#so bad characters just take me out immediately especially when theyre consistently like this

[sweatandwoe]

Does anyone have any monster romance recommendations (Books or fanfics) preference for super niche or extra weird ones

[its5amandimstillawake]

Ok so this may seem random but I just binge watched bobs burger, all 10 seasons of it. And I had always heard it was like American Dad or family guy, hell when I googled "what to watch if you liked Bob's burgers" or looked for shows similar American Dad and family guy came up. Now I hated family guy and American Dad growing up, my dad watched it and I just never enjoyed it. But I watched a compilation on YouTube of Bob's burgers and it seemed decent so I decided to give it a shot and im glad I did. Unlike American Dad or family guy, two shows that have the goal to offend people, and who's humor heavily relies on steriotype or references, Bob's burgers doesn't feel dated, doesn't rely on steriotype, it bases it's humor on putting these likeable character that you love into different scenarios and having them reacting to the world around them. And unlike a lot of shows, like I said watched all 10 seasons and it never really got repetitive or boring or annoying I honestly enjoyed every episode, every episode felt new and fresh, even if the idea has been done before. Now there are several things I enjoy about Bob's burgers and I just kind of felt like talking about it so

First, they all, not only love eachother, but also actually like eachother. Now I feel like a lot of people don't quite get what I mean by that. I personally love my mom, I do not like her, I don't like the way she thinks or acts, I always say that If I had met her at school or at work or something and was not related to her I wouldn't like her. I've seen many siblings who love eachother, they'll defend eachother and take care of eachother but for the most part avoid eachother especially if they're at the same school, they don't go out of their way to talk or hang out with eachother. This family all seem to actually like eachother though.

Which leads me to my next point. The Belcher siblings are personally my favorite part of the show, I was actually confused when I first started seeing them all together, because most shows seem to have that sibling relationship of love but not like, and while that's fine and can be realistic, I don't very often see a show that shows a good healthy sibling relationship of siblings actually liking eachother which can also be realistic and is a good thing to teach kids. The Belcher siblings are great, they of course defend eachother and take care of eachother but they're also friends. They walk together in between classes, theyre all in the same friend group, they go out of their way to hang out with eachother and play togetherand have fun together, they eat lunch together and scheme together. Of course they also spend time by themselves and will hang out with their mutual friends without their siblings and have friends outside of the mutual friend group, and of course they get into arguments and disagree with eachother a lot, what siblings don't? But for the most part they get along very well. You won't see any of them embarrassed to be seen with their younger siblings in or out of school, even Tina, the teenager of the group who's going through a lot for the typical teen problems including being embarrassed often and caring a lot about what others in her grade think, will hang out with her little brother and sister, and take part in their mischief, and eat lunch with them and doesn't have a problem with it.

The kids aren't the only one with a uniquely healthy relationship when it comes to these types of shows, we also have their parents, Bob and Linda. Bob isn't the steriotypicaltypical husband that's often portrayed in these types of shows, Bob isn't the husband that complains about how his wife is always nagging or jokes about how being married is awful. Linda isn't the steriotypicaltypical wife, Linda doesn't complain about how her husband can't take care of himself, or seem disgusted by her husband or seem exasperated by the kind of person her husband is. Strangely enough they seem to actually love eachother, and support and encourage eachother and care about eachother and enjoy spending time together and enjoy working together. They enjoy making small fun competitions with eachother and having fun and laughing together. They seem to bring out the best of eachother. And yes they aren't exactly in their honeymoon phase, and may not have that "spark" they first had when they first got together, and they're not exactly the pinnacle of romance, they are however a good representation of a happily married couple who genuinely love and like eachother and have been married for years. And of course they each have their flaws and they have their disagreements and arguments but who doesn't?

And the Belcher kids love and like their parents as well and enjoy being with them and involve them in their antics as well.

And they love and like their kids as well. And given each of the children it would be expected in a show like this for one or two of the children to be considered "disappointments" or "not as good as the favorite child" there's usually a kid who's clearly the favorite and one or more kids who's looked down upon by the parents and everyone else in shows like these, however Bob and Linda genuinely love and are very proud of each of their kids and they both have good relationships with all of their kids. Even in the episode where they spent the entire time showing just how much of a screw up gene was, Bob took gene aside and said that while gene could get distracted and could mess up at times that he was still very proud of him and loved him.

Bob and Linda support their kids in everything they do, even in the episode where gene got interested in "table setting" and got into a competition and his parents didn't quite understand it or understood why someone would enjoy it they still helped and encouraged him and expressed how proud they were that he found something he enjoyed doing.

