#since its way more fantastical. but RE?

[wilwheaton]

Clooney wrote of the "profound moment" the country is currently in, noting how just last month he hosted the "single largest fundraiser supporting any Democratic candidate ever, for President Biden's re-election." "I love Joe Biden," Clooney wrote. "As a senator. As a vice president and as president. I consider him a friend, and I believe in him. Believe in his character. Believe in his morals. In the last four years, he’s won many of the battles he’s faced." "But the one battle he cannot win is the fight against time," he continued. "None of us can. It’s devastating to say it, but the Joe Biden I was with three weeks ago at the fund-raiser was not the Joe “big F—ing deal” Biden of 2010. He wasn’t even the Joe Biden of 2020. He was the same man we all witnessed at the debate." Regarding the debate, in which the 81-year-old President stumbled continually, Clooney wrote that "our party leaders need to stop telling us that 51 million people didn’t see what we just saw." "We’re all so terrified by the prospect of a second Trump term that we’ve opted to ignore every warning sign. The George Stephanopoulos interview only reinforced what we saw the week before. As Democrats, we collectively hold our breath or turn down the volume whenever we see the president, who we respect, walk off Air Force One or walk back to a mic to answer an unscripted question," he wrote.

George Clooney calls on Biden to drop out to "save democracy" — just weeks after hosting fundraiser

George Clooney has nothing to gain and everything to lose, by telling the truth right now. Politicians and their supporters hold grudges for eternity. He’s speaking up and saying this now, knowing exactly what the stakes are for him, and for our country.

This is what I’ve been wanting to know. This is what the campaign has been hiding from us: WE all saw that President Biden had a bad night. The question the demands an answer is: was it a bad night? Or has time and age caught up with the president? Are we going to believe our lying eyes, or clap louder?

We don’t vote for just a president; we vote for an administration. For the most part, this administration has been fantastic, more progressive than I ever dreamed, to say nothing of rebuilding a nation out of the wreckage of four years of Trump.

And all of that is going to be burned to ash if President Biden can’t mount an effective campaign to defeat fascism and its leader. Since the debate, the campaign has kept him behind teleprompters and away from unscripted interactions. That’s alarming, and a tacit admission that he can’t fight like he once did, that the person we saw at the debate is the person he is most of the time.

If we lose this election, America will be plunged into decades of authoritarian, theocratic, christian nationalist fascism. The stakes will never be higher, and President Biden and his team need to do what is best for the country.

We will not win this election by clapping louder and gaslighting ourselves. We need — this crisis demands — a candidate who can clearly and easily refute Trump’s lies, and simply and clearly explain to voters what the stakes of this election are. The 2020 Joe Biden could do that; the 2024 Joe Biden doesn't seem to be capable of that, anymore, and that puts our entire nation and way of life at risk. George Clooney is telling us that he literally just saw, privately, what we all saw in public, and it was not a one-off. He also reveals that every single elected Democrat he talks to agrees with him, but they are too afraid to speak up. That’s horrifying, and I desperately hope it isn’t true.

But if George Clooney is telling us a hard truth, risking the wrath of countless powerful political players, and we should listen to him; not because he is rich and famous, but because he was literally in a room with President Biden and his supporters, and is now on the record that the President Biden we saw at the debate is not a guy with a cold or whatever, and now journalists can follow up with other people who were there to confirm or deny George Clooney’s observations.

These are tough questions that demand answers, now, because we are four months out and this shouldn’t be close, at all. America hates Trump, and he has lost every election since 2018 as a result.

President Biden and the Democrats need to run up huge margins in Michigan, Georgia, Nevada, Arizona, and Ohio, to overcome the inevitable MAGA fuckery. We need a candidate who is fifteen points ahead of Trump, not someone who has been in the margin of error for his entire presidency -- which is fucking insane when you look at all of Trump’s felonies, judgments, impending trials, and all of his corrupt criminality that the SCOTUS MAGA Majority twisted itself into knots to protect.

This should be a landslide against Trump and MAGA. It’s close because the candidate running against him isn’t -- likely can’t -- be out there, every day, banging the podium and forcing a change in the narrative. 

Did you see my governor after the debate disaster? He was on fire. That guy would destroy Trump in a debate. Vice President Harris would be laser focused on prosecuting the case against him. President Biden is the only candidate who Trump could drag into a fucking dick waving contest about golf scores when the fucking future of American Democracy is at stake. There is not a single other credible candidate who would take that bait. My god.

President Biden has done so much more than I ever thought possible. He doesn’t get credit for all his progressive achievements, for pulling America out of a economic calamity (caused by Trump and his allies), forgiving student debt, his appointments to the FCC, FTC, and other regulatory agencies that had been captured by industry during the Trump regime.

All of that will be wiped out in a matter of days, if Trump seizes power again.

George Clooney is warning us that President Biden doesn’t have the stamina and focus to win reelection and secure not just his legacy but the future of our country. He is saying out loud and as publicly as possible that we are not crazy, that we really did see what we saw.

This is DEFCON 1 for Democracy. This isn’t politics as usual. This is a moment of tremendous existential danger that only gets worse with each passing day. IF President Biden remains the candidate, I will vote for him, obviously. But I hope that he will fire everyone involved in preparing him for the debate, because they failed him, they failed America, and if Biden is going to take the fight to Trump and MAGA the way he needs to, it he needs a team who understand who they are fighting against, how to punch Trump in the nose, and what the stakes are.

[moonstruckme]

Hey! I LOVE the comic you posted of the reader going to a club pre-relationship! I was wondering if you could write a part 2 to that of all of them going to a club together. With some jealousy, like when the reader goes to the bathroom on her way back she is getting flirted with by a random guy and the marauders reaction. Feel free to ignore

(Also I adore you comic that make my day every time I have re-read all of them at least 3 times!)

Hi lovely, thank you so much ! This took me forever to get to sorry, hope you enjoy it <3

part 1

cw: alcohol, unwanted/nonconsensual touch

roommate!marauders x fem!reader ♡ 1.3k words

Your shriek cuts through the loud music, and you turn to Remus with an open-mouthed grin. 

“This is my favorite song!” you shout. 

He laughs. In the past half hour, four songs have been your favorite. “Yeah?” he asks. 

You nod happily, throwing your hands above your head as you spin. You’re tipsy twirly, surprisingly sprightly considering you’ve downed enough shots to get Remus hammered, and he’s got several inches on you and has been drinking since he was thirteen. 

Sirius is in a similar state. Remus and James have been steering the two of you around for most of the night, but now James has put himself in charge of crisis prevention, playing goalie between either of you and the bar. 

“Oh be fun, Prongsie,” Sirius wheedles after getting spun around by the shoulders for the upteenth time. “I know you can be fun.” 

“I am fun,” James agrees. “I have my most fun when I’m not cleaning up your vomit. Go dance with y/n.” 

You’re game for this plan, giving Sirius an enticing smile and moving your hips to the music in a way that makes Remus’ mouth go completely dry. He knows he’s not the only person in this club who’s noticed, but thankfully the little circle the four of you have made in the dance floor stays clear of intruders. Thus far, your prediction has proved correct; no other men have come up to you with your roommates around. He’s not particularly distraught about it. 

You seem oblivious to your own allure, laughing when Sirius hurries toward you like a called puppy. You take his hands, letting him twirl you around and then holding your arms up to twirl him in return, and at the chorus, you both jump around so that your hair flies all about. Your laughter is loud and sparkling. Remus sips his drink, entranced. 

There are two more favorite songs before you careen towards him, grabbing fistfuls of his shirt. He hastily grips you by the elbow, wary of a fall, but you seem to have done this intentionally. You beam up at him, your smile lopsided and far less shy than anything he’s ever seen from you. 

“M’gonna go to the toilet,” you tell him, one word leading into the next like they’ve been sloppily tied together with string. 

“Oh, okay.” Of its own volition, Remus’ hand coasts up the back of your upper arm, then down to your elbow again. “Do you think you’re gonna be sick, honey?” 

Your face screws up as if this is taboo to mention. “What? No.” You make a funny pffting sound. “I’m miles off from that, I’m fantastic, it’s just,” you lower your voice, expression turning grave, “I think it’s time to break the seal,” you tell him meaningfully. 

This time it’s entirely intentional, but he also can’t help it. You’re just too cute. Remus sets his hand on the top of your head affectionately, grinning at you. “Alright, love, sounds good.” He looks around for the women’s bathroom, locating it a short distance away. “Want one of us to go with and wait outside for you?” It’s not like he can’t see it from here, but a girl as intoxicated as you probably shouldn’t be going anywhere by herself. 

“No, no, I’ve got it,” you say, patting his chest lightly. “Back soon.” 

It’s like you’ve disappeared into a mist, the way you fade into the crowd so quickly. It takes Remus a moment to spot the top of your head moving towards the bathroom. You turn around just before you go in, giving him a dazzling smile paired with a dorky thumbs-up. 

“Where’d she go?” James asks, holding his drink aloft while Sirius grabs for it. “And what has made you smile like that, Moony?” 

Remus makes a dismissive sound, but he feels his face heat as he takes a long sip of his own drink. James’ grin widens. 

“Ooh,” Sirius catches on. “What’d she say to you?” 

“Nothing. She’s gone to the toilet.”

Sirius’ kohl-rimmed eyes bulge, and James laughs, following his train of thought immediately. “Did she ask you to follow her? I didn’t think that was your style, you rake.” 

Remus rolls his eyes. “You’re depraved.” 

It’s not long before you reappear, catching Remus’ eye on your way out of the bathroom like you knew he’d be looking. You give him another of those heart-stuttering smiles and head his way, weaving your way through the crowd with a drunken expertise. 

A happy glow of anticipation starts up in his chest, but you’re intercepted on the way. Another head, taller, steps in front of you, blocking Remus’ view. He cranes his neck, but he can’t see you. 

He must make some sound or simply be emanating discontent, because James is back at his side in an instant. “What’s wrong?” 

“Someone’s talking to her. I can’t see her anymore.” He sounds ridiculous, like an overprotective douche, but he can’t imagine one can be too cautious when a drunk girl is surrounded by guys in a place like this. Remus is being purely practical. 

“Let’s go get her.” James is on board immediately, taking Sirius by the elbow and beginning to bulldoze his way through the crowd. Sirius grabs Remus’ hand just before the gap closes behind them, dragging him along. 

Remus hears you before he sees you. 

“Really, I appreciate it, but I’m not looking for anything.” Your voice sounds slightly tight, and Remus knows you well enough to tell by the sound of it that you’re giving whoever you’re talking to one of your big, fake smiles. 

A man’s voice says, low and sure, “You don’t mean that—” and that’s as far as he gets, because you interrupt to exclaim, with no small amount of relief, “My friends!” 

“Hi, sweetheart,” James says, and you’re right in front of them. You’ve cleaned up your makeup in the bathroom, the eyeliner that had transferred sweatily under your eyes now pristine again, and your smile is indeed giant and thin-lipped as you look between them and the man in front of you, subtly flaring your eyes. He reads the look clearly: Help, please!

Remus looks you over. The man has his hands on your hips and one of yours is around his wrist, a cautious touch. Sirius takes care of that quickly, wrapping his forefinger and thumb around the wrist closest to him and removing it like it’s a piece of trash he found on the street. 

“Do you two know each other?” Remus asks. Without permission, his voice comes out gruff and accusatory. 

“No,” you say speedily, taking a step towards Sirius. Towards them. “I was just on my way back to you guys, actually.” 

“We were talking.” The man looks between the three of them scrutinously, like they’re threats. Remus doesn’t hate the thought of being a threat to this guy. 

“Sounded like you were done talking, mate.” James smiles easily. You’d have to really know him to hear the sharpness in his tone. 

Sirius snakes an arm around your waist, but you don’t shy from the bold touch. In fact, you lean into him, your smile slowly beginning to resemble the genuine article. “Wanna get another drink, baby?” Sirius asks you, gaze salacious. 

“Mhm.” You bob your head eagerly, and he leads you off, James and Remus following. “Thanks for the help,” you tell them as soon as you’re away. “He didn’t, like, do anything, but it was a bit intimidating.” 

“Anytime, sweetheart,” James replies, expression going a bit stormy now that he’s done feigning lightness. “And I wouldn’t say he didn’t do anything, he shouldn’t have put his hands on you like that.” 

“It’s whatever,” you wave it off so easily Remus’ heart gives a little throb. “What’re we drinking?” 

“Oh, that was a ploy,” Remus says. “We’re done drinking, remember?” 

You pout, and Sirius hugs your side sympathetically (entirely for your benefit, Remus is certain). “You mean we’re done,” he sneers. “You and Prongs get to have however much you want. Who made you king of the beer?” 

“I think you did, actually,” Remus says thoughtfully. “At Mary’s New Year’s party, remember?” 

Sirius sniffs, presumably because he does not.

