#not that it is a problem to engage with that be it in fiction or real life. i would be a hypocrite to say so

[johannestevans]

genuinely don't understand many other self-published fiction people's approach to marketing, which seems to take its cues from like. people who sell self-help books, or like. fucking do drop shipping

your goal is to find the people who like work like yours and connect them with it.

i think it's really difficult for people to envisage this because they're just poisoned by commercialism & capitalism as exists today, where every company is basically trying to strongarm, manipulate, and trick every single person in the world into buying their product

it's not just stupid and impossible from a marketing perspective, even for whatever garbage they might be shilling, but it's particularly misguided to do for a piece of fucking art or entertainment

and part of it i suppose is just like. a lack of identity but also a desperate fear of rejection

in order to meaningfully think about who will like, love, identify with, crave, and otherwise want to engage with your work, you have to meaningfully think about the people who won't

and that's scary bc a lot of people want to be vulnerable by creating art but don't want to be perceived or judged

and certainly don't want to be rejected, or receive negative reviews, or have people say "egh, it's not my thing", as if that's going to be the immediate death knell on their career

but it's just like. the thing of "i must try to make everyone in the world buy my book" will lead to MORE rejection

idk man. who are you? what's your work, like, about, at the core of it? what are the problems in it? what's the pathos, the core tragedy or core comedy, the meaning? what makes it entertaining? what makes it fun, or miserable, or horrifying? why did you write it? that's why people will read it

what's funny is that i talk to straight people all the time who can't do this, and they think that the way i do it is just by being like. hey boys, i'm a homosexual crippled jew, and my work is about that. and then i sell my books to my fellow disabled gay jews and such

which, sure, a bit

but what my work is actually about is like. trauma and trauma recovery. making peace with the many limits of your body and your relationships, and the limitations placed on you by your scars or your circumstances. fucked up monster sex, which is itself radical acceptance of the horror of our bodies

a lot of gayjew cripples and trans folk identify with that shit because… you know. of fucking course

but a lot of other people do as well, my work is in many ways informed by my identity, but the core themes aren't

many people DON'T like my work bc it's not plotted or structured traditionally

"what was the point?" many disappointed readers ask. "there's no actual STORY here," many complain. "nothing happens," many understandably grumble.

any jew or homosexual will tell you - there's no story. there's just suffering, and then you try to make it better, and then there's more suffering.

but you try to make it better, and it gets a bit better. you take your painkillers, you put balm on the wound. you fall down - maybe someone pushes you down. doesn't matter. get up again.

and for a lot of people, that's fucking dull as shit. where's the adventure? where's the fucking stakes?

and that's fine. there's plenty of books written for those people, they're just not written by me. i'm too busy doing my thing. and what i'm also too busy doing is selling my work to people who actually WANT it, rather than trying to trick people into buying it who won't.

part of the horror of meaningfully looking at your work and going, "okay, who is this for, and who is it NOT for?" is like. not just accepting your limitations, but also having genuine faith in your work. some people won't like it, but some people will fucking adore it. and you have to lean into it

and mostly stop paying for fucking facebook ads. jesus wept. what's wrong with you.

[lgbtlunaverse]

I'm very firmly on the anti-censorship and pro-kink side of things in the "should artists be allowed to depict taboo subjects in their work" debate, and have only grown more sure of that stance as time goes on. And I think I've now reached the point where I am convicted enough, and have surrounded myself with a social circle that generally also believe this, that I now keep seeing really really bad takes that ostensibly agree with me. And they annoy me to death. Frankly, more than that, I think they might be outright harmful for how we engage with art in this little community here, and our part in the fight against censorship.

Permission to retire the phrase "fiction doesn't affect reality" already? It clearly hasn't stopped censorship, so it's not effective, which is the only argument I could think of to keep such a blatant lie of a statement around. I don't understand how you can proclaim to like art and yet also believe it is something entirely disconnected from the world we live in. A litle pocket dimension that never touches anyone outside it. What, you close a book and it vanishes from your mind instantly? How dull. How sad. Of course, the relationship fiction has to reality is much more nuanced than 'monkey see monkey do'. But we've got phrases like "depiction is not endorsement" for that. We don't need this one, it sucks.

