

Jaune: So Hazel was right. In fact, Raven had a point.

Oscar(Ozpin): Mr. Arc I-

Jaune: Motherfucker Hazel had every right to be angry. Dude shadow missions involve us going with experienced hunters. Yet his sister died and Ruby could’ve died. Shadowing them. Following their lead. Does that not show how bad the hunting system is? Not just that we got hunters who died in the line of duty. Not to mention how some were sexually harassing the girls.  And some of them are just plain crazy or assholes. Not to mention Blake, Qrow, and Raven. You let them in. And to make matters worse you chose Pyrrha, a first-year student, to be your maiden.

Oscar(Ozpin): She was my best option. 

Jaune: So Glynda wasn't on the table? A high-ranked fourth-year student wasn't on the table? Man, at least you could have chosen Ruby considering she has silver eyes and is a young upcoming prodigy. That would have made her more important. Like Ozpin Ruby off the bat was better than Pyrrha.

Qrow: Hey, I would have stopped that.

Jaune: O, so… it was okay with Pyrrha… but not your niece. I see. Hypocrite.

Qrow: Damn. Set myself up for that.

Jaune: Watts, despite his stupidity, had a point. James would abuse any source of technology just to have some level of control over something. Why did you think he wanted your sister instead of Penny? Why do you think he wanted Amity up as quickly as possible? Why do you think he hacked into Penny? Everything was always about control.

Weiss: Well our lives weren't easy.

Jaune: That I won't deny. Yet we are all still bad people.

Yang: Jaune my mother -

Jaune: Raven and Summer left you. Summer no one cared enough to talk about. Raven doesn't matter at all. Willow waited until her children were teenagers or young adults to start dealing with an abusive father. And Kali… yeah she should have slapped some sense into her daughter. 

Weiss: Well your mom doesn't love you.

Jaune: Don't care. Back to Jacque though how does he and James know each other? Why do they have beef with one another? Unless… o. Oh no. Don't tell me. Did James set Jacque up with Willow? And in return, he helps James rise to power. Or did James love Willow but because of his career he couldn't marry her? Could Winter be-

Weiss: Please stop. I do not need those theories in my head.

Jaune: Fine. The point I'm trying to make is… … well how about you explain.

Me: It's crazy how Jaune fits the main character role better than Ruby.

[thekingofwinterblog]

Man I wish your MHA prediction came true, cause, no spoilers, but the truth is so bad😂

atleast its finallly over... never reading a series when it hasnt finished serialisation again😂

It's not even a BAD manga ending... i have seen BAD manga endings before, i know how they look like.

No, what MHA's final chapter is, is a NOTHING Ending. An ending where it is so, PAINFULLY obvious that the Mangaka or his editor did not want to piss anyone off, or take risks in general, that for a whole host of characters, there is NO closure, or even worse, it negates what came before.

so, its not like there is nothing good about the chapter, as i like shoji's big declaration, and the fact that japans society is changing to help people deal with the quirks withouth having to become heroes... but other than that, even the stuff i liked had major caveats.

But by far the biggest issue is that there are so many characters who got NO closure for their respective relationships, and it is stupidly obvious why, and who.

and since this question was prompted by Aizawa and his development, lets start with mic and Aizawa.

This picture right here encapsulates how Aizawa has changed. This is where he was always planned to end up. It is his natural end point compared to where he started off his story. Having turned into a much more caring man, who helped Aoyama rise above his flaws and change for the better rather than the brutal and spartan teacher he was at the start.

Or as his Ex Girlfriend would have put it has learned the value of "A household where the laughter never ends.".

However, the problem is we get no chapter, or even an ATTEMPT at giving him any form of closure where this change is encapsulated, the way we got with Endeavor, spinner, and Uraraka.

And thats a problem, because it wasnt ONLY hjis character who was tied to this hypotetical chapter for closure.

The closure of the ENTIRE idiot trio from the previous generation, alive and dead was dependent upon whatever Hori had planned for this hypotetical epilogue chapter before he or his editor chickened out, leaving Kurogiri's death in the climax with NO sense of aftermath behind it, coming and going, and frankly feeling like an aftertought rather than the sad ending to the tragic tale of the man who died too soon.

It also leaves Mic the single worst off, because while Aizawa at the very least had his character development to fall back on as a final point, even if he didnt get a closure chapter or moment, Mic gets NOTHING.

and that's a big problem, because as im going to go over in my big analysis of the man, Mic's entire deal is that while Aizawa developed in a terrible, negative reaction to his buddy's death, Mic's reaction was to stop developing at all.

His entire life after the tragedy is being a background character in everyone else's life, the DJ who always tries to make everyones day brighter, but has no actual ambitions, dreams or goals of his own.

thats why he clings so desperately to his memories of highschool, because unlike everyone else from that time, those memories are all he has. Even Aizawa managed to have a girlfriend at some point, an actual relationship, that though it crashed and burned had meaning. Mic doesnt even have that.

He is the ultimate sad clown, who pretends to himself that he hasnt wasted his life, by embracing a role as a literal supporting character, that his teachers suggested he would turn out to be.