[coochiequeens]

Womens history just got richer.

When the deeply patriarchal Romans first encountered Celtic tribes living in modern-day France and Great Britain in the first century B.C.E., their reaction to the roles of the sexes was one of surprise and dismay. The tasks of men and women “have been exchanged, in a manner opposite to what obtains among us,” wrote one Roman historian.

New evidence from Celtic graves now confirms that at least one part of Britain was a woman’s world long before the Romans arrived—and for centuries afterward. One ancient British tribe known as the Durotriges based its family structure—and perhaps property inheritance—on kinship between mothers and daughters. Men, meanwhile, left home to live with their wives’ families, a practice known as matrilocality that has never been seen before in European prehistory.

The work, published today in Nature, helps explain why women in Iron Age Britain are often buried with high-status grave goods such as mirrors and even chariots, says Ludwig Maximilian University of Munich archaeologist Carola Metzner-Nebelsick, who was not involved with the research. “It’s a fantastic result,” she says. “It really helps explain the archaeological record.”

Ancient histories—not least Julius Caesar’s 50 B.C.E. account of invading Gaul—hinted at female empowerment among the Celts. “They wrote about it because they found it so weird,” says Trinity College Dublin geneticist Lara Cassidy.

Many modern historians assumed the accounts were exaggerated; they dismissed rich female graves from the time as outliers. But over the past few decades, archaeologists comparing burial practices at hundreds of Iron Age sites from Britain to Germany began to think there was a kernel of truth to the Roman reports.

The Durotriges cemeteries, located in the far south of England near the city of Bournemouth, offered a way for Cassidy and her team to investigate. Burials there began around 100 B.C.E., roughly 150 years before Roman forces invaded the island. Unusually for Iron Age Britain, the tribe didn’t cremate their dead. Instead they buried them close to home, in the hills surrounding their farmsteads.

Whereas men were laid to rest with a joint of meat and perhaps a pot containing a beverage to sustain them on their journey into the afterlife, Durotriges women are often found with elaborate offerings including mirrors, combs, jewelry, and even swords. “If you judge social status by burial goods, then female burials have vastly more than male,” says Bournemouth University archaeologist Miles Russell, a co-author of the new paper.

Over the past 4 years, researchers sequenced DNA from dozens of Durotriges skeletons in a set of cemeteries in Dorset, England. By matching identical fragments of genetic material from different individuals, they reconstructed a family tree that spanned six generations—many of whom were female descendants of a single female founder. Two-thirds of the people in the kin group buried in the cemetery shared a rare type of mitochondrial gene, a form of DNA inherited only from the mother, including some of the men who shared the same female ancestor.

Other genetic evidence from the Durotriges cemeteries pointed to matrilocality, showing that men joined the clan from other families. “Women are staying close to family and are embedded in the support network they’ve known since childhood,” Cassidy notes. “It’s the husband who’s coming in as a stranger and is dependent on the wife’s family.” Women were evidently a force to be reckoned with in this part of Iron Age Britain.

Archaeologists have found that members of Great Britain’s Durotriges tribe often buried women with more grave goods than men.Miles Russell/Bournemouth University

Such patterns could help explain finds elsewhere in the Celtic world, where women were sometimes buried with rich grave goods or even chariots. “We’re thinking this could have been quite widespread,” Cassidy says.

To gather further evidence, she and her colleagues re-examined previously published genomes from more than 150 sites in Britain and Europe stretching back to the Stone Age. Starting around 500 B.C.E., the diversity in people’s mitochondrial DNA declined, the team found, suggesting more of them shared the same female ancestors. There was no matching decline in the diversity of Y chromosomes, which are passed from fathers to sons.

That suggests communities across Britain were anchored by specific female lines, with men marrying in from outside. “The signal they see in [the Durotriges] case study can be reproduced in other British sites,” says Max Planck Institute for Evolutionary Anthropology archaeogeneticist Joscha Gretzinger, who was not involved with the work. “That’s quite a smoking gun.”

The study is part of a growing use of DNA to reconstruct genetic kinship in the deep past—and use it to shed light on the structure of past societies. University of Liverpool archaeologist Rachel Pope says the research is starting to highlight the wide variety of social organization people practiced in the past, something archaeology has hinted at over the past 2 decades.

Some of the earliest kinship studies using ancient DNA, for example, showed that Stone Age farmers in Britain and France living in the fifth millennium B.C.E. were organized patrilocally, with women leaving their homes to marry while men stayed put. The new data from Durotriges suggest that by the Iron Age, 4000 years later, something had shifted. “This is quite exciting,” Pope says. “There are moments in time in which societies seem to have a lot of high female status.”

[ofmdrecaps]

10/31/2024 Daily OFMD Recap

TLDR: Taika Waititi; Samba Schutte; Nat Torres; Kristian Nairn; Linds Cantrell; Dominic Burgess; Vico Ortiz; Fan Spotlight: Our Flag Means Fanfiction New Show; Halloween; Adopt Our Crew OFMD Themed Spooky Season Prompts; Love Notes;

Alrighty lovelies. So this edition is a lot later than it should be because I wanted to get permission from fans to include their absolutely beautiful work! Thank you to everyone who allowed me to share-- and please oh please if you'd like to share yours I'd love to see more of your beautiful creations-- from costumes to pumpkins for Halloween!

PS: Happy Boop Day to all who celebrated here on Tumblr!

= Taika Waititi =

Well, Taika and Rita really did steal the halloween show, I tell ya. Look at these awesome Legend of Zorro costumes!

Source: Getty Images

Source: Rita's Instagram

= Samba Schutte =

Samba and family went for something out of this world for Halloween!

Source: Samba Schutte's Instagram

= Nat Torres =

Nat asked a very important question on Halloween!

Source: Nat Torres Instagram

= Kristian Nairn =

Hey! Did you know Kristian did an interview with Instinct Magazine ?

= Lindsey Cantrell =

Our darling set decorator went as Selena Gomez from Only Murders In The Building (another show Lindsey worked on!)

Sounce: Linds' Instagram

= Dominic Burgess =

Happy Halloween from Jeffrey Fettering! He gets to dress up in all the cool costumes year round!

Source: Dominic's Twitter!

= Vico Ortiz =

Vico's put up more OFMD BTS for S2 on their Patreon! Some sneaky previews below! Vico's Patreon.

Source: Vico's Patreon

Source: Vico's Patreon

== Netflix Requests! ==

Your daily reminder from our dear crewmate aproperpirate to put in those netflix requests! https://help.netflix.com/en/titlerequest

Source: A proper pirate on Twitter

== Fan Spotlight ==

= Our Flag Means Fanfiction =

While not specifically OFMD related-- it's brought to you by Our Flag Means Fanfiction and it's spooky! New podcast by the folks who brought you OFMFF about Haunted Hollywood! Check it out on their linktr.ee!

Source: Our Flag Means Fanfiction

= Halloween =

Since Halloween always gives us such fabulous costumes I really wanted to share some that popped across my feed! LadyLiu7 on Instagram was kind enough to share her Blackbeard Costume, which I have to say, is INCREDIBLY bad ass. Thank you so much for sharing it with us!

Source: LadyLiu7's Instagram

One of our very active and amazing crewmates, politestmenace over on twitter also dressed as Ed this year, with bonus mini-menace as Kevin from Time Bandits! (Jemaine even sent some praise!) Thanks for letting me share this awesomeness dear!!

Source: Politest Menace's Twitter

Another one of our wonderful crewmates -- _gentlebeard over on twitter went as one of the Skeleton Mermaids! Check out this stunning costume! It was so impressive David re-tweeted it! Absolutely fantastic job Chelsea! Thank you so much for letting me share this with the crew!

Source: _Gentlebeard's Twitter!

= Adopt Our Crew Prompts =

Our Fan-Tabulous crewmembers over at @adoptourcrew kept up the engagement by asking folks what kind of cool OFMD stuff people were into for the spooky season and I was so happy that some of our crewmates were cool with me sharing because LOOK AT THE TALENT ON THIS SHIP!!!!!

Source: Adopt Our Crew's Twitter  Like seriously, how do you all manage to get this so intricate! ITS AMAZING and SUPER SPOOKY. I would have loved to see it in person! Great job Sarah!!

Source: Habitvol6's Twitter

Oh and this extremely cool mermen skeletons decoration!? EXCUSE ME!? Poison2Princess over on Twitter knocked it out of the park with this one!!

Source: Poison2Princess on Twitter

OH and just by the way, check out this fabulous flag pumpkin by AsYouWish311 over on Twitter! It's so hard to carve pumpkins, and you DID NAIL IT! So hard! Frenchie would be proud!

Source: AsYouWish311

Tumblr keeps deleting my edits-- but Check out this SUPER BADASS PUMPKIN THAT JENN on bluesky made! Look at that!!! It looks like a title card! You are amazing luv!

Source: Metavenhorst on Bluesky!

== Love Notes ==

Hey there lovelies! I hope you all had an absolutely wonderful spooky couple days! Halloween is one of my favorite times of year because everyone gets to be so creative, and expectations are dropped even if it's just for an evening!

Please oh please remember to take some time for yourself soon if you didn't get to these past couple days! You need to recharge too. Sending so much love your way -- take care!

Source： MyEasyTherapy

[probsnothawkeye]

Its apparently #InternationalPodcastDay which typically i would use any excuse to talk about my friends shows but today I'd like to talk about my own shows and the work I've been doing there/in other shows I've been a part of! I don't usually talk about myself but I'm gonna try!

Starting off with @thefringespod which is my first show and love of my creative life. This show started as a way to get used to writing and voice acting and has grown into something I'm incredibly proud of. Season 3 is currently airing which is the final season of the show. I've known where this show ends since the very start and to get to share this ending with y'all as brought to life by the incredible people I've gotten to work with has been nothing short of magical for me. I've loved working on this show so much and am going to miss it 💜

@forgedbondspod is what i lovingly call a misuse of my degree in Classics. It's a love letter to the gods, to mythology, and to the tradition of storytelling which will be kicking off this December and is chock full of wonderful and amazing people that I'm so lucky to work with! When I first thought about re-writing Hephaestus and Aphrodite's story with a trans lead, I thought I would write a book but getting to turn this concept into a podcast and hear these characters brought to life has been absolutely amazing and I can't wait for yall to hear it

I will take a brief pause to talk about @totcoc0a and @taytayheyhey who i met in the process of making the Fringes and have dragged along to Forged Bonds. These are two wildly talented people and getting to be their friend is as close to a blessing as exists in this world

In terms of other shows I'm in, the first show i was in that I didn't make was the fantastic @grottopod ! Athan asked if anyone was interested in playing David's mom so I sent in some audition takes and he let me play the character. I love Nicole with my whole heart and getting to play her (twice!) was a gift. I have a Grotto tattoo, that's how much I love this show, and knowing that I got to be a little part of it never fails to make me giddy

I also got to be in @woebegonepod this year which has been a delight and an honor and I'll never get over getting to play Magnolia i love them so much and there are ImplicationsTM about them which make me excited about future woe.begone shenanigans. Having Dyaln reach out and be like "hey would you want to be in an episode" fully had me wiggling like an excitable worm and both episodes i got to be in were phenomenal its truly so wonderful to be part of this podcast

I got to narrate an absolutely incredible story over on Cast of Wonders which was about grief and guilt and it makes me emotional every time. Getting to do prose narration like this for a podcast has been wonderful and stretches a different skill set which I've loved doing

Now that I've talked about myself more than usual it's time to talk about the lovely friends that I've made by working in this space because gods podcasts have brought the most amazing people into my life and I'm incredibly grateful to know and work with them. Long list incoming! @delaylays @louis-dc @kit-n-kboodl @allatseapod @doomedbythenarrativ @audistorium @madd-vo @athansmusic @/NataliesDreami @/macabremezzo @/codyvmwastaken @/MrTusk6 @tellnotalespod @ethicstownpod @chainofbeing @justjenah the aforementioned Tay & Tot & all of my wonderful casts It is an honor and joy to work with and know all of these wonderful people and to support all of the amazing things they're creating

I will never get over how lucky I am to be in this space with such amazing people making amazing shows that improve my life exponentially

Happy International Podcast Day to all of my fellow podcasters, podcast lovers, and to everyone who wants to start making podcasts! This world is better with our stories in it and I can't wait to keep listening to all of the wonderful things being created in this space

[absolutebl]

I'd like to specify a request for good Thai shows that just finished. They're my favorite for many reasons, and I also enjoy getting to learn more Thai words.

Good 2023 Thai BL That Recently Finished (to Binge!)

(I actually held off answering this one until a few had ended this week because I didn't have many for 2023. It's not been great year for Thai BL so far IMHO. Now South Korea is KILLING it. So is Japan.. in a different way.)

