#racial implications aside i really hate the way i see it being discussed

[coldforestnight]

Rewatching Lawrence of Arabia and how has it taken me this long to find out the prevailing theory among biographers is that TE Lawrence lied about being raped at Dera’a

[cant-think-of-anything]

I think part of the reason that there’s such a dissonance between what kind of character Matthew is ~supposed~ to have and what kind of poor traits shine through, especially in his treatment of Alastair, is not just because of CC’s poor handling of alcoholism (and, in my opinion, mental health issues and depression) but also because: Our first introduction to these characters happened a long ways before some major changes to TLH.

Namely… Alastair and Cordelia were basically white in CC’s original planning. There’s just no way around that. Their flower cards, where they’re not just whitewashed but purely white, prove that (and they STILL haven’t been updated, by the way.)

Also, Alastair’s hair: in CoG it was dyed blond, and CC wrote it off implicitly as a racism thing when she decided he was Persian (which I guess happened after the short story where we met Alastair and before TLH) , which would have been fine it if it was an arc written better. Except, I don’t think she realized that it would make Matthew’s comments about Alastair inherently and obviously racist, being a white author. And I doubt that it will be dealt with and named or even acknowledged outright in the final TLH installment.

Kind of the same thing with Cordelia. I’m not saying POC can’t have like red hair because obviously POC don’t come in a prepackaged set of five or six traits that are all configured randomly, but something has always rubbed me the wrong way about the way that CC writes the majority of her POC and especially WOC as exotic. I mean, Kamala as a character is to me a special favorite (even though CC did her dirty and didn’t do a good job portraying her character or intersectional identity) but I rolled my eyes so hard when she had lighter brown or “amber” eyes in canon or officially commissioned art. With Cordelia, I know CC once said she uses henna to redden her hair which is great for her, and I guess I have less of a bone to pick with that because it’s semi(?) realistic, but still. Also the fact that so much of her description as a beautiful person comes from her hair. Again that’s cool, and women of color should be loved wholly including being loved for the parts of them that they freely change (such as Cordelia’s hair) but… the proportion of the fixation on her hair as what makes her lovely rubs me the wrong way sometimes. I feel like it’s sometimes an out from CC making the ~scandalous~ decision that a woman of color can be beautiful because of the traits she is born with. Idk it’s just for me I had this long standing repulsion towards my colorings and my facial structure and white girls would tell me I was whiny about it and then I finally began to piece together things like “Eurocentric beauty standards.”

Going on a tangent slightly, but something else that bothered me was when Anna insulted Cordelia after buying her those dresses and everyone kinda treating it as a compliment? And just cause Cordelia, a fictional teenager, didn’t get mad about it doesn’t mean readers of color can’t see the underlying racism behind “Cordelia looks MUCH better in these dresses which are SUITED for her skin tone.”

I think that narrative could have been handled much better: if it was Cordelia picking out her own clothes as an act of maturity and self-realization and ownership, if Cordelia herself said (in a different way lol) “Damn right I can wear lavender ruffles if I want to and crimp my hair but I’m not going to let white fashion prevent me from outshining everyone because dark skinned women INVENTED jewel tones.” And I think some people will argue that Cordelia’s context makes this too self aware of a development but I would say that it would have been a powerful part of her development outside of her relationships, especially considering that she’s supposed to be a main protagonist. Full arcs for the win baby!

But even aside from all that what bothered me about Anna’s dresses was the fact that it was a white woman showing the “truth” or the “right way” or “saving” a woman of color, a trope which I don’t think CC intended but committed nonetheless. I think from a white author POV the thinking was “Anna is such a free bohemian who lives true to herself and she’s going to help Cordelia become that way too,” which irks me because I feel like that just worked against CC in terms of POC rep and also because that same ideology is used in an attempt to make Anna’s treatment of Kamala justified even though Anna as an out person, with racial and economic privilege and the support of an extensive and powerful family network, pressured and tormented Kamala into coming out.

