#not trying to be a hater

[croik]

what do you dislike about Kayne/the butcher in terms of writing?

Everything 😌

No but really I'll share my thoughts under the cut.

I could probably write an essay about how the introduction of Kayne has already irreparably damaged the show's narrative, but the short version is that by existing, he has erased virtually all stakes, imo. He appeared basically out of nowhere, deflated all tension leading up to the final confrontation with the King in Yellow (who was the main antagonist at the time), and following that confrontation removed all the consequences of it. By undoing Arthur's broken bones and returning John, everything about Arthur's and John's choices on the plateu were invalidated, as well as the choice we the Patrons had made, despite it being billed as a very significant vote. He replaced them with entirely new and completely arbitrary consequences (the memory loss, whatever John's deal is).

His motives may or may not become clear later on, but in the meantime, we're left with a villain who seems to be reshaping the story just for his own amusement, with no regard for the characters' agency or consequences. If Kayne can bring Arthur back from literal death whenever he wants, why should I ever be worried for his safety? Why should I care if John is losing his memory again, when Kayne has full control over his mind and existence? There's no point even wondering what he's after or what the conditions of his deal are until he reveals them himself, and even then, it might just get undone again.

It's contrived, imo. It's lazy. It's a get out of jail free card when you snap a character's femur and then realize you don't want spend time on healing, or come up with some other explanation to get rid of the injury so the plot can barrel forward. He's too powerful, and until he tips his hand, we can't trust that anything else will stick or matter.

Butcher is different, but the problem I have with him is the writing trying too hard to convince us that he's smart/good at this. Him clocking Arthur as blind after a few minutes, after personally watching him READ THE NOTE he himself gave him, and despite none of the other people who spent longer with Arthur noticing, is a desperate bid for us to think he's smart. Him climbing on top of the moving train, where he can't see or hear his quarry, and dropping in exactly when Arthur is next to the specific window, is very dramatic but nonsensical. He chats on and on with the officers, basically shouting at the audience how scary and important he is for far too long.

And he just happened to chase Arthur into an apartment building with a chair and rope set up in the basement. Again it's all a little too convenient. There's a lot about the current scenario that doesn't make much sense logistically, but it doesn't matter because we're just supposed to take the Butcher at his word that he's very good at this.

And hey, I'm not looking for realism. That's not my issue. I just don't like a story telling me that the villain is the best in his field, and then showing him rely on happenstance and luck while he prattles on and on, and sometimes magically intuits something unearned.

(I'm also not a fan of his "oo I'm in love with my victims" shtick, but someone else explained that better already)

Disclaimer these are all my personal feelings and I'm not trying to convince anyone or say you shouldn't like these characters, I fully admit I also have strong personal reasons for disliking them unrelated to the writing so I can't be 100% objective. But who even can be, amirite?

[yousignedupforthis]

I'm sorry but 95% of the things y'all say are things that you Absolutely cannot determine based on pictures of them holding hands and looking generally happy

[of-mutton-and-wool]

i think narilamb comes from the fact that the lamb such a blank state that it becomes more of a self-ship / oc x canon ship. there's nothing wrong with that of course, though i myself am lowkey sick of seeing constant narilamb. just desire for something different you know?

And that’s valid!

It also might be the enemies to lovers aspect. Take two guys who should hate eachother and make them kiss.

And the frustration of the constant narilamb is valid. It’s overexposure likely. But I’ve seem some new ships pop up? Shamura x sozo is new but I welcome it.

In my opinion lamb x kallamar is objectively hilarious and that’s part of the reason I ship it

[whereisyourheadkathryn]

Casual reminder that Neil has said Muriel uses (primarily) they/them pronouns. I know this is just a character in a silly little show but if you're going to call the show queer and praise all the gay aspects you also should respect the trans aspects of it.

[sushigirlfriend]

i want this onepiece shit out of my face oomgggg 😭😭😭

[kensatou]

i'll let phie-san say it:

[inkskinned]

this is just my opinion but i think any good media needs obsession behind it. it needs passion, the kind of passion that's no longer "gentle scented candle" and is now "oh shit the house caught on fire". it needs a creator that's biting the floorboards and gnawing the story off their skin. creators are supposed to be wild animals. they are supposed to want to tell a story with the ferocity of eating a good stone fruit while standing over the sink. the same protective, strange instinct as being 7 and making mud potions in pink teacups: you gotta get weird with it.

good media needs unhinged, googling-at-midnight kind of energy. it needs "what kind of seams are invented on this planet" energy and "im just gonna trust the audience to roll with me about this" energy. it needs one person (at least) screaming into the void with so much drive and energy that it forces the story to be real.

sometimes people are baffled when fanfic has some stunning jaw-dropping tattoo-it-on-you lines. and i'm like - well, i don't go here, but that makes sense to me. of fucking course people who have this amount of passion are going to create something good. they moved from a place of genuine love and enjoyment.

so yeah, duh! saturday cartoons have banger lines. random street art is sometimes the most precious heart-wrenching shit you've ever seen. someone singing on tiktok ends up creating your next favorite song. youtubers are giving us 5 hours of carefully researched content. all of this is the impossible equation to latestage capitalism. like, you can't force something to be good. AI cannot make it good. no amount of focus-group testing or market research. what makes a story worth listening to is that someone cares so much about telling it - through dance, art, music, whatever it takes - that they are just a little unhinged about it.

one time my friend told me he stayed up all night researching how many ways there are to peel an orange. he wrote me a poem that made me cry on public transportation. the love came through it like pith, you know? the words all came apart in my hands. it tasted like breakfast.