My School President

9/10

GMMTV gave us a classic high school set Thai BL with tropes like messy boys singing their feelings that made this one Love Sick for the modern age with all the gentle sweetness and pining ache, but none of the dated damaging tropes or issues.

Yes, we’ve seen it all before, but I still ADORED this. And there is a lot to be said for the classics being re-executed perfectly. Who let my BL be this wholesome and funny? This show was fantastic, it’s only flaw was the singing (and that’s my baggage).

My favourite GMMTV BL offering to date. And yes, I've watched them ALL. (YouTube)

Step By Step

9/10

This was Thailand’s answer to The New Employee, and everything I loved about that show I loved about this one.

This was an office romance between stern boss and sweet subordinate that felt more authentic to an office environment than previous Thai BLs of this ilk. And that authenticity added tension to the narrative and character development (how novel). Now that might be because it has western source material, or it might be because it is actually kind of old-fashioned (it’s been years since I worked as an office grunt). I also really enjoyed the brothers’ relationship, and kinda wished they hadn’t attempted (and failed) to give said brother his own side BL.

(Gaga & YouTube & Viki)

La Pluie

9/10

This BL takes to task the fated mates trope and what it means to have love chained intimately to predestination. It’s about how faith in destiny before choice diminishes the authenticity of emotion, relationships, and connection. This is a high concept to examine through the lens of a BL.

By activating + examining the soulmates trope this show is challenging a foundation of romance: the idea that there is one person meant to be your one romantic partner all your life. This means that we, as viewers, spend much of the show worried about it having a happy ending, and that’s the source of both its brilliance and tension: would the narrative have the strength to truly challenge its own romantic core?

But, ultimately, all this elevated complexity was executed in a somewhat shaky manner with the narrative derailing into some serious pacing issues and characters manipulated by miscommunication. However, with good chemistry and decent acting all around, plus some excellent high heat and representation of consent and a few other rare tropes, this one has to (like it’s sibling show My Ride) earn a 9/10.

I enjoyed it even as it made me think. (iQIYI)

Make a Wish

8/10

PNR (from Sammon: Manner of Death & Triage) about a doctor who can see the dead and strikes a bargain with a wish-granting irreverent tree angel - naturally they fall in love.

Stars Fluke Natouch opposite not-Ohm, but who cares bc Fluke has chemistry with everybody. Once again the Thai afterlife is incredibly bureaucratic but I enjoyed the premise and the unfolding of the story (it’s not predictable but still satisfying and with nice little twist). I like that the doctor is just gay af and has a fag hag bestie and everything.

The cast is excellent but the comedic stylings are too overblown and tonally off. It had sad parts and did make me cry but is ultimately happy with a great sex scene, good smiley kisses, and all the agency. (grey)

Moonlight Chicken

8/10

I enjoyed this complicated little show, even though it’s spectacularly messy gay with lots of shrapnel and authentic pain.

I thought EarthMix turned in their most compelling performance to date. But it was GeminiFourth who stole my heart.

That said, the most interesting central relationship was that of Jim & Li Ming, their father-son angst mixed with evident affection made me tear up.

This was more slice of life than it was BL, but it ended happily so I’m not mad at it. (YouTube)

Never Let Me Go

8/10

Bodyguard romance where poor boy must watch over rich boy for family obligation reasons. Simple premise well executed with a few bumps that made it feel like it was trying to tackle too much (when it wasn’t).

Still, an enjoyable show that benefited from being handed to PondPhuwin who did a stellar job with their roles and chemistry. Is it going into permanent rewatch rotation? No, but a solid GMMTV offering. Of GMMTV passing out new series to established pairs this has been the most successful IMHO. PondPhuwin were about 10000x better in this than FUTS (and that's FUTS's fault, not theirs).

It's typically Thai in that its a bit bloated and has a confusing plot, but at least it HAD a plot and the central relationship is solid and loyal. Their Our Skyy 2 follow up is great. And very much adds to the cannon in a fun way rather than feeling superfluous - making this show ultimately 14 eps rather than the usual 12. (YouTube)

Destiny Seeker

8/10

A darn near perfect pulp featuring 3 likable grumpy/sunshine pairings with uncomplicated iterations of enemies to lovers. At least one half of each does a decent amount of pining and there’s good chemistry, classic tropes, and communication rep. It’s fun and full of linguistic jokes.

Sublimely cheesy but a good rainy day offering with tons of rewatch potential. (WeTV)

Bed Friend

8/10 (Triggers include: child abuse, attempted rape, family abuse)

Office frienamies transition a flaming hot one night stand into a f-buddy relationship that is built on a puppy/cat dynamic (and kinks into it at one point). Our puppy is loyal, smitten, and protective with endlessly longing eyes, while our cat is snarky, prickly, and deeply damaged (ALL THE TRIGGERS).

NetJames give lovely high-heat with excellent chemistry and tuned-in performances of surprising depth, unfortunately the story ultimately failed them. Had the show had the strength of its convictions and kept to a tighter, darker, harsher 8 eps it would have been the first high heat to earn a 10/10 from me, but once they fussed with it, it dropped to a solid 8/10.

Could have been great but was overworked. Still if high heat is your thing, this one will not let you down. (YouTube)

Between Us

8/10

Featuring the hugely popular side characters from 2019′s Until We Meet Again, Win Team (played by Studio Wabi Sabi's most popular, and commercially viable, pair BounPrem - Long Khong, You Never Eat Alone, Seven Project, Even Sun), adaptation of the y-novel Hemp Rope.

It’s a serviceable series about hot swimmers flirting and dealing with family drama in a sweetly earnest manner, but ultimately it squanders the talent in play. I would’ve preferred a cleaner narrative arc, less angst and more plot, fewer couples, and a shorter series.

That said, there’s nothing objectively wrong, sub-standard, or off-putting about this show. And it has lots of consent and other good qualities.

It’s fine. Watch along here. (iQIYI)

This list dated July 16 2023, not responsible for anything that came after, that'll probably be in end of year wrap ups.

[pikamemfo]

Re-read the succession war of HxH and was hit with the strong urge to continue procrastinating life so here we are! Here's a splatter of some random thoughts going through chapter one!

(Note: As this is a re-read, I might reference events that have occurred later in the manga!)

• Some beautiful imagery to kick us off—in general, the style of this chapter definitely invokes a lot of nostalgia both for HxH as well as the aesthetic of that time

• WHO IS THIS??? (Lmao, compared to Killua and other characters later on, there are less changes between Gon at his introduction and his current appearance but it is fun to see how Togashi refined and changed some his initial character designs, especially since his art style changes arc to arc.)

• It's really slight, but you can see the core themes of the story slid into a lot of the small dialogue moments. For example, here, Mito's grandmother notes that it doesn't matter why Gon sets out on his journey, just that he does, reinforcing the idea repeated at the World Tree where the alternative end is discussed, noting that the goal (Gon meeting Ging) didn't matter as much as the actual process of Gon getting there (by making friends, going on adventures, discovering himself, etc.).

• I love how spirited some of these panels are like the way Gon is jumping so animatedly or the adorableness of the foxbear tackling him

• To this day, I will never understand why 2011 removed this Kite flashback. It's the equivalent of not having Shanks lose his arm in romance dawn or not telling Yoki's story in Brotherhood. I don't even think the "We thought people saw 1999 and would get bored" argument works because they adapt pretty much everything else and this is such a critical scene to counter the "Gon's a psychopathic monster" takes floating around by offering a clear glimpse into the invisible trauma that helps form his, perhaps unconventional but also understandable mentality (not to say he isn't a flawed character, he is, that's the point—but there's a lot more nuance behind it than "Kid raised like animal. Selfish and primal. Only saves people he likes.")

• Kite is introduced with the perspective that anything that can threaten a human should be killed, regardless of how unfair or cruel it is (referring to the baby fox cub who had just lost its mother and therefore has the potential to cultivate a grudge against all humans). Although pre-emptive, this is a rational thought. It's why hunters existed in the first place, to acquire food and to protect against wild beasts. Gon of course, in this touching scene, resonates with this cub as someone who had lost his own parents and can't bear to abandon it to its death, even as it scratches angrily against him:

• As someone who has been abandoned (though right now, it's more metaphorical than literal since he thinks his parents just died instead of setting up a fun, peril-filled obstacle course for him to follow��Ging is a fantastic character who makes terrible choices, I promise 😭), he cannot bear to inflict that same pain to someone else which is why throughout the series, and especially in the next few chapters, he's always rushing in to support people who are left behind by others and taking detrimental risks to that end. Of course, this need to hold close, alongside a quality dose of fatherly idolization and a fear that Ging won't even look at Gon if his son doesn't meet an arbitrary standard of strength, are the qualities that are stressed to cause the fallout we see in the Chimera Ant Arc. It's hatred and brashness forged in the aftermath of love and hurt.

• Additionally, Kite plays such a pivotal role in Gon's goals, arguably more than Ging himself. Obviously he literally gives Gon the Hunter's License and his goal by telling him Ging's alive, but if it wasn't for meeting Kite, Gon probably wouldn't have decided to become a Hunter even knowing Ging's story. He goes because he looks up to Kite dearly, and Kite admires Ging so in Gon's mind, to earn Kite's respect, he may have to meet Ging's standards first.

• I love the depiction of Mito being a clearly nurturing character, but also flawed. Not the perfect mother you're led to believe in the anime. She is manipulative in hiding Ging's uh...life from Gon, which was not a choice that's morally up to her to make, and it's not solely out of love for Gon that she hides it either. She, herself, is hurt from Ging leaving her behind time and time again, and is scared Gon's going to do the same. And you know what, Gon does.

• And Gon's choice to leave is also not a naive decision. He knows full well that he's hurting Mito by leaving, which is why he apologizes, telling her that being a hunter must have been such an important job it's worth leaving behind your family (rationalizing Ging's decision), and says "like you said...I am his son, after all."

• But of course, Gon is wrong. As Killua shows, there is a need to escape strict familial oversight so you're able to discover who you want to be outside of the external pressure trying to box you into predetermined paths. But again, the end goal is not as important as this discovery process, and it's the people who care about you and affect you that matter in the end. Which is why characters like Kurapika continually find themselves drawn back to connections they try to hide and Gon returns back to Mito at the current end of his arc, perhaps a little more unburdened than when he left.

And that's a wrap for chapter 1! This was fun—as someone who hopes to write my own story one day, it's really cool to see how coherent the thematic throughlines of this story are written, as well as how a single chapter can clearly establish so much meaningful characterization.

[filmmakerdreamst]

How Lyra and Will suffered as Protagonists in BBC's His Dark Materials

Despite the cast and crews open love for the novels, and the insistent diligence to stay as faithful to the source material as possible — even trying to fill in many of the gaps in the books, as seen in all three seasons of the show — the BBC adaptation never manages to capture the spirit (the only time I felt like it did was in the third season) because of the fact that every character is altered and changed. Not just adaptationally changed either like making a character dumber, softer or harder. They’re completely different characters, separated from the source material e.g. Mrs Coulter is changed from a seductive, calm character to a feral, suicidal character. I must admit, I did like the expanded self harm element that she causes her daemon. However I felt in the novel, if she were to harm her monkey, it would be ‘to keep her lust for power at bay’ rather than shame for herself.

The atmosphere was off yet the events were similar and the complete opposite at the same time. But you can’t have similar events play out with different characterisations, at least not with ‘His Dark Materials’.

Philip Pullman’s characters in ‘His Dark Materials’ are extremely charismatic, but to put it lightly, are not very palatable to say the least. As stated in @clarabosswald’s analysis, there seemed to be this weird need to make EVERY single character digestible or palatable in some way or another in the BBC adaptation, regardless of it making sense or not. I noticed this upon my re-read of ‘The Northern Lights’ that they even humanised the doctor that sexually assaulted Lyra by grabbing Pantalaimon, which was very troubling.

Now with the opposing ‘The Lion, The Witch and The Wardrobe’ film, they changed the characterisations to make them more sympathetic and accessible to a contemporary audience. They even dug deeper with the character Edmund which I thought was a fantastic choice. But the reason why those character changes worked was because C.S.Lewis was not concerned with building character, he was much more concerned with the place of Narnia itself. He almost used his characters to explore the world of Narnia, e.g. some characters would leave one book and come back 5 books later — which is why some of the later adaptations of Narnia didn’t do as well in the box office as the first one.

The character changes in that film enriched the story without effecting it in a way, because ‘The Lion, The Witch and The Wardrobe’ and the other books are driven by the plot. Where as ‘His Dark Materials’ is primarily driven by characters.

Philip Pullman in total contrast to C.S.Lewis, built the world (you could say he used the world) around the characters in order for them to get to Point A to Point B. But he was not concerned about exploring the multiverse so you could see the entire picture, like with C.S. Lewis.

I heard once that he described writing as wondering through a forest on a path and the path is your story. Theres a difference between the story world and the storyline. And as an Author, your concern is the storyline. It would be easy to step away and stray from the path and explore the forest and admire all the trees, but for him the most important thing to do was to remain on the path and focus on the story rather than the details along the way.