I have a lot of thoughts on that relationship, mainly: it shouldn’t have been dragged out this long because from the beginning, Every Exquisite Thing, it was clear they were looking for different things. And if CC had left it at that and let them go on their separate ways after a week of knowing each other that would have been fine: Kamala can’t do an out and proud relationship and Anna doesn’t want secrecy, so they’ll develop on their own. And then later Kamala’s pursuit of Anna in the actual TLH books was I think meant to be a thing about “the lengths you’ll go for true love” but it felt forced. Honestly… It just feels icky. like this woman of color is just so hung up on this white woman who abuses her repeatedly and can’t handle her own misogyny and internalizations. And I hate that because both had such awesome potential! To me it’s less that I dislike Anna ( I’d need a whole other post to explain that) and more that I dislike CC for wanting so bad to claim sapphic rep but not wanting to put in the effort to portray it effectively- and pretty much all that entails is writing the relationship without acting like it exists in a pseudo-vacuum where the history and realities of interracial relationships and queerphobia don’t exist in the way we obviously recognize and experience.

And characters like Cordelia and Alastair are amazing and have so much potential; I think the true origin of the problems with their portrayal is that they weren’t really intended as POC or even queer representation in the first place. I don’t know if Cassie would have taken a different approach to her characterization had she known Alastair would be a brown gay man when she first introduced him, but I hope it would have at least made her more conscientious of the inherent application of colonialism and racism in her storytelling from that point onward.

I want to finally add that I’m not saying any portrayal of racism is bad. I’m saying that the racism in the story is not part of a conscious framework that critiques racism appropriately. I think CC wrote the beginnings of the narrative, decided she was going to develop the diversity point content, and then either didn’t look back at the older content to analyze it and the other (white characters) through a new lens of race and outsiderness and queer personhood, or she looked at it and didn’t know what to do with it, or looked at it and didn’t care.

Sorry this got so long! Thanks for listening.

- A.

I feel like CC handled everything poorly in regards to characters who had a lot of potential.

The fact that Cordelia and Alastair are both originally white and it's so obvious in the way every bit of racism is handled by the characters. Matthew's comments in CLS are very important and they should've been handled with the same severity that Alastair's words were. CC changing the characters to POC was a big decision and when she did so she should've went back and actually read her own material. I can assure you that it will not be handled in CHOT, my expectations for CC recognizing the importance and gravity in the words she writes regarding racism or any of her "implied racism" bullshit have gone to the ground.

Because while golden eyes are obviously so easy to write when discussing discrimination obviously racism is out of the question /j

THAT'S EXACTLY IT, women of color in these books are so pathetically rare that on the rare occurrence that she does write them they should all be given these features that aren't as common in POC and written as more beautiful because of those features. I read CHOG after I became more appreciative of my ethnic features but if I had read this a year or so ago? Or even if I had read it after just feeling insecure in general? It would've been awful. The implication is that the lighter features in POC are the most beautiful, with Cordelia's red hair being put on a higher pedestal than her dark eyes and Kamala's eyes being focused on more than her hair (because I literally went back and counted the numbers to prove it and it's exactly what happens.)

I'm sure Cordelia's hair is stunning, but it's the way that when she's described (or more accurately being sexualized) it is just her hair and body that is shown, not the color of her skin or the color of her eyes.

God the pastel thing pisses me off so much. It's not even that Anna tells Cordelia that she would look better in darker colors it's that she says it suits her skin tone. Implying that anyone with brown skin should be barred from wearing pastels. And Kamala? In the few times she is described, she's wearing dark colors or champagne gold, never light blue or purple or pink WHICH HONESTLY SUITS HER PERSONALITY. It's also the way that the dresses Anna sent her are described to be more revealing- it's weird. Anna barely knew her when she started dictating everything that Cordelia could put on her body.

“Damn right I can wear lavender ruffles if I want to and crimp my hair but I’m not going to let white fashion prevent me from outshining everyone because dark skinned women INVENTED jewel tones.”

I literally would have loved that. It recognizes that she doesn't need to follow these "rules" on what to wear but still shows her choosing what she wants to wear without making all the darker skinned readers feel like they can't wear a certain color.

I think what some people fail to realize is that these books are also aimed at upper elementary and middle school and a middle schooler with dark skin reading something like that? In a book with characters they love? It's going to be so harmful

Someone else mentioned that CC said Kamanna's relationship was complicated because Kamala didn't defend Anna: Defend her FROM WHAT? Literally what is there to threaten Anna?

These books are filled with tokenism and then praised for it. The idea of Kamala X Anna has so much potential but they're portrayed in such a toxic way. Throughout the last through books Kamala puts herself through so much guilt and regret and turmoil just for Anna to literally use her, blame her, and cast her aside. And it's so fucking annoying because it pushes this idea that this woman of color who was terrified and in an extremely vulnerable position is in the wrong for choosing her safety and presents them as guilty and shameful for doing such a thing.