While we're at it! Retire the phrase "thought crimes" for this specific discourse too! I keep seeing the argent "thought criems aren't real only actions count" and gang, I cannot stresss this enough: making a whole movie or writing an entire novel are, in fact, actions. Putting words on a page is not a thought that is a thing you do in the real world! And therefore it affects real people! Again, this is far more nuanced than bad thing happens in story -> bad thing happens in real life, which is a belief that wayyyy too many people have, but if you're all so concerned about reading comprehension then statements so oversimplistic that they become outright falshoods are your enemy! Stop using them!

I think a ot of these problems come from the fact that these arguments arise from fandom spaces, so there is this air of "none of this fucking matters" but they are being applied to things that very much do matter actually. The writers of these posts clearly think their cause matters, so start acting like it! If your argument is phrased as such that, if you followed it to its logical conclusion, social critique of any artwork becomes "problematic" by default, you have already lost. If your worldview does not leave any space to call birth of a nation racist then you have already lost. This is not a tenable position! What are we doing here?!

[marypsue]

Man, it's cool and all if you see a metaphor for marginalisation in the monstrous, and if you want the power fantasy of 'what if you could just eat anybody who threatened you/pissed you off'. Me too.

However, as soon as you start saying 'no, these monsters are a 1:1 on Specific Marginalised Group, and you have to treat them in the fiction like they are directly representative of real human members of the marginalised group', BUT you also, in the fiction, make them hurt/kill/eat humans? And then try to shame me, your audience, for noticing or engaging with the bit where they kill people, because you made them directly representative of a real-world marginalised group? You have lost me, and also, I think, the plot.

[centaurianthropology]

One thing that I think a lot of Disco Elysium meta misses (likely because a lot of it is very clearly written by young Americans writing from an intensely American-centric cultural perspective without even really realizing it) is that one of the singular and central themes of the game is massive-scale generational trauma in a home that is economically collapsing as its resources and people are being drained by an occupation.  People have noted that no one tries to help Harry, despite the fact his mental illness is incredibly obvious to everyone around him.  He tells Kim that he completely lost his memory, and Kim politely asks him to focus on the work.  He tells Gottlieb that he had a heart attack, and Gottlieb tells him that if he’s still alive it couldn’t have been that bad.  That he’ll drop dead sooner or later, but then so does everyone.

And that’s the most important thing: so does everyone.  Look at Martinaise.  Look at the world in which Harry lives.  It is not our own, but it is adjacent to ours.  More specifically, it is clearly adjacent to the states of the Eastern Bloc: overtaken and occupied by a faraway government that clearly doesn’t care about Revachol or its people.  And that is obvious in every tired face, every defeated citizen, everyone trying to eke out a little happiness or meaning in spite of the overwhelming trauma and damage around them.  The buildings are still half-destroyed.  The bullet holes are still in the walls.  The revolution was decades before, but it still feels to the people there like a fresh wound.  The number of men of Harry’s generation who are not alcoholic or otherwise deeply fucked up are very few.  Some, like Kim, hide it better, but the deeper you dig into his history, the more you realize how damaged Kim is.  He’s more than a little trigger happy, and hates that about himself, but he is a product of his environment: Kim’s entire life is seeing people he cared about shot and killed, so his instinct now is to shoot first himself, to protect those few people left who still matter to him.