I’m not apposed to different versions of the characters or different storylines. But with ‘His Dark Materials’, those books are driven by specific character traits. And the fact that they changed them, while still being faithful to the events in the story, the story beats either don’t land or don’t hit as hard or don’t make sense altogether.

More specifically with the main characters Lyra and Will, but mostly Lyra since she’s the heart of the story.

Lyra is first and fourmost a liar, which may seem a small part of her character but its huge. Her ability to lie and get her way out of situations is the cause of many events in the books. She’s feral. She’s wild. She’s manipulative. She’s described as a ‘half wild cat’ and a ‘greedy little savage’. She can’t sit still or behave herself. She’s impulsive. She’s a leader. She gets into fights. She gets dirty. She spends all her nights on the rooftops. She’s an extrovert. She’s street smart. She’s selfish. She’s brave.

She’s an emotional and passionate human being. Thats what makes Lyra a real girl, not just a character on the page. These nuanced character traits of hers is how she pushes everything forward in the story.

All of those negative/positive aspects of her character in the books were watered down so much in the series. To the point where alot of them were removed. Not only is that incredibly dehumanising but makes the plot points where “she lies” not land as well or plot points revolving around her “telling the truth” make no sense at all.

The whole reason why she’s called Lyra Silvertongue is because she tricked the bear king with her lies, a trait which is consistent throughout the entire story — but completely nonexistent throughout the show. Her tricking the bear king in the adaptation came off as a lucky experience rather something that comes naturally to her. Even the ironic plot point of her being given the Alethiometer “a device that tells her the truth” didn’t hit as hard. They tried to establish her as a ‘liar’ in the second episode of season one then gave up completely as the show continued on.

But the weird thing is, those flaws were still mentioned by other characters in the show, when it was not the character they were developing. Characters would mention that she’s a liar, insufferable, selfish or that ‘she doesn’t apologise easily’ — which seemed like an over exaggeration since the show version of her isn’t really any of those things. This applied when characters such as Lee praised her for being ‘brave’ and ‘good’. I heard a HDM podcast recapping season 2 saying that “her character in the show wasn’t hitting the right emotional beats” to be a child of a great destiny that every character seemingly falls over themselves to give their lives for her.

TV Lyra hasn’t completely lost her flaws, but she’s not as nearly as flawed as she was in the books. She felt so contained, rather than passionate. Which felt so odd because yes, Lyra grows out of some bad traits such as her rudeness, due to the influence of Will. But she isn’t naturally like that.

They changed her so much, but also tried to keep her “the same” that her character growth which is huge in the books felt like nothing had moved at all. It kind of got reduced to a simple thing like her innocence being taken away. It was like she wasn’t allowed to have any sort of loud, dislikable reaction in any way. It felt like they were taking away her agency.

And I know one of the biggest reasons why they changed her behaviour in the TV Show is because they aged the character up to 14–16 at the start. I get it. Theres a huge difference between 12 and 14 in terms of maturity . It works for the Will & Lyra romantic scenes as an adaptational choice later in the story (because she’s allegedly 12–13 in the books).

I think Dafne Keen was an inspired choice for the role of Lyra, since I saw some scenes of her in ‘Logan’ and I 100% believe she would of pulled off Book Lyra given the chance, but by the time they started filming she was already 13/14. And in all honesty, Lyra just becomes odd looking older. She’s just not convincing as a misbehaving little girl who can’t sit still, she just comes off as a really strange child thats immature or lacking in social skills. For example, there’s a scene between Mrs Coulter and Lyra in ‘The Idea of North’ where she’s telling a lie, but it doesn’t come off natural because 1. They didn’t establish her as a liar immediately and 2. Part of her ability to lie comes from her spontaneous nature of being a kid telling stories and using her imagination. Dafne Keen didn’t really look that age, for it to look like something she would do.

They also made her relationship with Roger more of a focus in the show, which makes sense as her motivation in the later half of the books comes from wanting to rescue him. However, they made him ‘the only friend that she has’ which I found to be a strange decision because Lyra in the books has tuns of friends. I would say their friendship is more balanced in the series, where as in the book it wasn’t so much.

She forgets him a few times while staying with Mrs Coulter in the book where as she remembers him constantly in the episode ‘The Idea of North’ which felt like a confused choice to me. They were trying to have it both ways; have her be seduced by Mrs Coulter while also actively asking her to look for Roger.

The imbalance in Roger and Lyra’s friendship is important because it adds to the need to set things right with him in The Land of the Dead. It goes to the core of how everyone thinks she is selfish. She needs to save Roger to prove to herself she’s a good person.

In the book, when Lyra dreams of Roger in The Land of the Dead, the two of them have constant talks of how much he’s suffering. In the show, she just has alot of ambiguous flash forward dreams of Roger, with the story not prioritising them as important as the main plot of ‘Asriel’s War’.

When she brings this up to Will in the episode, he dismisses it instead of agreeing to go (like in the book) because of his daddy issues, no I’m sorry, because of Asriel’s War which makes sense as it’s one of the main plots in the season — where it was more of a distracting B plot in the book — but it just kind of adds to the idea that “its unnecessary” or “why are they doing this?”.

The desire to get to Roger and apologise in the show doesn’t hit as hard because there was more of a balance in Lyra and Rogers relationship plus the changes to her character just made it seem like “she just wanted to do it” rather than it being the most important decision she ever makes, to try to better herself.

While they go to the suburbs of the dead, Will and Pan constantly question why she’s doing this (a conflict that was not in the book — Will is steadfastly loyal to her by this point and Pan is too shivery to speak) while Lyra just snaps at them, making her seem mean for no reason. When she has a chat with her death, she doesn’t lie that an angel told her to do it (because they didn’t establish her as a liar properly), she just says that she wants to be good which is not a convincing argument considering what happens next.

When Pan and her have the argument while she leaves him on the doc, which is a great scene on its own (it made me cry), it also adds to the unnecessary nature of it all. It’s a scene that makes sense in the book because of Lyra’s impulsive nature, but because of her seemingly calculative nature in the show, it just looks odd. It’s described in the book that if Lyra had heard Pan speak, she would have folded and never would of got on the boat, but since the show did the complete opposite of that, It makes the scene more harsh and cold.

I think what the writers were trying to do was make it more of a mystery like ‘why is she doing this’ ‘its not too late to turn around’ a mission that appears fruitless at first, but turns out to be the greatest act of humanity — but again, I still don’t think that works because of how much Lyra’s entire character is changed. The act is not just for everyone else. It’s a major step in her character growth, to care about others.

In the Land of the Dead, obviously they had to cut out the whole section where Lyra literally looses her ability to lie while she’s telling lies to the harpies, then learns to tell the truth to the dead. This is the final step for Lyra’s character, finally learning the power of telling the truth instead of lies. They didn’t replace that with anything, only with her telling the dead true stories, which was heartwarming on its own, but obviously those story beats don’t hit as hard in the same way because like I said, its not presented as the final step in her character growth, its presented as a one off scene. This is one of the reasons why her character is pretty static in the adaptation.

In the Land of the Dead, its Lyra for the most part (apart from one instance) that keeps a cool head, while Will looses his — which again, the complete opposite. In the books, its Lyra that goes off the rails and its Will that keeps her centred.

Which brings me onto how the character of Will is changed in the adaptation, and how that effects the story from the second book onwards.

Will was brought in by Philip Pullman in ‘The Subtle Knife’, to represent Lyra’s other half — in another parallel universe literally, and also to help her on her quest to fulfil the prophecy. If it was just her on her own with Pan, it wouldn’t work and would fail.

Though I was taken aback by his entrance in ‘The Subtle Knife’ — as it was such a jarring change coming from the suspenseful cliff hanger where Lyra walks into the new world after her best friend Roger got murdered — he quickly but surely became my favourite male literary character of all time.

I don’t have as a big of a problem with his character changes then I do with Lyra, because there were at least a few times in the show where he was allowed to act like ‘himself’. Amir Wilson was perfect casting as Will. It was like the character had just walked off the page it was that good. But all together, he’s a completely different character — which I can understand. Out of all the characters, I feel he’s the hardest to pin down and his development is done in a subtle and subconscious way.

Throughout the course of ‘The Subtle Knife’, he’s incredibly off putting as he’s mostly angry and tired and then he’s in pain because of his knife wound. It works in a book format, because your’e in his point of view and you understand that he’s a child thats at the end of his tether. But it would be hard to portray that in a nuanced way on screen, unless your’e clever with it.

They unfortunately took the easy route with his characterisation on screen by making him softer. Not only that, the writing for his character was incredibly inconsistent at times.

Will from the books is fierce. He’s frightening. He’s stoic. He gets angry. He’s a strategist. He does whats best for someone. He likes to stay invisible. He’s sarcastic. He’s an introvert. He likes to stay hidden. He’s practical. He’s a child carer. He’s naturally aggressive e.g. He beat up a bunch of boys at school because they were hurting his mother. He hardly smiles. At times, especially in the second book, he becomes incredibly depressed. He’s pretty much a 35 year old man in a young boy’s body. He’s incredibly soft, but the reader can’t tell until Lyra brings that out in him.

I would say Will is a more contained version of Lyra, yet the complete opposite of her. They’re like yin and yang. They both have something that the other lacks, and that helps them both grow up. Lyra brings out a softness out in him, brings out his impulsive nature where as he helps her strategise and learn not to just rush out and do things.

TV Will suffers from the same problem that TV Lyra does.

Every negative/positive aspect about him is watered down. Revealing a quite mild character. I feel that they didn’t touch on the fact that he was a child carer enough, which is a huge part of his character. It just came off as ‘he loves his mum’ more in the show. Will being a caterer is supposed to contrast Lyra whom didn’t grow up with parents and got to live out a childhood that he was never allowed to experience. This is a theme. Every character trait that contrasts Lyra in the books isn’t present so much. I would even go as far to say that they’re too similar in the TV Show.

I was wondering throughout the second season why the storyline was static and wasn’t going anywhere. Certain plot points such as Will being a murderer, Lyra helping Will find his father, The fight for the subtle knife and Will becoming the bearer of the Subtle Knife felt tacked on or weren’t hitting as hard as they should.

At first, I thought it was because the novel was ‘the weakest in the trilogy’. I often see ‘The Subtle Knife’ as a bridge between both ‘Northern Lights’ and ‘The Amber Spyglass’.

But since re-reading the book, I went ‘Oh my God, its because they changed Will’s character arc’.

TV Will, the more I think about it, does not suit becoming the bearer of the subtle knife. The only times we see him fighting is in the boxing ring. He expresses incredible regret over killing a man instead of brushing it off because he was protecting his mother. Even when he’s under threat, he says ‘I don’t want to hurt you’ He even has to be persuaded to fight. There’s even a moment in the show where he says “Maybe we’re better off not fixing the knife at all.” which kind of dismisses the practical nature of his character in the book. Plus the knife being a part of him, the same way as the Alethiometer is a part of Lyra. Even the remarks that Lyra makes about him being similar to Iorek the armoured Bear don’t make as much sense, because of the fact that he’s softer.

Book Will struggles with his warrior nature, and eventually learns thats not who he wants to be. But he isn’t naturally a soft person. He learns to be through his experiences and his relationship with Lyra. Which is why it was so odd to me that they included the line in the show where Will is saying to his father in the Land of the Dead “You told me that I was a warrior; That I can’t fight my nature. Your’e wrong.” I was just like, what are you talking about? That is so not the character the show had developed. TV Will had hardly been shown to fight anyone of his own free will — it didn’t make sense to me. They were trying to have it both ways. Completely ignoring his basic character traits and flaws, yet still going through the same arc (a somewhat watered down one) one e.g. idolising his dad for his whole life, realising his dad ain’t shit when he meets him, finding Lyra missing, ignoring the task his father set him etc.

Even the task that Lyra has to help Will find his father didn’t land as well because of the fact that the two of them were bonding straight away in the show, instead of it being like ‘oh no we’re stuck with each other’ to this slow process of her and Will learning to trust each other.

I understand that you have to translate Lyra and Will’s relationship alot differently in a Show format, because subconscious development doesn’t really work due to the lack of intimate point of views. Plus it adds to the narrative to flesh out their dynamic alot more on screen. The more something is changed in an adaptation, the more it stays the same.

I have openly praised the shows depiction of their relationship in another analysis I wrote (before i re-read the books) and how I loved how they gave them more soft moments. However, I will admit now that the soft moments that they had in season 2 felt off to me because they weren’t in character. I think, looking back I would of preferred more soft moments if they were in character.

Will’s initial softness towards Lyra in the show is partially to do with TV Lyra being much less feral and less of a threat. As a result their journey is warmer and far less angstier than it was in the books.

And that in turn messes with the tension.