It's a very healthy family and it's enjoyable to watch.

The show itself, although it has 10 seasons, doesn't ever get annoying or repetitive, every episode seems fresh, like I said binge watched the entire show and was actually pretty sad when I got the final episode and realized I was done and couldn't watch anymore, although the first season was great it got better over time, and personally I thought each season was better then the last.

I like that all the characters seem realistic, their was several episodes with the Belcher kids where I could imagine my younger self and my friends and brother doing similar things. And like I said the parents though loving also seemed like a realistic couple that have been married for years.

I also liked the consitancy. A lot of characters over time will become an exaggerated version of their former selves. For example a character like Patrick star or homer Simpson or Cosmo from fairly odd parents, who start off the show kind of dumb and clueless but not annoyingly so and are still enjoyable, over time will become so damn moronic that you wonder how they've managed to go this long without accidentally killing themselves and it becomes annoying and frustrating and they're no longer likeable.

None of the characters in this show have a character flaw that becomes so extreme they become unlikable, in fact all of the characters in the belcher family are likeable, and stay consistent, thats the point, you want to see them go through these things and want to see them win and come out on top because of how likeable they are. Louise is mischief, she's a prankster, but it's never to the point where she's unlikeable, she's still a good kid who usually doesn't go to far and when she does shes quick to see her mistake, apologize, and try to make it right, if anything a lot of times her pranks are to help defend other people or "bring justice" to people who have been wronged.

She may be a bit extreme but she's still a good kid and you want to see her come out on top. Gene can be loud and extreme and not really get hints, but he wants to befriend people and wants to help people, even though he can be gullible and a bit clueless and as a result can easily get roped into stuff, he tries to help people and make things right when he sees things going south, he's a sweet kid.

And Tina can be innapropriate, and can be selfish at times and not always see the big picture, but like gene and Louise when she sees that she's messed up she immediately tries to fix it and make things right, she has a stronger moral compass then either of her siblings and usually the voice of reason and helps people out whatever situation they're in, including her siblings who can often end up in some pretty bad situations, and is willing to take the fall for the sake of others.

Bob can by cynical, and a bit extreme about things he cares about (work, turkeys, Thanksgiving in general) and when he gets extreme he won't think things all the way through he'll just react, but he means well, he cares about his family and will put aside his obsessions for his family and is willing to sacrifice those things for his family. Hell one of the things hes obsessed with is Thanksgiving, he will make sure everything goes PERFECTLY and will get very upset if they're not perfect and will go crazy trying to make it perfect, but the reason Thanksgiving is his favorite holiday and the reason he cares so much is because of his love for his family and because Thanksgiving to him is being with your family. And even he is willing to sacrifice his Thanksgiving to be there for his friend, teddy, who's alone and without his family.

Linda can also be extreme and not think things all the way through but like bob, she means well, the times she gets extreme is typically when it involves her family and trying to do everything in her power to make them happy, and to do what she considers the morally right thing to do, even if it means going a little crazy and taking things a bit to far while doing so. I think a good example of this was when Louise got in trouble at school for causing problems, she was causing problems because a couple of kids were picking on a smaller kid and she was attempting to defend the kid, Linda thinks it's morally wrong to punish Louise for defending a kid and breaks Louis out of detention from the window (also breaking the school's AC in the process) to get her some ice cream all while having to avoid mr.frond, the school counselor who's around the same area. It's a good example of how it makes for a funny episode and flawed characters because of how extreme they can get but how they're motivation and reasonings makes them likeable and makes you root for them.

Anyway. I know this is kind of random it just kind of bothered me that I don't really see bobs burgers being talked about very often and I see it being compared to American Dad and family guy when, from what I've seen of the two shows, it's not really similar at all

[izzyliker]

hey - this is one of the mods of the bi jon project. we don't actually dislike or disagree with pan jon at all, we just want to make a project focused on and celebrating bisexuality. our carrd is a bit rambling, but frankly we were trying our best/overcompensating to try and make sure people didn't misunderstand us and do - well, this. our intentions are good, and it's really kind of disenheartening to see all the hate we've gotten for what was meant to be a positive project. (1)

you're under no obligation to answer these, but i saw some of your posts in the tag and felt like reaching out because you did give us even the tiniest bit of slack in good faith. honestly, if you have any advice about what in our carrd is so overwhelmingly bad, we'd be happy to hear it. we've been trying to respond to the overwhelming amount of criticism we've got in a positive way, and take peoples' suggestions. (2)

as for why 'no anti-antis' was at the bottom of our rules list, it's legitimately bc we were trying so hard to be preventative about this negativity that we forgot to add it when we first posted the blog, and just remembered later. again, you're under no obligation to answer these, i just feel like no one's really actually letting us defend ourselves/are taking things in as bad faith a way as possible. (3)

im not exactly sure how the posts showed up in the tag bc ive been very purposefully not tagging them, also ive blocked all of you back (not sure why you blocked me if you actually want feedback, so it seems more like you just want free positive pr and not actual feedback) so its unlikely youll see whatever it is that i reply to this but whatever. 