I would disagree, the portrayal of racism is bad, because it is used at random points in the story and never brought up again, if you interduce racism take it seriously it's not the kind of thing you're meant to half-ass in a book thousands of people will read

I agree on everything else though, so much of these books are incredibly harmful and they are presented to a young audience so it's overall just a gross situation

Thank you for the ask though! I loved answering this, if you ever have anything else you're more than welcome to come back <3

[plumbobpost]

Fan(fic) Friday: Spotlight on Peni Griffin

Sul sul!

Today, I have a special treat for you guys. I had the chance to ask the very delightful @penig a few questions about Widespot and The Sims in general. For those of you who aren’t familiar with her work, she has created two widely popular hoods for The Sims 2: Land Grant University and the aforementioned Widespot. It’s longer than usual, and Peni expressed the concern that it would needed to be edited down, but in all honesty, her responses were such a wealth of information, deleting any of it seemed wrong.

I’ll stop teasing you, and let Peni speak for herself:

What inspired you to create Widespot?

“I’m always in story creation mode. This has been a large part of the appeal of The Sims 2 for me, as it allows me to tell a particular kind of story that I will never, ever be able to write for publication,  and have always wanted to: the story of a community in which we see every character as the hero of her own story, and how all the stories intertwine (often without the protagonists recognizing it) and affect each other as they all go about their business.” 

“At the time I started Widespot, I was in a situation in which my normal professional outlets were not available to me. You will excuse me from going into detail on the subject, which can be summed up as Health Crap. For our purposes, the important thing was that I needed a project, I couldn’t work on a book, I had been thinking for some time about the potential of my favorite game as a storytelling medium, and enough discussion of the matter had been generated over at MTS that I found/was directed to the late lamented Mootilda’s thread on creating a clean, safe, populated neighborhood for sharing.  ( http://modthesims.info/t/455403)”

“I actually went into some detail about the process on my writing blog at the time.”

( https://penigriffin.blogspot.com/2013/02/so-you-want-to-share.html )

Did you take inspiration from the Maxis neighborhoods?

“To a certain extent, yes. I decided that what I wanted to create was a neighborhood that would feel and play as if it had shipped with the game, but with less mess. No dead people without full character data, no memories that outright contradict each other, no hints in the bios that can’t be fully explored in the game.”

In your neighborhood, you included different story elements for each family that interconnect. What is your process in developing this story?

“Somewhere around here, I have the notebook in which I first started working it out, but I’d have to dig to find it. I remember starting with the admonition to myself to keep it simple, as your first attempt at publishing in a medium should be simple - you have enough to do mastering the new medium without trying to make something complicated with it. I knew my genre was soap opera, and though I’ve never been much of a soap watcher, my mother and husband are, so that set my parameters. I listed the tools at my disposal - the five base game aspirations, the jealousy mechanics, and the generational play. The question I asked myself at the start of the process was: “How do I create the most Drama for the least amount of effort?”

“Probably the notion of having five aspiration-themed households came almost at once, possibly as I started making name lists. I wanted to give elders a big role, because I had noticed that a lot of people thought elders were “boring,” and I knew they were wrong! I’ve always felt that Maxis missed a big trick by not having a Scheming Matriarch in Pleasantview. I wanted to shake up some stereotypes and have sims who didn’t obviously “belong” in their aspirations - shy Romance sims, outgoing Knowledge sims, lazy Fortune sims. I wanted all the households intimately connected to each other, which meant that for simplicity’s sake the story (story being defined as “person with a problem”) should center around one particular event that triggered events in all the households, a cascade of consequence. At which point I wrote down “It is a truth universally acknowledged that a single man in possession of a fortune must be in want of a wife,” and decided that the wealthy Mann family coming to town with a highly marriageable son and a Dark Secret was a good place to start.”

“That turned out not to be the trigger, but you have to start somewhere.”

Aside from your official captions, how did you set out to convey plot to those who play Widespot?