In other words, his role in a chapter dealing with the epilogue of the trio, would certainly have been to finally, actually begin living his own life again.

but withouth that, there is nothing to suggest he managed to change. he will just continue to waste his life, thinking he'll never be able to create great new times for himself, rather than actually living his life and making new, best moments of his life.

i might be more annoyed about Aizawa not getting that final closure with Miss Joke, but there is no questions that Mic got an even worse deal with the narrative than Aizawa.

He remained a background character to the very end.

he's not the only one though.

You know who else never got closure? The Iida brothers.

We NEVER got to see how Tensei reacted to his brother not only taking up his mantle, but actually surpassing him and all his deeds during the climax.

Tenya's great ambition was to become a great hero to live up to his brother, and we didnt get to see any of his family members reaction to him actually achieving this dream.

As for other members of class 1-A...

Hey, quick question for anyone who read this story, Did you think Mina and Kirishima's character stories ended with these two, small, not given very much importance panels?

No?

Well fuck you, youre wrong! this is where both of their characters ends. their relationship, and their character arcs in general ended here, and they get no closure whatsoever.

and finally we move unto Izuku and the bigger problem with him and where he ended up.

Starting with him becoming a non powered hero, using tech.

Okay, not a BAD ending... But i feel like... maybe... there was a plan for something with that. Maybe... Maybe something that happened, and would have eased his character into using tech, rather than All Might just showing up with it after he's been a salary man for 3 years... Maybe something that was foreshadowed for years, and years.... Oh right.

Izuku losing his lower arms.

Like, looking back, it is painfully clear that Izuku was originally meant to lose his arms for good, before the editor(as he did with bakugo's death) put the kibash on that.

I like the idea... but there was a much better and more logical road to him becoming Iron Man with him having to use robotic hands in the epilogue. it would also be the logical outcome of all that foreshadowing, and was probably the original idea before it was deemed too gruesome.

However, thats a missed what if.

And if you have read the final chapter, you know it's not the BIG issue with this chapter. The SINGLE biggest problem with this ending, that is going to haunt it forever afterwards.

The complete sinking of Izuku x ochako by making it clear izuku has no regular contact with his former classmates, and ending the story withouth anything to suggest these two hooked up at all.

Now, im going to be very blunt, and very clear, before i tear this entire ship sinking to bits.

I didn't like Izuku x ochako.

At all.

I thought it was boring, too drawn out, and i didnt find much enjoyment as a ship from their interactions. in fact i would say i found izuku to have better chemistry with pretty much every other female character he ever interacted with.

Izuocha is the epitomy of a safe shonen battle couple. pure, boring vanilla.

I want to get that out of the way, before i really delve into why the way Hori just... torpedoed this ship because he didnt want to deal with the aftermath, was such a slap in the face.

Lets start with the most obvious problem.

It was all a waste of time.

every single moment of shiptease, and uraraka pining after izuku...

was one...

gigiantic...

Waste of fucking time.

I didnt like reading about this couple. But i cannot make the claim the story was not building up towards it.

it spent the vast majority of it's story building towards this couple, and in the last 3 chapters it devoted two of them to seemingly resolving this couple's story, and setting up for the next step... that never fucking came.

meaning that every little bit of ship tease these two had was a joke, a waste of time, it didnt mean anything in the grand scheme of things.

It was one of the most annoying parts of this manga to read through, and to my absolute fury and disguist i was fucking -vindicated.

It was an objective, waste of fucking time that could have been devoted to ANYTHING ELSE! It could have been devoted to another, better pairing, more character development for 1-A, Inko, the league of Villains, ANYTHING!

If the story was not going to end up with these two, there were plenty of ways to do that too, like having Uraraka's decision not to confess backfire as izuku moved on and hooked up with Mei, or melissa, or anyone else! or maybe just have izuku have moved past her an her ending up being friendzoned because she didnt make a move early enough! Or maybe have Uraraka realize she was gay after everything with Toga!

Again, ANYTHING ELSE would have been preferable.

instead, even at the very end, even when the following pages kills the pairing dead, Hori STILL tries to shipbait these two!

fuck off.

2. Making Urarak look shallow through the worst fucking timing in the world.

so, here is a question for you.

if you were going to ultimately choose not to go through with izuku x ochako, when would be the worst, possible timing to do it?

because i sure cant think of any point worse, than during a timeskip, where izuku's quirk ultimately went away, leaving him powerless and a common working man for 3 years afterwards.

Now this is obviously not meant to be the actual reason in universe for why this pairing didnt happen... but the implication is there...

And it wouldnt have been, if Hori had actually had Izuku turn her down in one of the previous chapters.

but because he decided to chicken out of any and all romance to not get any shipper blowback, through the safest way possible, it's there.

It's ugly, and it's cruel, and it's mostly implication... but it is there.

3. It makes Uraraka's entire character growth with Toga WASTED.

So Toga's part of her and Uraraka's storyline is obvious.

The girl who was looking for someone, anyone who would want to understand her finally found somebody who would, and she decided to give it all for that person.

in uraraka, she finally got what she could not get in the league, amongst her old friends, or anyone else.