the issues have all been repeatedly brought up to you so i dont really see how me repeating all of them once again could help. when i last looked at the cardd the things that stood out immediately included. 

pitting ace & bi identities and people against each other REPEATEDLY,  

starting off with a guilt trippy tone and maintaining it throughout (in my experience this is the #1 best way to receive backlash because people do not want to participate in events where you feel like youre being guilted into it, which going into scrutinizing detail over there not being enough content and passing judgement onto authors or artists over it is something that comes across as guilt trippy.),

repeatedly equating asexuality with sex repulsion (not to get into the misleading information about modteam aspec identity breakdowns, since you claimed that 3/4 of the team are aspec, which is technically correct, but what you didnt say was that only one is acespec. surely you know that [allosexual] aro and [alloromantic] ace are not interchangeable) and calling using biromantic over bisexual a “misunderstanding” of the identity as if how to define romantic vs sexual attraction (how to divide, if or if not to divide, use interchangeably different labels) isnt a deeply personal choice ace people who experience romantic attraction make, 

claiming that bisexual jon is canon (he isn’t. this is why people are suspicious of anti-other mspec identities sentiments. which theyre right, if youll be so kind as to stick around til the last paragraph) and repeatedly implying that the reason there isnt “enough” content centering bi jon because the aces are simply unable to not fixate on his asexuality (again, pitting identities against each other),

making the banned ship list way needlessly confusing and including ships that dont even include jon to it, which simply comes across as some kind of a list of bad ships, idk. a way to bypass this would simply be to say “we are looking for portrayals of healthy relationships!” and that couldve just been it. if you felt that that wouldnt exclude specific ships (eg. jondaisy that a lot of people write as a relationship between trauma survivors who have done very bad things trying to get better and learning to trust each other) it is possible to simply say “the modteam is squicked[/triggered] by ships with daisy/elias/peter and we’d like to read all of the works submitted so we’re asking not to receive submissions with those ships.” hating ships is literally completely normal but making rules hard to parse is going to attract questions, especially when the implication is that ships are excluded on the grounds of morality, and a blatant power difference ship (jonelias) is equated with jondaisy, which is from what ive seen almost exclusively shown to be a relationship between equals. that makes people EXTREMELY confused about where the line is. thats why youre getting so many questions about this.  

in general the carrd was spotty, guilt trippy, and needlessly moralizing where it definitely did not need to be. the key to getting people to engage without getting backlash is to make the event seem fun. when your carrd is filled with stuff about unrelated negative stuff people are not going to think it’s a fun event at all. 

and none of this even gets into the fact that at least one of the mods has a history of open hostility against pan people. i heard through the grapevine that he has since made a fauxpology about it, but frankly it already shone through in the language used in the event descriptions. its extremely hard to take any of this is good faith when it is easy to see that one of the organizers is quite fucking clear about thinking pansexuality is biphobic and the carrd is or at least used to be full of anti-pan (and other mspec identity) dogwhistles, and is notorious in some of the tma fic author circles for being extremely fucking nasty about trans men writing fic he doesn’t like to the point of pretending that we’re all cis people (in case youre not keeping track that is misgendering us by implication) because he doesn’t like it. i think some of you (or maybe all of you? idk) in general could stand to examine whether your engagements and participations in the fandom have been at all about having fun or adding positivity to anything, or simply making posts about what other people are doing wrong. it seems that every post i see from anyone in this group is guilt trippy and authoritative, and sadly this translated directly into the event. 

when youre, say, a trans man whose first touch to one of the mods was a post about how fic where trans men have piv sex with cis men is hurting him personally and making it a moral issue and not a matter of a simple preference to the point where he feels comfortable making claims about the trans men (and transmasc nonbinary people) writing fic about trans characters re: their gender or whether theyre fetishizing trans men, your willingness to engage in good faith with an event hosted by him that features numerous red flags is not going to be unconditional. 

im sorry to hear that it has been bad for your mental health, and idk whats fucking going on with this event anymore, but my good faith interpretations have diminished significantly since i saw the shit tmc specifically has been saying about pansexual people and pansexuality as an identity label. i have no clue where the rest of you stand but tmc has repeatedly, consistently shown himself to be unable to act in good faith towards anyone other than people who agree with him.  