“I tried to take pictures of enough key moments that the players could inspect the albums for clues. By playing out the development I had ensured that some important information already existed in the memories and relationship panels, but I also went in and inserted memories that seemed to me significant. I had specific meanings in mind when I gave Mary memories of potty-training her younger siblings that extend all the way back to teenhood and manipulated some of her relationship scores with the testing cheats, but I wanted the players to be free to interpret those memories and relationships according to their own ideas, so I tried to background my own opinions as much as possible.”

“The plot, after all, is the players’ job, not mine!”

As far as literal world building goes, how did you factor in your characters’ surroundings to both their plotlines and their characterization?

“The smallness of the town, necessitated by the decision to keep things as simple as possible, gave me the starting point and the town’s name - it’s just a wide spot in the road, hardly a town at all. Rural areas have a certain vibe; certain types of people grow up there, and certain kinds of people wind up there, so this was on my mind as I designed the characters, built their homes, and decided what order they should be created in CAS and moved in.  Each house has a history, not all of which is necessarily made explicit to the player, and some of which really, really made me long for something more than BG Maxis content! But I think most people get that the Land cabin was built piecemeal over time, that a lot of Skye’s house was DIY, that the Beech house is Daytona’s house and the rest of her family just lives there, etc. Skye only got educational toys for his kids, but the Lands have a teddy and a dollhouse as well. The Mann’s house is the only one with a fence, and Rich ensures his privacy with stained glass windows in certain rooms. He also has that ominous closet full of aspiration rewards. (I hate that I couldn’t get him a counterfeiting machine - he clearly needs one.)”

“Some details were dictated by the game mechanics. Penny needed a double bed to get pregnant in, but there’s no particular reason for one to exist on her lot; so the heck with it, everybody in that house gets a double bed and I don’t even try to explain it. The lowest-numbered playable in the hood is always the telescope slapper, so I had to create the Mann family first in order for the guy with the Dark Secret to be the one who was incensed at the possibility of being spied on. But who would beard Rich in his own den when he, Lana, or Junior used the telescope in the daytime? That would be the local cop, wouldn’t it? This is why the Land house (with the nubile Land daughters) is right behind the Mann house and the Mann telescope is pointed straight at it. I also used the house to train the Manns - especially Junior - into wanting to buy things by furnishing it minimally to start with, and then adding items as wants were rolled for expensive artwork, games, etc.”

“When I gave characters their starting skill points, I assigned them partly at random, partly according to the implied backstory and role, and partly according to what would be possible in the game. If logic or a random roll indicated that someone in a household had a skill, I made sure that suitable skilling items existed in that household. Woody has an easel because it’s a solitary tool for gaining creativity points; the other families have the more sociable piano.  Neither family is much concerned about the impression they make on the outside world, so they are not oversupplied with mirrors, unlike the other families, where Charisma matters.”

“This all works back and forth; the character or situation requires something in the setting, and then I realize that having this thing here means that I also need this and that means I should improve the relationship between these two characters, or whatever. My first and best playtester insisted to me that Goldie needed a teddy bear, and made a good case for it based on Goldie’s characterization, both in the bios and as played; and she was right, so I added it almost at the last minute. (Which is why, so often, the first thing Rhett does it pick it up and try to talk to someone through it.)”

“One thing that I was aware of during development, but am a little reluctant to discuss, is the possible implications for the setting of the racial makeup of the neighborhood. At the time I was born, in the state where I was born, the Land and Beech marriages would have been illegal; and I had that in mind when I mentioned familial disapproval in the Land bios. Some people pick that up and run with it, most people ignore it. Most people look at the Hart’s Spanish-style house and decide (despite the name) that the family has a Mediterranean or Mexican background, but others have decided that Valentine is black/white biracial and all the Spanish influence comes from Angel. I have no desire to dictate anybody’s interpretation or play style, but I do want to enable as many interpretations and play styles as possible, and this variety is an indication of success to me.”

In a lot of ways, fans have come to regard Widespot as highly as they regard the original three Maxis neighborhoods. Did you envision the neighborhood being this popular?

“I beat my “expectations” about the reception of any particular work to death years ago. While I was building Widespot, I told myself that if the only person who liked it was Aegagropilon (my first playtester), that would be good enough and anybody else’s approval would be gravy. Well, Aegagropilon loved it; and I’ve lapped up quite a bit of gravy since then. I don’t have much of a grasp of how popular it actually is, and that’s not the important thing. The important thing is that I know some people are playing it, and enjoying it, and using it in different ways. How many there are, and how it stacks up next to the many other (and in some cases far more sophisticated) fan made hoods out there, is out of my hands. I’m better off not dwelling on that.”