The element of Will being slightly dismissive of her at the start, is important to how certain story beats land. It adds to the ‘OH SHIT’ when Lyra’s been taken and the task that his father set him that he’s been dreaming of his whole life suddenly isn’t important to him anymore. Thats why it’s such a big deal when he spends most of his time through ‘The Amber Spyglass’ looking for her.

But in the season 2 finale, it ends with Will going off into the sunset, presumably to fulfil is fathers wishes. Then in season 3, he finds her missing, goes ‘whoops’ and then there’s a montage of him trying to find her. Then when he does (quite easily) — he goes on about how “since his dad died he’s done none of the things that he asked him to do’ which makes him looking for Lyra within the show feel even more anticlimactic.

Also, this is more of a personal opinion that an analytical one, I did not appreciate when Lyra brought up going to the Land of The Dead, TV Will went “I saved you. I did everything I could to save you. You told me not to but I did it anyway” which felt to me like ‘Wow brilliant, of course you had to save her’

And instead of agreeing to go to the Land of the Dead with her like in the book, they had to insert some tension from ‘The Subtle Knife’ (because they messed with the tension in season 2) and have Will go on a rant about what his dad wanted him to do, Asriel’s war, dismissing Lyra’s wishes and even having him suggest maybe her dad regretted killing her friend.

This is something that Will from the books would never ever say, let alone to the girl that he loves. He’s fully aware how much her dad hurt her and he respects her too much by that point to ever suggest something like that. Even when he does think about ‘what his dad wanted him to do’ he’s still steadfastly loyal to Lyra. They were completely undermining the turning point in their relationship and Will’s character development by adding pointless drama to extend the episodes running time.

As mentioned in a very articulate post by @mamsellechosette24601 ‘the quest to find his father and fulfil his fathers wishes’ isn’t the point at all, its Will letting go of his childhood dreams, of realising what really matters is Lyra all along.

Now I’ve seen in another analysis of the adaptation that their path to falling in love in the show is alot clearer than in the books which I can understand and agree with (to a certain extent) because the books were much more concerned with philosophy than romance. This is true for the romance between Asriel and Marisa in the Book vs the TV Show as well.

The concept behind their relationship remains the same:

“Will and Lyra are very good people who learn to trust each other when they’re at their most vulnerable, they become the only thing they have in a terrifying world of enemies. By the end, when they realise they're in love only to discover they can never be together, they make the mature choice, however hard it may be.”

But their relationship is totally different in the TV Show because of their character changes.

I would say Lyra and Will have more of a enemies to lovers storyline in the books — where as the adaptation version of them doesn’t. The screenwriters clearly tried to iron out alot of the problematic elements, especially in the beginning and focus on them being “friends” more. I’m not apposed to them doing that, but the way they did it ended up muting a few of their scenes together.

I’ve actually made an argument in my other account (against the ‘His Dark Materials’ analysis saying that ‘the adaptation did a much better job at showing when Will and Lyra fell in love’) that their relationship development was a lot subtler in the books because the characters were alot younger and more immature. And that it was more ‘obvious’ in the tv show because they aged the characters up, therefore they could have more mature conversations and scenes together.

This was before I did my re-read.

After re-reading ‘The Subtle Knife’ and ‘The Amber Spyglass’ comparing it with how their relationship is handled in the TV Adaptation. I would actually argue the opposite .

In some ways, the growing romance between the two of them is much more mature (and makes more sense) in the books than in the show, at least to me. Unlike in the TV Show, their relationship never enters into neutral territory, even when they finally learn to trust each other. Theres much less emphasis on their ‘friendship’.

After their brutal first meeting — where they attack eachother — in ‘The Subtle Knife’ Lyra is immediately taken with Will and constantly thinks about him and what he thinks of her. There’s even a moment in ‘The Amber Spyglass’ where she’s trying to hide that she’s in pain while they’re walking (because of all that time she’s been asleep) because she doesn’t want to appear weak in front of him. 

The way Lyra and Will meet in the show, is reminiscent of how children meet for the first time. Though quite skeptical of each other, they instantly bond and make friends after 5 seconds, because why wouldn’t they? They’re kids the same age after all. Even though there’s still an element of mistrust there, there’s hardly any conflict between them. They don’t play off each other as much. There is one moment where he gets angry at her for making him wait, but all that is solved in a minute because of Lyra’s ‘calm nature’

Even when Lyra gives Will away by accident and says that she lost the Alethiometer, he doesn’t shout at her. There are few comments here and there but theres no real tension between the two of them.

When Will and Pan have a conversation, its presented as Pan going up to him to have a chat after he had a bad dream rather than Will finding the courage to speak to him in the book and saying ‘I think Lyra’s the best friend I’ve ever had’. This is presented more as a statement in the show because their friendship has already been established and less of a discovery (as he wasn’t reacting to her that much in the book as he had alot on his mind).

Lyra and Will even have a talk about Pan’s conversation with him afterwards in the show. But in the book, that never happened. It’s mentioned later but never discussed, because of the fact that it was a private conversation between Will and Pan.

You could say this was another problem that the adaptation had. It’s mentioned multiple times ‘YOU CAN’T TOUCH SOMEONES DAEMON’ but not emphasised why thats the case.

In the books, it’s heavily implied that touching someone else’s daemon is the equivalent of touching someone’s genitals. There’s a moment in ‘Northern Lights’ where Lyra and Iorek find Tony in the fish house without a daemon and Pan wants to comfort him but holds back because of the taboo. Thats why it’s such a big deal when Pan comforts Will and starts licking him in the book.

In the show, its quite an underwhelming scene that lasts 5 seconds where Pan strokes Wills fingers and Lyra says in a quiet voice ‘In my world, your’e not supposed to touch someone else’s daemon but you didn’t do something wrong’

And don’t get me started on the 5 second panning away shot where they’re finally touching each others daemons, instead of the moving moment from the book. It didn’t feel like they really understood the gravity of what those scenes meant and what it meant for their connection.

Again, this is more of a personal opinion. Near the end of the final book, when they enter the world of the Mulefa, Lyra and Will trust each other more than they ever have, which shows how much they’ve both grown since ‘The Subtle Knife’. Mary even describes that she never saw ‘more trust on a persons face’. But in the show, there’s this weird forced tension between them for the sake of ‘romance’. They’re suddenly awkward teenagers with each other — which was not a choice that I liked because it didn’t come naturally.

And when they have to be ripped from each other, a whole page worth of them bargaining to be together is turned into ‘I didn’t think it was possible to feel this bad.’ and ‘This is all wrong’, plus Mary and Serafina being weirdly insensitive while Will and Lyra are in different locations rather than being with each other.

This is possibly why I didn’t feel anything when they had to be forced apart because, the way it was handled felt rushed and soulless.

Overall, despite there being more ‘soft moments between the two of them’ Show Lyra and Will’s connection feels alot more shallow and simplified.

In the books, I got the vibe that even though they were very young, you couldn’t imagine them being with anyone else but with each other. They were each others other half. They were essentially the only family they had in a world full of enemies. There was never a moment in the books, where they weren’t already in love with each other to some degree. It went beyond the typical romantic duality.

In the show, it felt more temporary. This is mostly due to their character changes (they were too similar in my opinion). Like a connection between friends that became romantic at the end of the journey. And it’s something they’ll get over because “It won’t always feel like this” or “Its much more romantic to live for love than to die for it” or “It might not seem like it now but you have a future”

I think that was one of my main problems with the TV Show, it lacked emotion. Not just as an adaptation, but in general.

More than anything, the adaptation felt too confused. It was trying to reimagine the story while also paying homage to the original material. And thats why overall — despite my enjoyment for some of the episodes especially in season 3 — it didn’t work as well as it should have.

[namorthesubmariner]

Hi Imp!

Sorry, I wasn’t sure which of your tumblr pages to ask you the following (let me know if there’s a specific one you’d like me to use in the future).

Could you pls share your opinion on F4’s Ben Grimm, if you have one? In general and his portrayal in the movies? Are you also looking forward to the upcoming F4 movie?

I came across a fantastic four Instagram page with a scan from a comic where Ben was almost asking Johnny if Reed might be able to come up with something to help him (trigger warning — !!!!) *check out* and I thought, “wow! I don’t know much about Ben” then, I remembered how well versed you were in a number of Marvel related subjects (and the care you took re: understanding the mental health of your faves), and wanted to please come to you!

(I also remembered how much you respected my forever lady, Ororo🌟🙌🏾🌟 but that’s an aside lol)

Hello! Thanks for the question, and I usually answer questions on my main @imperiuswrecked but that is currently off due to me having a backlog of questions to answer and I'm very busy with getting things done for fandom weeks/blogs that need to be updated. I will open again in the future. I kept this blog open just for Namor questions, but I wanted to reply to yours:

(Love Ororo, my queen!!!)

TW: Self harm, suicidal thoughts/words

To answer your question, the reason why Ben asks to find a way to commit suicide is because Ben does suffer from depression in the comics, a lot of it has to do with his powers/how he was transformed, basically he got the worst of the lot, and he has a lot of negative self image issues, he feels dehumanized a lot, and at some point doesn't see the point in going on. One of Ben's major recurring character themes is how dehumanized he feels, how Reed's guilt over what happened to Ben will never let Reed rest until he finds a cure for his best friend, of Ben's resentment to Reed, but also the fact that he loves Reed as a friend and so its very complex in that he hates and loves. That's for like the main comics, but I do think the you're asking about the Ultimate comic since you mentioned his conversation with Johnny? Ben had gotten to the point where he felt like Reed wasn't trying anymore and he feels like he has no way out. The Ultimates line isn't the 616, it was supposed to be a "more grounded" comic so they emphasized on self harm thoughts in this comic.

I am speaking in reference to the comic: Ultimate Fantastic Four (2004) #27

My opinion on the 616 Ben Grimm is that I love him, he's a great character, very fun to read and very heartbreaking when it gets heavy. I feel like Ben is the heart of the team, and he has to deal with his self image issues a lot, and a lot of his mental health issues are about his body dysmorphia/how he feels he looks ugly and thinks he is unlovable. His arcs usually run on a cycle where he comes to a point where he accepts who he is just enough to be able to go out and save the day or live his life, but then eventually falls back into a depression, it really depends on which writer has him, some just want him to have a good time, but others bring back his issues/the angst etc. Sometimes Ben does get his human form back but it never lasts.

Ben's past movie portrayals were ok, I guess? I'm not quite the expert in all F4 stuff, but like typical movie stuff you'd except from the eras they were made in with very little to no effort to be inclusive of Ben's Jewish background, but I'm glad he finally has a Jewish actor to play him in the upcoming movie since the character is Jewish and only one movie made a reference to that Fant4stic I think with a background prop, but the actor of that movie wasn't Jewish iirc. Hopefully the new upcoming movie does well by his characterization.

I really love Namor and Ben in the comics and I sorta wish we could get something like their characterization in the Fantastic Four novel: To Free Atlantis in which they connect over how they are viewed by others. Ben is shocked to learn that Namor is hated for his physical appearance because he's a handsome prince, not knowing that under the sea, Namor is despised for being half human, so he thought Namor would have it easier than a Thing like him, and Namor points out how lucky Ben is to be surrounded by love.

Ben and Namor don't really have heart to hearts in the comics, they are mostly fighting, but sometimes we get cute gems like Ben and Namor at T'Challa's bachelor party

[bowlzone]

Today's cereal is South Korean Oreo O's!

Initial Impressions: Ever since I heard murmurings from the wider cereal community that the South Korean Oreo O's are the superior take on the concept, they have been at the top of my review list. This review is a chunky one, so the rest is under the cut!

Before we get into my thoughts on the box, let's take a detour back to the ancient history of the 90s to understand why these Oreo O's hit different. The original US run of Oreo O's happened between 1997 and 2007, when Kraft (who own the rights to Oreos) and Post (who own the rights to the cereal recipe) had an acrimonious break up. Both unwilling to give up their respective half of the Oreo O key, Oreo O's ceased production in the US. However, this was not the end, for another Oreo O was made. Kraft acquired a Korean food company, Dongsuh Foods, who had the rights to distribute Post products and so a perfect loophole was found. As of 2017 you can get Oreo O's in the USA again, but they are not the original recipe. It's my understanding that the closest you can still get to the 1990s Oreo O is the Korean version, which is still based on that classic recipe, or close to it. I have no nostalgia for Oreo Os as, despite living in the US during at least some of that time, my parents outlawed the consumption of sugary cereals with an iron fist. Now, as an adult in charge of my own sugar consumption, I have never been so excited to eat something. They start strong with a box that is truly a piece of art, featuring what can only be described as a milk elemental in cool shades. The interior, a shiny silver bag that comes with an immensely appreciated re-sealing sticker, is a lot hardier than the clear cereal bags I'm used to and tests my feeble upper body strength in opening it. The chocolaty aroma already promises a sublime cereal experience.