[palladium-poisoned]

it hurts that dragon age looks cool

and that we can be grey wardens again

[chloesimaginationthings]

Five nights at Springtrap’s is just William Aftons arguing..

[sadhornydemons]

[somewhereincairparavel]

i will never understand how people have the heart to hate Jason even after they found out that his Ambrosia tastes like fucking sawdust. Ambrosia being tasty is like one single happy thing a demigod can have despite their tragic lives, because it reminds them of the home they once had, but lost. And Jason doesn't even have that, he doesn't even have a home to lose in the first place.

[asharaks]

it is, i think, symptomatic of the way larian has built this brand: bg3 was always marketed as being mature (read: sexual), and that was one of the big draws for players - myself included! especially as media pulls more towards extremes, with mainstream video games starting to get increasingly graphically sexual, graphically violent, and the vogue for 'grey morality' becomes the norm, those boundaries get pushed, and it becomes more and more of a selling point.

larian obviously focused on this, along with the How Do You Do, Fellow Kids brand, the increased accessibility of game devs on twitter, and adopted it heavily into their marketing strategy, and are now pretty reliant on the horny gamer crowd for a lot of their audience, and more importantly, they're doing this on purpose.

which is how you end up in situations like this.

characters (white men) the players want to fuck get centred: they get updates, they get more content, they get favoured. halsin's gone from a side character in EA to a half-fledged romance option, to a full romance option: he shows up in the promotional material, is larian's poster boy for the sex scenes, he gets more content with every update.

now gortash gets more heavily implied situationship lines with the dark urge, because players are horny for him. nevermind that some people aren't playing that way, or that he was originally set up to be a lower-level antagonist; nevermind that if the durge's storyline needed expansion, it should've been with orin and sarevok and bhaal, or that it muddies the writing for the rest of gortash's arc + characterisation: people want to fuck him, so it gets put in the game. it's not even to do with karlach, whose quest so desperately needs expansion! it's specifically catering to the people who want their character to have a Relationship with the slaver, because they're either not interested in or not able to focus on strengthening the weak spots in the narrative: they're just doing things that will net the 'my favourite dating sim' people lmfao.

meanwhile, literal main character wyll gets his quest demoted to a subquest, doesn't get bugfixes, doesn't get a single unique romance greeting after 6 patches and months of requests. he's not a Horny character, so he doesn't get the focus: he's not a player favourite, so he gets nothing. it's just... so unbelievably, indisputably racist, and it's incredibly grim and disappointing to watch it happen in real-time.

[dzknik]

McGucket is increasingly having anxiety problems, as he was before, and these anxiety problems are actually not problems, they are him being right about what they’re doing.

But he so wants to please Ford. I think McGucket sees his own value as “I’m the guy who builds stuff, and you’re the idea guy, and I’m valuable to you when I’m building stuff. And when I have a problem I can build a solution, and any time there’s an emotional issue, you build your way out.”

So the canon became that McGucket proposed such a thing (the memory gun) early on, and then was told “You shouldn’t do that”, and then like an addict, like an alcoholic who has a little sip and notices it takes the edge off, privately, he can’t bear to say it to Ford. He’s keeping a lot from Ford, he’s keeping just how scared he is of what they’re doing, he’s keeping just how concerned he is. McGucket doesn’t really know what’s going on, but he’s internalizing and thinking, “I just need to be a better partner. If I have anxiety, I’m gonna pop anxiety pills, and I’m gonna get through this.”

[420technoblazeit]

anyway do we want to talk about how viktor emerging from the hexcore was probably the first time jayce had seen his scars and he still didn't even hestitate to hug him. can we talk about him saying that he thought his place was in the lab with him. i never want to hear ANYBODY say that jayce treats viktor badly ever again

[crumb-crumblet-s-crumbington]

dead blondes

[leftexpertbread]

I got inspired by @1244950 interpretation of Bayverse and Transformers Prime interactions with each other. Especially Bayverse Optimus with him finding out about TFP MegOp and everything. Hilarious stuff.

I'm glad that someone loves Bayverse Optimus a lot to actually take a look into his character in a different light other then just lable him as a "cold blooded sociopath". It baffles me actually.

So have my love for the Bayverse franchise. No matter how bad they are, they're the reason I'm in the Transformers Fandom.