How did Widespot evolve after you started? Were there any massive deviations from your original plan?

“Development was an alternating process of playing (including building, character design, and actual play) and working things out on paper in illegible notes, which is always how I work. I haven’t properly thought anything till I’ve written it down, but I’m a “pantser” rather than a “plotter” - i.e. I tend to fly by the seat of my pants when creating. Too much planning kills the story for me. So once all the preliminary work had been set up, and the broad strokes of the storyline determined, the rest was done directly in the game, with a little help from the testing cheats, Tombstone of Life and Death, and so on.”

“I knew I needed to wind up with a baby for every adult woman, but I didn’t always know who specifically would be the father of each baby until I saw how characters interacted. I knew one of the households would have a ghost, but for awhile I thought it might be Lana. I assumed Candy would have two lovers but I thought one of them would be Hamilton until she informed me otherwise. As mentioned earlier, I thought the Manns would be the central, triggering household rather than the Harts. I had no plans for the teens or children at all, and they took care of their own storylines”.

On a different note, what was your inspiration for the dynamic between the Harts and the rest of Widespot’s inhabitants? How did you develop the idea for these entanglements?

“As a family of Romance sims, their job was to wreak havoc. And boy, howdy, did they! But only after I realized Angel had to be the town ghost. The family ran much too smoothly when she was in charge - she and Valentine constantly smooching it up, Rhett being Mama’s boy, Candy being Goldie’s social support. Kill Angel, and everybody falls apart and starts making bad decisions. I designed Valentine as a Dirty Old Man; but he refused to be only that. I designed Rhett as a heartless jerk, and he can be that - but he’s also the only one of the immature Mama’s boys in the hood who has lost his Mama. I designed Candy as a golddigger, and yeah, she is - but she also made friends with Daytona and Goldie without any prompting from me, and she put herself in the middle of what turned out to be the hardest knot to untie in the whole hood, the Mann Triangle.”

“And Goldie - well, Goldie was a darling who autonomously put the rest of her family ahead of herself repeatedly, could never finish her homework, and never once brought anyone home from school or came home with anyone else.”

“TL;DR: I didn’t develop the Harts. They did.”

You’ve been very active on both Mod the Sims and Tumblr for a while now. How has The Sims community evolved since you first got involved? Why do you think there is still such a strong following of the series?

“It’s hard for me to speak to how it’s evolved, since I was never part of the Age of LJ and only started playing Sims 2 since after Sims 3 was already out. Also, having been on the fringes of a lot of subcultures in my life, I have become adept at keeping away from the stuff that stresses me out. So I’ve never hung out at SimSecret. I block tags on tumblr. I avoid anything smacking of edition wars, don’t allow anonymous communication, and back out of controversies as fast as I can - with an apology if necessary, because face it, everybody’s a jerk on the internet sometimes, and the most you can hope for is to not be one any more often than you can help.”

“So I have no idea how the Sims community as a whole is going on, and I only have a limited knowledge of the portion of the Sims 2 fandom that hangs around specifically at MTS and attracts my attention on Tumblr (often by tagging Widespot). Within this limited sphere, I have noticed a few changes. I used to see it assumed as common consensus that all Maxis premades were “ugly” and that “ugly” is a bad thing; moreover, that certain sims - Goopy Gilscarbo and Sandy Bruty in particular - are more “ugly” than most and are to be avoided at all costs. Now people are shipping Goopy and Sandy (that’s largely @holleyberry’s doing, I believe) and embracing the cartooniness of sims with enthusiasm.”

“On older websites I often see “realistic” (i.e., modeled on airbrushed photos in fashion magazines) sims that, as far as I can tell, are identical to each other and to the ones on the other old websites they link to. With current websites, however, I can not only tell the sims from each other, I can tell Person A’s versions of the premades from Person B’s at a glance. This is especially marked on tumblr, where I often know who originally posted the pics I’m looking at regardless of the attached avatar.”

“And there has been such a flowering of creativity in so many directions in the last eight years it’s overwhelming, though I don’t know how that compares to the days before I started participating. I like to think of Widespot as the vanguard of a Golden Age of hood-sharing. Nobody moans about the lack of clean fan made neighborhoods anymore; they’re agonizing over whether to play Europa or Widespot or Emerald Heights or Polgannon. And suddenly people are making new face sliders. Neighborhood deco lights up at night now. There’s mods for parking on the street, taking toddlers and pets on vacation, hunting, foraging, beekeeping, on and on and on.”