Post bowl thoughts: poring these into the bowl I immediately noticed that they are much more restrained with their marshmallow pieces (or marbits) than American cereals typically are, perhaps because they know the cereal pieces themselves can carry the bowl. The relatively tasteless marbits instead add a nice textural component to the bite, instead of being a main flavour. The cereal itself is truly the star of the show here, with a rich chocolate flavouring and a satisfying crunch that lasts the whole way through the bowl, resisting any kind of sog. It's interesting as the main grain used here is corn, but it avoids all of the disappointing hollow nothingness of other modern corn cereals. Combined with the milk they really are reminiscent of an Oreo, if slightly missing the texture of the the cream. The milk left in the bowl is fine, but its main contribution is to the texture of each spoon here, so I'm not left disappointed that the final slurp is missing a certain allure. These have immediately unseated American Oreo O's from my top five cereals list. Without the slightly over the top sweetness that the US ones have, it feels like you could keep eating these for hours and never get sick of them. Despite the almost unreasonable excitement I held in my heart for this bowl, it did not disappoint. A fantastic cereal.

[miraculouslbcnreactions]

[Text: Tell me, what do you think of people actually liking the character development in season 4-5 and the show's treatment of mental health? [Redacted] thinks that and she's the mother of a teenager]

Re liking the show: I generally assume that they have poor taste and/or media literacy.

Re the mental health rep: I generally assume that they're incredibly privileged and/or ignorant.

I'm posting this as an image and not an ask response specifically because I will not participate in fandom drama or shaming. This blog exists specifically so that people can actively choose to engage in my content and so that I can post critical thoughts without dragging their source into some petty fight. So I'm not going to talk about the named individual. Instead, I'll replace them with the show's head writer and talk about him in a similar context.*

He's pretty famously denied that Chloe suffered any abuse, ignoring her obvious neglect, which came from both parents, just in different forms. When you pair that with how the show handles people like Gabe and Jagged Stone, we see a clear pattern of the show ignoring the devastating effects that abandonment and neglect can have on a person, especially if they're a child.

Now you could look at that and say, "The head writer condones abuse! He's a monster!" But I prefer to go the more likely route and assume that he's a privileged middle-class cis white man who has never had to deal with those issues or support someone who has, so he has no idea how to handle them properly or that they even need to be properly handled. There's every chance that he's a loving, kind man and a fantastic father who just happens to not be very good at writing a complex topic that he clearly has no understanding of or desire to learn about. I apply similar logic to fans who share his opinions. Never attribute to malice what can be explained by incompetence or ignorance.

And all of the above is assuming that we're talking about someone who thinks that the show is objectively good or that the mental health rep is good, which are big assumptions. It's fully possible to enjoy a piece of media that you know is objectively bad or even "problematic" in some way.

Personal confession time: is Loonatics Unleashed an objectively terrible show that you should never, ever watch? Absolutely. 100%. Are Rev Runner and Tech E. Coyote two of my favorite characters who will live rent free in my head until the day I die? Yep! I pulled up a YouTube highlight real as I was writing this and those dorks still make me smile even though the show is terrible on multiple levels and I know that I'm not alone in that sentiment. Those two clicked with a lot of people for some reason.

A piece of fiction need not be good for you to love it and you don't need to justify your love for a piece of fiction if you're not claiming that it's good. Similarly, people hating that piece of fiction or pointing out flaws in it is not a reflection on you in any way shape or form. You can even agree with their criticism and still love the piece of fiction. This approach to media - loving a thing in spite of its flaws - is normal and healthy and I'd really love to see it make a comeback in younger fandoms.

Like, I cannot emphasize this enough, most fandoms consider it perfectly normal to have lots of fans who are critical of the source or who have even lost interest in the source for one reason or another, but they still like some element of the source enough to want to create/consume fan content for it. These more critical fans arguably make some of the best fan content because looking at canon and saying "That's nice, let me show you how I'd do it" often leads to some of the most complex stories that you'll see in fandom spaces. Stories that can often blow canon out of the water for TV shows and movies since fanfic isn't limited by budgets or studio policies or marketability concerns. Fans who think that the source is perfect tend to just write fluff or romcom type fics, which is not a dig! I love bother of those genres! But woman does not live on fluff alone.

Obviously there's some complexity here because who decides if a show is bad? Saying "it's okay that you like a terrible thing" can certainly sound like an insult and prompt a feeling of needing to defend the thing, which is why I don't fight with fans who like the show. There's really no need to convince them that the thing they like is bad. Do I think it is? Yes. Does it matter if they disagree? No, not really. At worst, they create stories with similar issues and, well, they're not the only ones and fighting with them isn't going to stop them. You're much better off focusing on creating your own good media and trying to get that popular. Heck, even if you made the head writer see all of Miracuous' flaws, it wouldn't change anything. The show is already made.

So, yeah, I don't really assume anything bad about people who think that miraculous is good. I know lots of wonderful people who have terrible taste in media and I'm still friends with them. I just don't take recommendations from them.

It's important to remember that, when you're online in a fandom space, a person is condensed down to a very tiny snapshot of who they are and judging a person solely off of their thoughts regarding a poorly written kids show is a dangerous path to tread. Like, looking at this blog, you might assume that I spend all of my time thinking about miraculous and obsessing over its flaws, which is very much not the case. I actually have this blog specifically so that I don't obsess over miraculous' flaws because I've found that, when something is bothering me, writing it down or talking to someone about it is the best way to stop thinking about it. Even then, most of my posts are reblogs of stuff I come across while browsing my tumblr feed, which is not solely miraculous content. I mostly interact with the show by creating non-salty fanfic that I honestly enjoy writing and find to be a relaxing, positive outlet.

It's human nature to judge and it's totally normal to think that a person's an idiot because of something they post online, but be careful to not lean into those thoughts too hard. At the end of the day, Miraculous is just a stupid kids show that will fade from the popular consciousness a few years after it stops airing. If it and/or the fandom are negatively affecting your mental health, then it's okay to step away for a while or use the block button. It really is your best friend. I enjoy being critical about Miraculous specifically because it's not that important. While I do think that kids deserve better media, I don't think Miraculous is some terrible evil harming the youth. I'm not horrified when a kid watches it, it's just not a show that I'd encourage them to watch and, if the kids was close to me, we'd spend a lot of time talking about the bad things that the show showcases from time to time. There are lots of episodes that are fine and I can think of way worse kids shows. Shows that tell their horrifying morals really well, making a kid far more likely to pick up on them and internalize them.

*Note that I only feel comfortable talking about the head writer like this because he's a public figure with an active social media presence AND because I'm not @ing him. If he was a private person or if he was not a professional creator, then I would not talk about him like this and even in that context I try to avoid it whenever I can. You can think that he's a terrible writer, but he's still a human being and, as far as I'm aware, nothing he's done deserves people harassing him.

I absolutely understand how devastating it can be to see a story you love get ruined by the creative team. The first time that happened to me, the life lesson I came away with was, "I will no longer put my happiness in the hands of another creator. I will enjoy stories, but I will temper my expectations and remember that they're just another human being and it's completely possible that their vision for this seemingly awesome story may end up being terrible."

[spectral-idiot]

A non musician analysed Kierans themes. Part 1

Alrigth, if you know me that much, you know that alongside my obsession whit writing and fanfic and reading, I am a music fan and a videogame ost sucker.

I love to find narratives in music despite the only music concept I actually know is the leitmotiv. I'll probably just point out things you already know , but this is a good procrastination to avoid write a little.

Come whit me in this journey

Kieran's first battle theme

The two leitmotifs this "medieval " banger has actually pop up in the first 5 seconds we hear.

Leitmotivs

1- The first thing we hear are some fast notes that get played in a synth. This is at least for me a leitmotif since last battlr chanpion battle have a similar start that uses the same notes just re-organized.

This one migth simblize hus anxiety, at least 4 me, since its a fast and ascending thing

2- After that we got met whit a violin,that starts playing an intro melody, this one is also a leitmotiv since we can hear the same exact melody in "Kierans rage" and some times later.

This one represents hia joy or and passion of battling at least 4 me

Things worth pointing out

There are some things I find interesting overall due to the stage of the characther when he battles using this theme.

1- Also if we check Carmine's theme we hear how it starts whit this exactly same way, the first aynth notes are exactly the same and then the exact following violin melody its played except its played in a synth, in a sligthly slowet tempo and another tone

I find interesting how we hear Carmine's theme first, what makes this "Kieran is under Carmine's shadow" thing even more evident. We will think "Kieran's theme starts like Carmine's" and not "Carmine's theme starts like Kieran's"

The similarities make sense since this is the Kieran that's under Carmine's shadow the most. He starts pullin her away and that's when the similarities start to fade

Afther that the rest of his themes doenst start up exactly like Carmine's, and the 2nd leit motiv i pointed out its just used again in the champion theme

2- I cant help but find this theme so medieval like, so fairytaily like. If you tell me this is a battle ost for a Dungeons and Dragons like game, I would buy it completely. You can imagine the goblings, gremlings, dwarfs and obviouslythe ogres. I dont know exactly if its the instruments choice or the melody building but I can't help but notice it

All the characther lore is based on his love for "fantastic stories" , Kitakami folklore and the ogre. This is just accurate. The flute alongside the violin feel like just the rigth option to bring me that fairyteily feeling

3- Well, I also can't help but notice haow alongside fantasyous, it feel heroic. The xilophone? giving the cheerful rhythim Alongiside the flute for the higthest tones, the piano for deepnes and the epic sounding violin make this feel like following the story of some sort of knigth.

By example: 0:36. (Or the chorus) sounds kknda almigthy

He thinks he can be the hero in the story. And damm that feeling is potrayed in the sound and tome of the song.

4- I would also like to point out how the violin takes all the stage, that could be seenn as something that just fits due to the medieval and heroic demenaurs. But the final outcomes and portrayals of the instrument in the later themes makes me want to point it out as something deeper.

Taking in mind how the violin turns put it could simbolize how he sees the MC or the ogre. You can see how the insttument sounds heroic epic and hopefull in this theme. And considering how he looks up yo both the oc and ogerpon makes it so interesnting

I Hope you enjoyed this! In no-that-much time I'll bring ya the one for the two themes left. Im lookin foward to the champion theme as its the more juicy to analyse

I was avoyt to make all the analysis in one huge poat but seeing how this one is already big that shit would be so so big and messy

This is also a good way to make it out for my lack of content this time since my one shot came out a month and half ago

Sorry 4 that! Im not goung thru a good headspace to write so i do t wanna rush it. And making this things in the meanwhile so you dont miss me is also enjoyable!

[racefortheironthrone]

Are there any notable examples of anti-mutant prejudice towards the X-Men coming from within the superhero community?

This is a great question!

This gets to the complicated nature of how mutants fit into the Marvel Universe. I've always been a vocal proponent of the idea that, far from the mutant metaphor only making sense if it's in its own little bubble where mutants are the only people with superpowers, the mutant metaphor actually functions better in the context of the Marvel Universe, because it allows you to explore more complicated and more subtle ways that prejudice functions.

While there are plenty of super-villains who have quite blatant anti-mutant prejudice, you don't tend to get that same kind of overt bigotry towards mutants among super-heroes. Partly, this is because bigotry is a very unheroic character trait, but it also has to do with the way that the way that Marvel historically portrayed the spillover effects of anti-mutant prejudice.

Following in a kind of Niemöllerian logic, it's almost always the case that groups that hate and fear mutants also end up hating and fearing non-mutant superheroes. Thus, Days of Future Past starts with the Sentinels being turned on mutants, but it ends with the Sentinels wiping out the Avengers and the Fantastic Four too - because the same atavistic fear of "the great replacement" applies to both mutants and mutates. Likewise, the same forces that line up to push through the Mutant Registration Act inevitably end up proposing a Superhuman Registration Act, because once you've violated the precepts of equality under the law for one minority group, you establish a precedent to do it to another.

Instead, I would argue what you see in the case of anti-mutant prejudice among superheroes is explorations of liberal prejudice. This takes many different forms: in Civil War, you see Tony Stark insensitively try to wave the bloody shirt of Stamford in the face of a survivor of the Genoshan genocide or Carol playing the good liberal ally but ultimately trying to get mutants to set aside their own struggle in favor of her own political project. (For someone who's spent a good deal of time working, and living with, the X-Men, occasionally against the interests of the state, Carol does have a tendency to stick her foot in her mouth. Hence in Civil War II, you see Carol essentially goysplaining the dangers of creeping authoritarianism to Magneto.)

In Avengers vs X-Men, you see the Avengers acting like they know the Phoenix Force better than mutants and ultimately prioritizing the safety of mankind over the efforts of mutantkind to reverse their own extinction. This is where the "Avengers are cops" meme in the fandom comes from. (I would argue that Captain America is badly mischaracterized in the latter event - we know which side he's on when the interests of mutants and the interests of the state come into conflict.)