No the problem is not with that side of their shared development.

The problem with this is that it completely wastes Uraraka's side of this equation.

The thing that Uraraka envied about Toga, was her ability to smile as she wanted, uncaring about how the world might think of her, something the shy uraraka deeply wished she could do too.

Ultimately, as presented in the final war arc, her develoment from this relationship was her finally learning to be honest, to embrace doing what she wanted to do.

She wanted to reach out a genuine hand in compassion to Toga despite EVERYTHING, and so she did. uncaring about what the world might have thought.

FInally she could be who she wanted to be. the girl who had been defined so long about keeping her love and more emberassing feelings under wrap no longer cared about being judged for them.

It's a very beautiful moment.

Man... It sure would SUCK if later uraraka completely backtracked, was never able to tell her crush her actual feelings, and instead it went absolutely nowhere, meaning she reverted back to the same person she had always been. that she never really grew past this flaw of herself she disliked.

That would really, really suck, and cheapen her entire character climax from the final war arc.

Man, that would suck.

It would suck even more, if the reason that happened, was due to the author not wanting to piss off the shippers that shipped the target of her affection with his former abuser and bully who tried to get him to kill himself.

This was a terrible way to end the series, not due to directly sucking, the way Attack on Titan, or bleach's endings did... but instead due to committing SO HARD to resolving NOTHING, that it flipped all the way around to being INFURIATING in how much it REFUSED to give ANY character who's final resolution would probably have involved shipping, that its pisses you off, because it means that everything that these characters were building towards had no resolution.

The only real exception was Iida, and in his case its just obviously clear that Hori just did not care to give him a climax. for everyone else though?

Hori's decision to not wanting to go through what Kishimoto went through after Naruto's final chapter might be understandable, but it also means that his already rocky final arc ended wastly lesser in quality than it could have.

[phantomarine]

Hey what were you trying to say in your “it gets good at page 1001” post

Was it more of a comment directed at yourself ( self degradation), is it satire about perfectionism,

Is it supposed to be inspirational for Beginners webcomic creators, or we’re you just in a bad mood?

More of a warning against self-sabotage, because I see it so much. Sometimes it's tied to perfectionism, sometimes it's the opposite - people surrendering to imperfection when they don't really have to.

Creator chat incoming. I'll put it under the deelybob for anyone who wants to read it 👇

I've been in the webcomic sphere for several years now and I've seen so many people introduce their comic with 'I know it's very long and not easy to read, and I won't be going back and changing anything about what I've already made - but please critique it so I can make the rest of the pages better and attract a bigger audience from now on.'

And that's a hard thing to respond to. If a reader can't get through all those existing pages without being confused or bored, then how can they get to the good stuff that lies past them?

So much of gaining an audience is about actively making it easy to 'fall into' a work. Without that easy entry point, it's always going to be an uphill battle to build an audience, no matter how good the later chapters get. There are outliers, but most webcomics won't be those outliers, especially with thousands of them available nowadays. Some people love the grind, but most people will jump to a new tab and try to find something less frustrating.

And webcomic creation is particularly cursed by its very nature. Creators are hesitant to go back and edit pages, even once they've figured out more details about their craft or story structure. It's mostly because of the seeming permanence of it all - the art takes ages and the words feel unchangeable if even one other person has read them. To go back and edit is to publicly admit your failings, right? That's how it feels. What do you MEAN you didn't get it right the first time? You were supposed to do it live, and do it PERFECTLY!

But ideally it shouldn't be any different than prose writing, which is ALL ABOUT finding the story in those edits. And because your story is digital, you can go back and change things whenever you feel like it. A webcomic is fluid.

And if you're thinking 'I should just redraw my whole first chapter' - NO! Hell no, old art can be a part of the appeal! It's far more about finding little tricks to convey your story/characters more clearly. I have read some first chapters with janky art that made me fall completely in love with the story and cast. It's not about the art - as with all things comic-related, it's about conveyance.

Examples I've seen and some I've used myself: A single extra page with a meaningful interaction can solidify the theme of a character's arc. One additional 5-to-10-page scene can help add visual context for an offscreen event where there was none before. Adding a map can tell people where the characters currently are. Changing a character design can help if they get often confused with another character. Redoing your lettering to make it more legible is a huge one too.

In the end, I just don't want people to be afraid of small edits. When I got feedback about the bad clarity of my own work, I knew it would take some time to fix those problems. It wasn't fun to think about or to do, but I'm glad I did it in the end - because it would have limited my audience tremendously. With just a bit of extra effort, I opened a door that wasn't there before, and it now leads more people even more easily to 'the good stuff.'

tl;dr You started your webcomic for a reason, and you're learning more things about its characters, story, and craft every day. Don't be afraid to go back to old pages and inject some of that wisdom through editing. Even a little can go a long way.

***Caveat: If your goal is to just create chaotically, with no goal of gaining an audience, you are a wild and free little thing, and I am in awe of you. This whole rant doesn't apply to you, and you are stronger than me.