Harry is not unique in his trauma.  He is a distillation of an entire culture of people who tried to rise up and make something beautiful, and were instead routed and occupied.  He is trapped between the occupation and the people on the ground, along with all the rest of the RCM.  Their authority comes from the occupying government, but it is implied that they were formed out of the remnants of the citizens militia which sprung up from Revachol itself as a way to try to mitigate some of the horrors being committed on its streets.  The Moralintern sure as hell wasn’t going to get their hands dirty, so they happily conscripted (and therefore could better control) this group, who are only recognized in certain places, and whose authority mostly amounts to giving out fines.  The RCM is corrupt, but it is corrupt in the same way its culture is.  Bribes are considered standard with them, not a moral failing, but a necessity, so long as those bribes are correctly logged as ‘donations’.  It’s how the RCM stays afloat, and the rest of Revachol completely understands that.  Everyone would take a bribe if it meant they kept eating.  Everyone would take a little under-the-table money if it meant keeping a roof over their heads.  The officersof the RCM certainly don’t make enough to see a doctor.  They have an in-house lazarus, and if he can’t fix them they just die.  Mental health care?  What mental health care?  Harry doesn’t get it for the same reason no one else does: it doesn’t really seem to exist.  There are no counselors, no psychologists, no psychiatrists.  How would they even start?  If the world is what is broken, if everyone is suffering a similar catastrophic amount, it makes sense that Harry’s trauma would simply get rolled up with all the rest.  Kim asks him to get on with the job because Harry’s suffering is not remarkable in Revachol.  He is one of an entire generation who have an astronomical number of orphans from the revolution, and so many younger people are left more or less orphans as their parents drink themselves into oblivion like Cuno’s father.  So Harry’s truly unique attribute is embodying all that trauma, having it all inside of him, filling him to bursting.

To really engage with the themes of the game, engaging first and foremost with the reality of Revachol is imperative.  Imposing our own reality onto Revachol, particularly if coming from an American perspective (which tend to have the habit of both viewing the world through an American lens and not realizing they’re doing it because they’ve never experienced a different lens), will always feel shallow to me because of this.

All that is to say, I would love to hear some more explicitly European meta about this game, and especially Eastern European meta.  If anyone can point me to some good, juicy essays from that perspective, I would be grateful!

[llitchilitchi]

I get hating certain political systems and trying to abolish totalitarian regimes but at the same time many of them are so interwoven with our history and society they have become tropes and when I consume media with a setting where the monarchy is absolute and revered then I am playing my part and sucking that princeling off

[getvalentined]

Ah. I think the issue is that people see criticism as hate? This isn't the case at all; I hold things I like to a higher standard, I'm more critical of things like I like than things that I don't. I get how this can come off as abrasive to a lot of people, but I believe that it's impossible to appreciate the true depth of anything if you only engage with the positive aspects and reject any impression of negativity.

If I don't like something, I generally don't really bother unless it's something that is impacting my quality of life. (ie: if someone is being a piece of shit to me I'm gonna talk about it, this is not fiction, this is different.) It takes a lot of energy to dig into a character or a work of fiction this deeply, and it's not worth it to do for something I don't like.

I've said repeatedly that I don't like this character as a person, but that I love him as a character. I talk a lot about how I think he's got one of the best-written stories in the entire series.

That story shows a wonderfully flawed human being whose flaws build up until the facade he's been hiding behind for his whole life breaks under the weight. That's part of the beauty of it, that's part of the tragedy of it, that's what makes his story so good.

The problem is that he's a liar, and some of his fans would rather believe the lies than actually get to know the character for who he is. But he's genuinely a wonderful character. I don't just admit this, I will die on this hill—he's such a good character. He's so well-written. He's so consistent, and this newer presentation is spot-on.

[jellycreamjammedart]

Just say you think cp is ok as long as the minors are fictional you fuckin pedophile

Normally I ignore hostile or pre-judgmental asks on the off chances I get them, but I'll make exception for this one because it seems like a good opportunity for some much needed nuance-- also because I get this person's disgust, I really do.

But you, my fella, must understand that this isn't about the morality or even lack thereof behind dark fictional content, at all. You must realize that wanting dark and taboo fictional content (yes including that one you mentioned) not being allowed to exist actually does nothing to improve or protect irl lives, much on the contrary actually. No, I don't think there's any possible moral reason behind fictional cp content (nor do I find it 'ok',) but once again, this isn't about morality.

Please take a moment to read this thread (it words this topic better than me) then think it over. Trust me, it's a better use of your time than annoying ppl online with words you can't even bother standing up for with your name/face.

[bldwspr]

if i keep seeing people nominate small guy as bottom and big guy as top i am actually going to explode.

[hadesknockedupintheunderworld]

Hey, I don't normally make my own posts about this, but.