The common thread here is that anti-mutant prejudice among superheroes emerges as a kind of unthinking, unreflective callousness brought on by a worldview that thinks of humans as the universal default of lived experience - while thinking of mutants as a somewhat annoying special interest group that fixates on their particularist grievances rather than working for what the heroes consider to be the common good.

For a more intimate version of how this plays out, I think the Fantastic Four are a great exploration of how "well-meaning" liberals can massively fuck up when they don't do the work of examining their own biases. We've seen this since the very beginning: in Fantastic Four #21, Kirby goes out of his way to depict uber-WASP Reed Richards blithely assuming that the "free market of ideas" will take care of the Hatemonger, while the subtextually Jewish Ben Grimm knows that the way to deal with a mind-controlling Hitler clone wearing purple Klan robes is deplatforming-by-way-of-clobberin'.

Then later on, we see Reed Richards debate Congress out of passing a Superhuman Registration Act, while saying nothing about the Mutant Registration Act - even though he has a mutant son who is directly threatened by it. (See that adorable blond moppet with the slur scrawled across his face in the fictional advertisement above? That's Franklin Richards.) This is why I have a crack theory that Franklin's biological father is actually Namor rather than Reed, which is why Reed so consistently shows a passive-aggressive hostility to his son's mutancy.

At the same time, Sue also has her blindspots when it comes to mutant rights. In the underrated FF/X miniseries, Susan Storm acts like an understanding and supportive parent to Franklin - right up until someone suggests that Franklin might want to come to Krakoa and explore his mutant identity, at which point she goes full Karen and starts lashing out with her powers. Chip Zdarsky, the writer, explicitly compared Reed and Sue to liberal parents who support gay rights in the abstract until their kid comes out as trans and wants to spend time in LGBT+ spaces.

[miirshroom]

Farseer and Tawny Man Trilogies

Thinking about the Magics

Finished re-reading Fool's Fate and appreciating how the chain of cause and effect is handled in this series. FitzChivalry is a mess of a person who swings wildly between making pragmatic decisions and irrational decisions as a consequence of everything that was done to him, and his clashing poorly-trained mental magical abilities. He's self aware enough to be introspective about agonizing over the choices made or not made and the sum of life experience and mistakes that make up the whole of a person. But since the accounting is written from his own perspective it's hard to tell sometimes if his bias is giving himself more or less grace than he deserves.

It's also interesting how the Tawny Man trilogy brings into sharper focus that mind magic is a kind of neuro-divergency. Like, because of these magical senses Fitz literally sees the world in different ways from other people, ways which he is constantly having to mask and which makes him unpredictable and distant even from most of his friends and allies because they can't follow his internal logic. And this is another layer on top of all the other physical and mental trauma.

The Effect of the Skill on the Mind

How could the Skill not be tied to mental reasoning, considering that it allows the user to rummage around inside the minds of other people? The Skill can be used to know a person on an impossible level that is beyond such imprecise things as words. It can be used to walk outside of a person's own body and step into the life of another person with the sensitivity, as a passive rider or active force. However that is only of practical use between Skill users, who are still just as fallible when interpreting the experience into words that non-Skill users can understand. The Skill has many fantastical and horrifying uses, but for practicality the choice of the Skill coterie through Fool's Fate is to generally limit its use to a private and long-distance communication channel - using the skill like a magical phone line in favour of exploring the abstract connectivity of the Skill current, Thick's music, or Nettle's dreamscapes.

The friendship and frustration between Fitz and Thick throughout Golden Fool and Fool's Fate is part of developing this theme - in some ways Thick is a more extreme version of Fitz. Thick has powerful mental abilities, but what non-magical people see first are the differences in his outwards appearance and his power with the Skill is linked to a fundamental difference in how his mind works. He is an inconvenience and would have been more easily disposed of similar to the way that Queen Desire wanted Fitz the Bastard killed as a visible reminder of the abdicated Prince Chivalry. Instead, Thick is won over with patience and gentle encouragement, despite Fitz struggling over his internalized cultural biases against people with physical and mental disabilities, and the way that other less tolerant people disparage him by proxy of his caring for Thick. He's not perfect, but it's a conscious effort to do better than the previous generation.

Chade mentions early in Assassin's Apprentice that Fitz has some strange blind spots, and deep into Fool's Fate Chade is still frequently perplexed by how the boy that he trained can have such disagreeing opinions. Their minds just don't work the same way. On one level it's that Chade doesn't have the same trauma - he learned and used his assassin's trade in a time of relative peace and his own status was as illegitimate brother to a King-in-Waiting close in age to himself, compared to Fitz being brought at a younger age and to a more volatile court. And on the other level, Chade has no experience with the Wit and his desire for the Skill blinds him to the drawbacks. Chade thinks of the Skill as a tool for use of the King and struggles to understand it as a thing that can become an addictive obsession or break a mind in other ways. He tolerates the Wit, but doesn't really understand that it is the supernatural sense of connection between people that keeps Fitz loyal to the Farseers, despite Fitz having different opinions about what specific actions would be best for the collective survival.

Overall the use of the Skill has done MORE damage to Fitz than the Wit, as it was through the Skill that he partially forged away some of his emotions.

Regal, Why are you Like This?

And then there is Regal. In counterpoint to the characters who are born with magical abilities and learn to handle both advantages and drawbacks, Regal was not educated in his weak Skill ability. He was handed a Skill coterie formed of members who had great potential once, but were mentally abused and weakened until they would accept being used by a parasite with no trained ability of his own.

Regal is a product of his environment as much as Fitz - his name means "suitable to be a king" and he was influenced by his mother "Desire" to believe that his claim to being king was better than either of his older brothers. He had the mentorship of his King father "Shrewd" who employed spies and assassins and underhanded techniques in general to achieve political goals. And so Regal learned paranoia when his mother died and also endeavored to be shrewd and use subterfuge to undermine his older brothers. He clung to the idea that his mother was poisoned in a denial of the truth that led to him falling into the same recreational drug habits that had damaged her brain and judgement.

Regal's lack of self control combined with egotistical need to be in control of other people and accumulate power and luxury by any means necessary is stronger than his bonds to family or duty to the people of his country. He is as arrogant as the stone dragons that he covets and the real dragons that are presently absent from the world - all products of the Skill and associated with ideas of immortality. Regal despises users of the Wit magic who are much maligned but essentially just have supernatural awareness of what it is to be a living, reproducing, and dying organism.

Also the irony: last time the Farseer line went seeking the aid of the Elderlings against Raiders was in the time of King Wisdom. Who obviously had the Wit magic, or had someone loyal to him that had it. The stone dragons are awoken by combined use of the Skill and the Wit and Blood. King Shrewd asked Regal once what he would make of Fitz, and Regal made Fitz his enemy. The one living Farseer who has the Wit magic and could have woken the dragons in the service of any King who treated him kindly.

The Piebalds and the Wit Magic

The Old Blood have a fairly codified set of traditions in their sub-society, and both Burrich and Fitz are outsiders to them. The traditions were designed to keep them as invisible as possible for fear of persecution, but no matter how well-intentioned the idea it only takes a few rogue agents to set off fear of the Witted again. Burrich's grandmother was a former slave in Chalced - how likely that the Old Blood comes from her part of the family but her knowledge of how to use it responsibly was lost upon being disconnected from her culture and enslaved? Burrich had no community to teach him and re-created from tales the Witted magic that can heal a body and bring a person back from the dead - the exact kind of thing that the Old Blood's don't practice because it's the part of the magic that drives people to such fear that they hang, quarter, and burn the bodies of the Witted.

The Piebalds are inspired by the Witted Bastard because he does with the Wit the things that they were taught not to do. Through Royal Assassin and Assassin's Quest Nighteyes learns too much of being human, fights alongside his partner for human causes, and does not live as a wild creature should. Fitz bonds far too closely with his wolf - close enough to hold his mind while his body is dead. Fitz breaks the rules of the Old Blood society, and it keeps him alive. The Old Blood folk experienced new rounds of persecution started by Regal and continuing in the years after as a consequence of Fitz breaking those rules. And so in response the Piebalds use the same techniques as Fitz - most notably with Peladine and Laudwine escaping into their Wit beasts when their human bodies die.

The persecution of the Wit Magic seems to combine ethnic discrimination with the traditions of witchcraft and werewolf stories. Fitz points out to hedge witch Jinna that it could just as easily be her craft that is seen as dangerous and evil. To say that just because a man is bonded to a beast means that he must have nefarious purpose is little different from accusing anyone with an extensive knowledge of herbs of being a poisoner. Fitz just happens to be both Witted and poisoner, and even when it is the assassin training that makes him an effective killer his acts are blamed on being Witted just because that's the part of his identity that is more openly known.

The Relationship between Fitz and Beloved

And the last of my hot takes* is that the expression of Fitz's Wit magic puts a wrench in the subtext reading of a sexual relationship between Fitz and the Fool. It is constantly emphasized by Nighteyes that the Fool is the "Scentless One" and no Wit presence - meaning that Fitz gets no pheromones and thus no attraction that way. The women who sleep with Fitz are described by scent to varying degrees depending on his attraction. Even the Pale Woman is described as having a scent (although an artificial one) when she is trying seduction. Instead, Fitz and the Fool have a Skill link and it is through the Skill that their relationship is expressed. This kindof seems to be the deal with all Skill Coteries - close groups of comrades who become dragons together forever. Overall, Fitz and Beloved have an aesthetic and intellectual attachment to each other, which seems like the ideal of philia love friendship - different from erotic love.

Neither Fitz or the Fool are faultless for the way that their relationship deteriorated in Golden Fool. Fitz being uncomfortable with the social stigma of homosexuality does have an impact, but the greater problem is the breakdown of communication.

The Fool struggles with speaking plainly. This has always been the cases since his fondness for riddles in Assassin's Apprentice. Like, the nature of being a prophet is to know that certain things will be true in the future, so he is disconnected from humans who would prefer to have information laid out clearly for them in the present so that they can react and make informed decisions. And Fitz is both slow to pick up on social cues, and then views it as a betrayal of trust that his friend would lead people to make assumptions about the nature of their relationship without his knowledge or consent. He wants to put words to abstract concepts like the exact kind of relationship shared by two people. He did 3 books worth of writing in an attempt to put his thoughts about himself into words. What Fitz struggles with is the idea that words will be misinterpreted no matter how plainly or poetically they are said - people fill in gaps in understanding with their own beliefs and/or prejudices.

Fool's Errand begins with the Fool reading all of Fitz's accounts and thoughts that he put on paper, which I assume to be effectively an in-universe version of the text of the first trilogy. And then in further conversation Fitz opens up about everything that he has done for the past 15 years. But the Fool doesn't similarly discuss being Amber or carving the Liveship Paragon or the whole story of the dragons until forced by circumstance. It was an unbalanced relationship that was going to come to a breaking point sooner or later. But after airing out all the hurt and betrayal and secrets they did manage to mend things by the end of Fool's Fate.

*I haven't read the Fitz and the Fool trilogy other than some summaries. So, this is like 90% my impression as of the end of the Tawny Man Trilogy.