“I think the main difference between now and eight years ago is, that people were defensive about still playing Sims 2, and a general air of playing a “dying game” hung over us all. Now we are joyous and defiant and declaring that Our Game is the Best and Will Never Die.”

“Or maybe that’s just the people I self-select to see. How would I know?”

As a writer by trade, did you find many similarities between creating Widespot and writing a novel?

“My experience has always been that there’s an underlying unity among all kinds of creation, and in particular that storytelling is storytelling, whether it’s the language of text, sound, line and color, or whatever. My writing habits and skills translated seamlessly into the medium of the game. The chief difference, once you factor out technical matters, is that in most forms of storytelling, you need to provide a discrete unit of Story and give the reader the pleasures of closure and narrative structure, pruning out everything that disrupts that weakens the sense of completeness.”

“When making a sims neighborhood, though, you need to be as open-ended as possible, and you need to discern the optimum moment to turn the hood over to the player, while it’s still bristling with plot hooks and unresolved situations. You don’t need, as I did, to deliberately choose the moment at which a bunch of hard choices must be made immediately; but you need to put the player into a situation in which the choices he makes will matter and shape how the neighborhood develops from that point.”

You often play neighborhoods like Pleasantview and Strangetown. Do you prefer playing your own sims or those created by Maxis?

“That’s like asking if I prefer to read Diana Wynne Jones or Megan Whelan Turner. (And if you aren’t familiar with those authors, boy do you have some great reading ahead of you!) The answer is “both.” I enjoy playing characters I’m engaged with, regardless of who made them. Sometimes I wonder what’s going on with Vidcund and want to play Strangetown; sometimes I want to reconnect with the sims in Drama Acres, my personal custom neighborhood; sometimes I want to play with some of my own plot hooks from Widespot. It’s all good.”

If you had to pick between Widespot and Land Grant University, which would you choose?

“I’d attach LGU to Widespot and play them both. I don’t do either/or choices.”

(She just defeated the Kobayashi Maru.)

Do you intend on creating more neighborhoods?

“I actually have three on hand right now: a downtown called Bigg City (an empty version of which is available on SFS  http://simfileshare.net/download/207580/ ); a Seasons/Pets neighborhood I call Knotthole County; and an AL neighborhood called Port Cochere. The populated Bigg City got real complicated, real fast and when Health Crap is in a certain state I can’t work on it. Knotthole County is almost completely built but got interrupted while I was designing the characters; and Port Cochere is an SC4 map and a bunch of illegible notes. And at the moment I can’t work on any of them because I need two disk drives in order to use AGS, and one of them has gone wonky. However, I should be able to replace that soon, and then - well, maybe I’ll finally get that last week of work done on Bigg City. Or maybe I’ll decide (again) that if I’m organized enough to work on that, I should seize the moment and get queries out instead.”

Your content is themed around The Sims 2; have you played other titles in the series?, If so, which installment in The Sims is your favorite to play? For storytelling? For building? For creating sims?

“I’m a late adopter by nature. I started with the original The Sims and played it till I felt I didn’t have anything more to discover in it, at which time I started looking into the Sims 2, assuming that I’d eventually plumb its depths, too, and move on to Sims 3 about the time Sims 4 came along. Then I discovered that Sims 2’s depths are unplumbable, and that it was the perfect vehicle for that all-community storytelling I’d always longed to do.”

“The more I learn about the later iterations, the more certain I am that I will never play them. I’m sure they’re fun in their own ways, and I certainly don’t look down on anyone who chooses to play them; but I don’t like the way they look, I don’t like the lack of a storytelling tool, and most of all, the mechanics and structure of the game don’t enable my style of neighborhood play. The Sims series consists of four distinct games with four distinct sets of strengths and weaknesses; and the first two are the only ones I feel any call to play.”

Lastly, why do you still continue to play The Sims? Do you feel that the games provide a positive creative outlet?

“It still gives me pleasure. And I still have Health Crap and need projects, and have a computer that will play it. The Sims 2 is as much a part of my life as reading and playing tabletop RPGs and board games with my friends. So why would I stop?”