Do not argue with an anti on their own terms.

Don't get me wrong, I get it. You see the hypocrisy. You see the way they take aim at your favorite ships or characters or tropes while enjoying something similar. And you think "if I can point out to them just how hypocritical and idiotic they look right now, everyone will see our argument, they'll see that the anti is wrong and a hypocrite, and then maybe more people will stop harassing the people who like my thing. Maybe the anti will see the light and stop being a hypocrite."

But it will not work. It will not work.

There is an extremely high chance one of two things will occur:

They will double down on their argument, and ignore what you've said. (Ex. They might say "This relationship has an age gap. That's p3dophi1ia. That's dangerous." And you might say "well you ship something with the same age gap. Is it not p3dophi1ia and dangerous when you do it?" And they will just double down and say "This ship is dangerous. The shippers are grasping at straws to make their p3d0 ship normal.")

They will agree with you, but in the worst way possible. (Ex. Someone says "Ew your ship are basically siblings because they're childhood friends and grew up together. 1nc3st apologist." And you might respond "And yet we allow our most popular ship in this fandom to be popular? They grew up together as childhood friends and were inseparable. Why is that not inc3st?" because you think they'll gain a sense of perspective here. But then that person responds "People who ship that popular ship are freaks too then." Maybe they believed that before the convo or maybe they didn't, but the point now is that (while not your intention or fault by any means) some people have gone on to harass shippers of a ship that aren't doing anything wrong. What you think will bring clarity ends up raising tensions between shippers instead)

Do not meet them where they're at on their preconceived notions. You will not make them believe that they are wrong or hypocrites. Do not concede to their heavy assertions of abuse, p3dophi1ia, 1nc3st, etc levied against the thing you like for the sake of arguing that they are a hypocrite, or with intent to make them feel dumb for inadvertently labeling 80% of a fandom with said labels. They will not "see the light". The best thing you can do, if you have to say anything, is double down with "I'm not hurting anyone and it's fiction. I can do whatever I want" or "I don't give a shit what harmless things people like as long as it's tagged and I can filter out what I dislike" (especially if this is your stance). Then block and move on.

Antis, like trolls, thrive on engagement. They want you to argue so they can continue to point at you or lie about you or make you look bad.

It is in your best interest to pick your battles, and to try to sus out the difference between a friendly argument or standing up for yourself versus feeding the trolls. You won't make the right choice every time, all of us are human after all, but I promise you that ignoring and blocking bad faith actors, deleting their hate anons, etc, is not the coward's way out. Sometimes you don't need to fight. Sometimes keeping yourself from platforming bad faith actors and giving them nothing to go on will do the job (because there are more antis that are just small blogs with little power to do anything than you think, the kinds of people whose inflammatory posts will die if no one touches them).

Thank you for coming to my TED Talk.

[thanatika]

low-coherency rambling in the tags

[heartsburst]

WHY MUST I ALWAYS GET INTO THE SADDEST FUCKING SHIPS WHY DO I KEEP DOING THIS TO MYSELF

[chiisana-lion]

while i am comfortable with the "whatever you think i am i guess" approach i normally take with people irl if they try to sound out the fact im queer (not really confirming or denying whatever identity or whatnot they try to guess for me) it kinda sucks how hard it is to mention being aroace like. no its not just a "haha im not looking for a relationship rn" or "you just havent found the right person (man) yet/you'll grow out of it" i truly do not see myself ever engaging in romance or sex ever. and even if it Does change down the line (which i personally highly doubt anyways) thats my goddamn business!!!! so even if they end up "right" about me its not something to get their panties twisted in a bunch about. insufferable

[yellowocaballero]

hi! i know that i'm fated to read your every work despite not knowing the media half the time. this time i would like to finally be one step ahead. so uhh. where do i read orv? do i go for the webtoon or the novel? to clarify, i did try to search, but got confused by reddit. also i am going to watch trigun. i've been eyeing animorphs too but the 54 (?) books are making me go hmm. thank you for existing you're pretty great. you're like the spiderman of writing but instead you got asbestos rat'd.