[ceratosaurtalks]

While I'm working on my Honduran Milks bioactive, I did wanna take the time to talk about Links Bioactive. Link is my overweight[He's working on it! <3] Male Emergency re-home Ball Python. I typically avoid this species, but he's been a fantastic little Unicorn for me. So lets talk about Link's enclosure and how it works! Link is in a 4ft x 2ft x 2ft PVC Enclosure- this is the *minimum* size this species requires to thrive. His substrate is made up of a layer of perlite sitting at the bottom of his enclosure, this layer of perlite acts as a drainage layer. This drainage layer, which catches excess water that seeps through the substrate. It also helps with catching potentially bad bacteria, and helps with your plants roots! The rest of the substrate sitting ontop of that layer of perlite is a mix of Ecogro organic topsoil, Coco fiber, and Sphagnum moss. I cannot stress this enough, but if you choose to do a bio-active enclosure PLEASE be sure to choose a organic substrate!! Fertilized substrate can be toxic to your animal, this includes manure-based fertilizers. To promote healthy growth, I choose to use Coco fiber and Sphagnum Moss. The Coco fibe[Coco peat] Is a safer way to promote healthy soil for both your plant, and your animals, while the Sphagnum Moss is fantastic at holding water and Nutrients for your plants. The arguably biggest and most important part of this enclosure is the cleanup crew. Your cleanup crew will break down decaying plant matter and your animals feces and return it to the soil, as well as cleaning bacteria growth. Bio-actives cannot function in the long-run without a cleanup crew. The cleanup crew I chose consist of Dairy Cow isopods[Porcellio laevis], and Temperate Springtails[Collembola sp.]. You can Mix-and match your Isopods and Springtails as long as its a species that can tolerate the humidity and temps your animal requires, HOWEVER! Its important to note your Isopod species. I chose not to mix Isopods in this enclosure as Dairy cows are kinda known for being aggressive. For plants, ball Pythons are incredibly Bulldozery animals and will trample much of your flora. Needing hardy plants that could survive being trampled and occasionally uprooted was a must for him, and after thought and research, I ended up settling on these: Golden Pothos, Snake plants, and Jade Pothos. Some just overall incredibly hardy plants that, since having them, I've found fantastic success with surviving Links night-time pathing and assaults. I also have a Philodendron [Monstera adansonii,] in there, providing cover and clutter around and over his hot hide. I'm proud of this plant surviving so far, to say I added it with a specific reason would be a goddamn lie lmao I just loved how cool it looked. The fact it's survived and adapted for as long as it has is a miracle in of itself, and I wish great health amongst this trooper of a plant. I deep water once a week to keep my plants healthy and the soil moist enough for my isopods to thrive, with occasional spraying staggered through the week. Overall, this is how Links Bioactive tank is settup! Is this the only way to set up a Bioactive tank? Certainly not! There's plenty of ways you can setup a Bioactive. Does your animal absolutely NEED a bioactive enclosure? For a lot of animals that answers going to be no! It doesn't. Bio-active vs Non-bio-actives have their pros and cons that, maybe Ill ramble about in a later post. And probably talk on what a Bioactive even is and go into much more detail than I did here about how it works. But I chose Bioactive personally because the long-term upkeep is less costly and labor-inducing, and I just love the looks of them. AndICanHaveAsManyGoddamnIsopodsAsIWant<3

[switch]

it’s that time of the year again, it’s

Switch’s List of Halloween Games

games on this list are all 10+ years old, mostly on the more obscure or niche side, and if they’re not outright horror games they have a tone or theme appropriate for the season. because of their age, many have not been re-released, but if you know what you're doing that won't stop you. obligatory disclaimer to check content warnings for all of these games if interested. screenshots distributed randomly as i didn't want this post to be any longer than it already is.

The Residents' Bad Day on the Midway (1995)

a rather free-form black comedy point-and-click game set in a creepy carnival. you can freely swap between any characters that show up onscreen, read their stream of consciousness, and get different endings (or die) with each of them. this game makes full use of the setting, storytelling format, and uniquely repulsive art style established in The Residents' Freak Show, but now with more game to actually play, including minor puzzle-solving, even if a lot of it is optional. the game runs on a relatively short timer, and is intended for multiple quick replays.

The Dark Eye (1995)

The Dark Eye comes from our old friends at Inscape (who also made Bad Day up there and the infamous Drowned God), and is best known for using grotesque-looking stop-motion clay figures for its cutscenes. it’s a point-and-click adventure game that plays through multiple nightmarish Edgar Allan Poe stories across a single framing plot. the game can be a bit obtuse mechanically to play, but is another strong pick if you want a more artistic, psychological, less cheesy tone (and paint thinner that destroys your bones) than some of these other games.

I Have No Mouth and I Must Scream (1995)

one of the best point-and-click adventure games out there from a narrative and character standpoint, and a fantastic adaptation and expansion of the original story. the psychodrama device is something i’m a big fan of and they make full use of it. actual mechanics or methods of getting certain endings can be rather obtuse, but if you're familiar with this genre it’s par for the course, and it's such a worthwhile and cathartic experience. very strong voice acting performances all around in a genre that tends to be associated with the opposite of that. either way, I consider this one a must-play game in the genre whether you've already read the original short story or not.

GARAGE: Bad Dream Adventure (1999/2021)

a Japanese point-and-click psychological horror adventure game with a storied history, formerly widely inaccessible until 2014. GARAGE has been re-released in English on modern platforms by its original developer, something i'm very grateful for, and with new endings. GARAGE has an art style like nothing else I've ever seen before or since, with 90's 3D graphics depicting claustrophobic industrial spaces and alien-looking biomechanical characters that can be deeply uncomfortable to even look at, while the game challenges you to look past that surface. it also features some resource management and a fishing minigame! fascinating, genuine, hard to swallow, and a very strong recommendation.

Sanitarium (1998)

another very strong entry in the point-and-click adventure game genre, and it’s an isometric one this time. its puzzle design in particular is well-regarded for the genre, and its absence of any kind of game-over/softlock system unlike its more punishing genre cousins, as it really does want you to experience its whole narrative (although, it can be prone to crashing or breaking progression. save often). each level is highly and uniquely themed, though the tone is consistently more surreal than horror. the overarching story is much more cohesive and heartfelt than the initial apparent premise and setting might make you suspect.

CarnEvil (1998)

a classic, darkly comedic on-rails Arcade light gun shooter. CarnEvil is just a blast to play, set in a variety of attractions in a demonic undead carnival, with responsive gun controls, an adaptive goring system, and highly memorable enemy variety and scripted set-pieces all absolutely full of personality, all backed by fantastic sound design. power ups are dubiously balanced and the difficulty, while not blatantly unfair, becomes roughly what you’d expect for a game made to eat quarters, but you’d be playing this on an emulator, so that’s only a factor for self-imposed challenges. comes built-in with a menu to disable or enable things like various gore settings or tone down the appearance of certain enemies to your preference level. whether you’ve played a lot of arcade shooters or want to give the genre a shot, you can’t go wrong with CarnEvil. never a dull moment in this game.

Illbleed (2001)

a campy, unconventional, third-person survival horror Dreamcast entry that's gained somewhat of a cult following, you may primarily know it as "that game with the demonic sonic the hedgehog boss in it." another game set in an evil theme park, with attractions based on horror movies, but all of which feature fun and surprising spins on their premises and mechanical shakeups suited to each level. the mall and woodpuppets are my personal favorites. multiple playable characters with their own strengths and weaknesses, and NG+. the game can have a bit of a steep learning curve and somewhat obtuse mechanics, and you'll certainly want to read a guidebook (lest you commit the mistake every youtuber who plays this game ever makes and miss the horror monitor entirely), but it's quite generous with providing funds to access items and upgrades once you're past that. the unique, meticulous gameplay style of managing your stats and sweeping for traps inbetween high-risk combat encounters has been both praised and criticized.

Harvester (1996)

it's Harvester. you might have heard of it. a shocking, gory, cheesy black comedy horror point-and-click adventure game. the game infamously utterly falls apart in both mechanically and narratively its final third, but there really just is nothing else out there like the first two-thirds of Harvester, and i think that alone makes it worth playing at least once if you have the stomach for it. i’m tempted to call it a classic, but i’m still not fully sure how to regard this game. Harvester is Harvester.

Shivers (1995)

a Myst-like that surpasses all other Myst-likes, if you ask me. Shivers added just enough QoL improvements and just enough tension to the formula to be enjoyable by both people who normally like Myst games and people who might normally not. features an auto-memory for puzzle hints and the possibility of death without ever being unfair. limited item management is the main thing still applying here. light use of FMV. the varied museum settings, rich use of colors and shadows, strong soundscapes, audio cues, and fun voice performance by the recurring narrator really makes the whole thing memorable. spooky in a fun way.

The 7th Guest (1993)

Myst's CD ROM drive selling cousin, you probably won't get more pure Halloween-y than with this game's theming, haunted mansion setting, and use of FMV. the game can be a bit incoherent at times, and it's a point-and-click adventure puzzle game with heavy emphasis on its relatively challenging puzzles, which is either a good or bad thing depending on what you want. features a very fun soundtrack and fun story.

(as an aside, i've also heard the VR remake is good. haven't played it myself, but its use of FMV actors in VR is certainly praise-worthy when Myst ended up dropping that particular ball.)

Phantasmagoria (1995)

while i've never personally been a fan of this one, Phantasmagoria was objectively a landmark entry in point-and-click adventure games, in horror games, in FMV games, and in Sierra On-Line's/Roberta Williams' whole catalog. in terms of its genre, it's actually on the approachable end in terms of puzzle difficulty! it's known for its extremely over-the-top gore and violence, but it takes itself more seriously than the likes of Harvester, or it at least tries to. if you're someone who can enjoy a messy, gross, gory horror movie, you might enjoy Phantasmagoria. i can certainly respect its use of practical effects...

even people who like this game don't tend to like Phantasmagoria 2, though.

The Path (2009)

a full-on walking simulator art game that tells an overarching Red Riding Hood-themed story with almost no dialogue. multiple characters and endings to go through, and lots of collectibles, some of which do things and some don't. if you just don't like walking sims it's unlikely this would do it for you, but if you're someone who does enjoy a good walking sim, this is a classic entry. the forest is a beautiful setting to explore and the soundtrack sells the uncomfortable and somber tone well.

American McGee's Alice + Alice Madness Returns (2000/2011)

action-adventure platformers. american mcgee's alice features fantastic setpieces and level design, responsive controls yet somewhat slippery platforming, an arsenal of highly unbalanced but fun weapons, good enemy variety, a fantastic soundtrack, and a high level of challenge. alice madness returns heavily tones down the challenge and former emphasis on weapons, enemy variety, and boss battles in exchange for highly responsive platforming, a rewarding collectible system, and a deeply cathartic story. they're both games i repeatedly come back to for their own reasons. i'd recommend getting the original version of AMA and not the 2011 re-release if you can help it, but it's not a dealbreaker.

The Colonel's Bequest (1989)

another Roberta Williams classic, it's a charming and detailed murder mystery graphic adventure game that has an emphasis on discovery and characters more than puzzles. the game is split across multiple acts with various characters on schedules, and is full of conversations to eavesdrop on, clues to find, and notebook entries to fill out, or not find. there's multiple endings and multiple ways to die, and you can complete the game even with varying levels of overall notebook completion. it’s a game designed for replays, and it’s still arguably one of the most well-made and most complete games of its kind out there. it's got a good sequel in 1992's Dagger of Amon Ra, which isn't on this list purely for not feeling very Halloweeny.

you can play this one in-browser through archive org! just look for the manual for both the game and the emulator to make sure everything runs smoothly and that you don't get walled by the copy protection...

Honorable Mentions:

Troubled Souls (1994, Classic Mac OS)

troubled souls is, admittedly, ‘just’ a little ol pipe-style puzzle game, no story here like the others. yknow, it’s like pipe mania. but, it’s a highly themed, creepy-looking pipe game. plus, it's got an absolutely killer BGM loop. if you’re ever gonna play any time-killing dedicated puzzle games this October, it may as well include some Troubled Souls.

Pathologic Classic HD (2005/2015)

It's Pathologic. you've almost certainly heard of it. i hesitantly dropped Patho down to honorable mention just because it's exploded so much in popularity these past couple years compared to the others on this list, but i'm recommending Classic HD specifically because i think a lot of people these days might only play 2, but i can't overstate what a wonderful and all-around complete package Classic is. it's a challenging survival game, but i don't find it the unwinnable, hyper-obtuse, archaic, anti-game it gets hyped as. the ebb and flow of its VN-influenced storytelling format and slower, meticulous, moment-to-moment gameplay that will then spike into being utterly frantic just often enough is highly engaging, as is its stat management. look, you can use a walkthrough/hint guide if you want to not get locked out of an ending, it's fine.

Shivers 2 (1997)

another game i'm personally not a fan of, but it's well-loved by the people who do like it. it's really Shivers in name only, but it preserves the improvements made to the Myst-like formula, so you can't go wrong if you enjoy a good Myst-like. i also can't deny that the game's rock music theme, desert setting, and overall presentation has its charm.

Dark Seed (1992)

another point-and-click puzzle adventure game, most noted for its H.R. giger designs, though its tone is ultimately less horror and more subdued and genre-conventional quirky than that initial selling point might have you think. the game runs on a persistent timer, and both the puzzles and click areas can be difficult to parse, making for a game that isn't interested in not being dated and induces tension more through frustration than through actually being horror, and it doesn't do much that any of its numerous genre cousins don't do better. still, an interesting if dated game that one can get a kick out of, at least once. there's not much i can say about this one that Majuular hasn't already explained better.

Dark Seed 2 (1995)

this will explain everything.

The 11th Hour (1995)

The 7th Guest's very bad, no good, utterly tonally inexplicable, terrible sequel. only worth playing if you want to see even more cheesy FMV, more mansion, or more Stauf.

Zombieville (1997, EU)

an overly-ambitious oddball point-and-click action-ish-adventure game that went through development hell. most notable for its system wherein characters (including yourself) can turn into zombies, using the rare 'return of the living dead'-style of intelligent zombies, and also for featuring Greg Proops in one of his only video game VA roles, ever. massive disclaimer that the game is extremely buggy, unpredictable, and unfinished in many areas, even if it is possible to reach its (thematically strange...) ending with a guide. an interesting time capsule of missed potential, but unlikely to be enjoyed in any capacity unless you have a very specific kind of technical or genre curiosity.