“The game is a positive creative outlet - it has nothing to do with my feelings on the subject. One of the most rewarding things about having made Widespot and LGU is seeing people use them as springboards for developing and experimenting with their own creative capacities. Also, a lot of simmers are deliberately using the game to control or relieve some condition or other. Depression, OCD, chronic pain from which they need distraction - I’m not the only one with Health Crap, and I am honored whenever anyone uses something I made to  deal with theirs.”

“They could have done these things without me, of course - but they didn’t. They used something I made for their own benefit, and I can feel good about that.”

Any parting comments, teasers, spoilers, public service announcements, etc.?

“One of the core concepts by which I live my life is that creativity is the quality that defines humanity best, and that it is the birthright of every single one of us. But we’ve been educated to think that it’s something special and separate, accessible only to certain special “talented” people; and brainwashed to think that personal creativity that can’t be monetized is a trivial use of time. On the contrary, creativity is to a large extent what time is for. Whether it’s a book, or a game, or a prom dress, the process of making is fulfilling and enriching, and sharing what we make is nourishing to us and to those we share with. So whatever your medium is, whatever resources are available to you, whatever ideas are quickening in your brain and hands - go for it.”

“It is not a silly waste of time.”

To those of you who haven’t played Widespot, go check it out; you won’t regret it. Thanks again to Peni Griffin for allowing me to pick her brain, and I hope you all enjoyed reading it. I certainly found a new favorite word in “pantser.”

If you have any questions, comments, or suggestions, feel free to visit my ask box. If you are interested, give Plumbob Post a follow, and reblog for anyone else who you think would enjoy this blog. Stay tuned for upcoming posts!

Dag dag!

[n1ghtcrwler]

So I know this is old hat by now but we were talking today about the shows wrapped up in the Netflix Marvel line and how everyone in the room agreed Iron Fist was just the worst of the lot (though we had varying degrees of like/dislike for the show itself), but there was some question of why. I had noticed a while back that most of the issues I heard about the show were kind of vague “Danny’s terrible” type things, with very little concrete examples of what, exactly, was terrible about him except that he just kinda...is. So I’d put some thought into it and in our discussion today the form that thought process has taken so far finally coalesced and came out and I thought I’d float it by a larger audience.

Essentially, I presented the idea that the Netflix Marvel shows have a recurring theme of identity. Daredevil struggles with his dual identity and the implications one of them holds for the religion that is deeply ingrained into his sense of self. Jessica Jones is actively trying to redefine who she is in the wake of who Kilgrave made her be. Luke Cage has an overt false identity and a whole life he’s been running away from that is beginning to catch up with him and raise the question of who he really is and if anyone really knows the whole answer to that question, with the added struggles of his racial identity added to the mix.

Danny Rand is insufferable specifically because the other shows trained us to expect that conflict, but we don’t get it, at least not in that way. He is annoyingly certain of who he is - he is Danny Rand and he is the Immortal Iron Fist, and there is no question or conflict or confusion in his mind about those facts. Compared to the other Defenders, he’s stubbornly certain of his identity. Which would be fine, I suppose, if he had any idea what that means. He has no idea who Danny Rand is, and never seems to realize that this is a question that needs to be asked. He doesn’t understand who the Immortal Iron Fist is or what, exactly, that title means for him, aside from a generalized “I hunt the Hand and protect the pathway that I am not, at this moment, actually protecting,” and only thinks to ask about that when multiple other characters ask him (without an answer) and finally a couple people get frustrated and just start telling him things he should already know about himself.

In a pack of stories about identity struggles, Danny Rand is the only one of the Defenders who is completely oblivious to the fact that he’s having an identity crisis, and he’s so stubbornly certain of his masks that he can’t even see that everyone around him is asking the questions that he himself needs to be asking if he’s going to grow as a character. He just dismisses them all with a glowing hand wave and everyone in the show and in the audience groans in frustration at it. Every time he calls himself the Iron Fist and someone rolls their eyes or asks what that means or tells him outright that he doesn’t know what he’s saying, he is being invited to actually answer them or at least ask himself if he has an answer, and he never takes the bait. Not ever.

I don’t know if they did this on purpose. I don’t know if they’re going to fix it. But from what I’ve been able to piece together, I think a lot of what we hate about the show Iron Fist is wrapped up to some degree in this issue.