THIS ASK IS INSANE. WE'RE REFERENCING MY LORE NOW?

But thank you, you're insane. People ask why I have stupid high standards for the fics i post on AO3 and it is because there are people like you who will just read whatever regardless of whether or not it's good. I have a responsibility.

This ask also made me wonder if I have good taste. Because every time somebody says this my first reaction is "oh god and the source materials aren't even good". I read a lot of trashy stuff (but, like, define trashy), and I consume too many bad things to be able to say I have discerning taste. If I enjoy something I almost never call it bad, because things were made to be enjoyed and I enjoyed them then they had value in at least one aspect. If you were to ask me if my favorite TV show of all time the Incredible Hulk 1974 was actually, unironically, good, then I'd break into a cold sweat. Is somebody bad because it's camp? Is something bad only if it's unintentional camp?

Regardless, I never write fic for something that isn't only like 80% good - there's a sweet spot of 'good enough for me to obsess over' and 'bad enough that I'm rewriting it in my head'. It's rare I write for anything I find completely good. Which is why I feel bad when people say that they're reading this thing I'm writing fic for jalksdf there's better things out there I SWEAR.

ORV is in the sweet spot of "this isn't high literature" and "this has given me brain worms". Definitely for sure start with the webtoon - the webnovel is clunkily translated, you don't read it for the writing at all, and it is also a literal million words. Don't read the webnovel unless you're like "I'm going insane and I need more of this". It starts off kind of slow ("This is a well executed very banal isekai") and you're like a frog in the pot of it slowly going more insane until you're a ways in and you are in a tangle of ridiculously complicated gambits and convoluted storytelling. There is literally no other way to describe it than the Homestuck of webnovels. If you're completely unfamiliar with isekai that's fine, but as a warning - ORV being your first webtoon/webnovel isekai is like your first shoujo manga being Ouran High Schol Host Club, or your first magical girl show being Madoka, or your first mecha anime to be Neon Genesis Evangelion. It's one of the best works in its genre but it's supposed to be viewed in context of the genre. Or maybe it's more like if Homura starred in Evangelion, which was Ouran. I'm just saying words.

Animorphs is kind of like Mother 3 in which everybody who has ever read/played it said that it changed them as a person, it changed their relationship with media and storytelling forever, if you read/play it you will be born again from the world's egg, etc. Works that genuinely become part of your personality. I also never recommend it to people because it is incredibly hit or miss. I remember using a spreadsheet of just "what books are skippable or not" because some of them are incredibly weird and some of them are incredibly weird in the bad way. The only Animorphs fic I've ever written is from 2019 so it's also not that great. Each book only takes an hour to read and the pdfs are free online, so it's incredibly accessible in terms of the reading experience, but it's kinda the Animorphs gestalt that changes you forever and not the individual books. I try not to recommend stuff that's like 25% bad.

Watch Trigun if you like what Trigun is - it's not going to deliver on something it's not. Also watch 98 first. Watch Stampede/read Trimax if you want more Trigun. The Trigun fic is based off Stampede but refer to my "I only write fic for smth that's 80% good and not 100% good" statement.

Also I think being bit by an asbestos rat just means that I probably have mold and drywall in my lungs, which would explain a lot about this blog. Thanks for the ask I love it.

[rawliverandgoronspice]

Not gonna lie I think "media literacy" based accusations have quickly devolved into name-calling that means nothing and completely fails to address the core points of the disagreeing perspectives

[softness-and-shattering]

Seeing a post thats making me angry: ahh how do I disagree in a way that isnt confrontational and might help them see my point is there any point ahhhhh ummmm noticing that the post is from following a tag, not a mutual: oh fuck that, they can be wrong. 

[ofbreathandflame-archive]

I’ve said this a thousand times before, but the worse type of racism is often the passive type of racism. It’s a bit more insidious, imo. This is spurred on by a *specific* thing that occurred awhile back, but it’s so gaslighting. ‘Yeah this thing is racist, but here’s a dissertation about how it doesn’t matter bc I connected with this piece of literature.’ All that to say you were still going to keep supporting the author? Could’ve just kept it in the drafts.