[readingaccountability]

snow crash - neal stephenson

my playlist (because of The Way That I Am)

final thoughts:

okay, im going to be honest right out of the gate- i cant decide whether this is a book id recommend or not. it was really fun for the most part, but personally there was a lot more exposition than id like. the early portions of the novel have exposition which feels completely fair, mostly things relating to worldbuilding. stephenson creates his own vision of future america, and some places online referred to it as cyberpunk, and some as post-cyberpunk. id be more in the latter camp, mostly due to the way he plays with tropes, leaving the reader unsure of which will be subverted and which wont.

the use of language was really fun, and i enjoyed the worldbuilding a lot. his vision of a futuristic capitalistic earth feels surreal in its immediacy and recognizability. the back jacket blurb ends with "a future america so bizarre, so outrageous, you'll recognize it immediately." which, yeah. a texan info-tech magnate? two competing corporations owning the highway system? suburban city-states? this was another enjoyable thing- everything was colorfully named, and names treated totally normally, which kind of poked fun at how we have everyday things named very ludicrously and for the most part we are totally blind to it.

one aspect i really enjoyed was that the author often doesn't make certain things clear to the audience, until he does, and then it becomes necessary to reassess the entire story and setting. this goes to underscore the theme of the importance of information and the ways we take it in and perceive the world based upon it. for example, we don't learn that y.t. is fifteen until maybe 75 pages in, at which point a lot makes sense in retrospect. the same thing occurs in the worldbuilding, as suddenly a detail is given in passing and the reader must incorporate it into the setting, which by default we assume to be similar in many ways to our idea of america. it keeps the reader on their toes as well as furthering the worldbuilding. for the most part, the tech stuff didnt feel outdated to me, despite being a future projected out from '92.

however, aspects of the book are definitely very 1992. id put these into two camps: the first, being that the book does at different times use slurs. the main character is black and asian, the n word is used a few times by racist side-character/antagonist types, as are a few other racial slurs. there was also the occasional usage of the r slur, within the narrative prose itself, rather than usage as an insult within dialogue.

the protagonist, who is named, unfortunately, hiro protagonist, is a great character and felt very fleshed out to me, though at times he reminded me more of dirk strider than normally would be ideal. (its obvious that stephenson and andrew hussie are of a similar type of writer, and play with similar tropes, lmao.) hiro is a man of many worlds. he seems to shift between them easily, though never fully existing in any of them. this is reflected in his background, both in his biracial identity and in having been raised on a myriad of army bases. this is layered further in his fluidity in interacting with both reality and the metaverse, yet remaining slightly, consistently aloof. fascinatingly the first moment i sensed this drop was when we meet juanita- aka where his real and meta realities coincide. the description of them as the adam and eve of the metaverse is both insanely romantic and thematically key (good god i wish we had more than like, two conversations between them). juanita designed the facial component to metaverse avatars, doing the majority of this work when the two were together, and hiro can see echoes of both their facial tics in the face of every avatar in the metaverse. in a way, by having done this work juanita is positioned by the narrative as one of the gods of this digital realm. she is also hiro's call to action, being aware of the coming trouble and alerting him to it, as well as connecting him to the informational database he needs to prepare.

y.t., the secondary protagonist, fucking ruled. i loved that she was just a fifteen year old punkass kid whose mom doesnt know how crazy this part time job is. y.t. being worried about her mom was a great thread throughout, and a really good balance to how obviously independent y.t. is. i do wish there had been a chance to explain more about her background (she has a dad who left who is mentioned in a throwaway sentence, and a boyfriend who is mentioned near the beginning but never again.) i really enjoyed how obviously hyperaware y.t. was at all times about her own place within the insanities of the setting, while also consistently writing her as a teen maybe in way too deep who thinks about things in typically teenage ways. but like, that wasn't ever held against her? the narrative meets her where she is. it was honestly awesome. HOWEVER,

i absolutely hated the raven and y.t. scenes. how creepy!!! he basically statutory rapes her!!! we know hes at least late 20s early 30s, because hes the same age as hiro. if this sort of content is upsetting to read for you, i definitely do NOT recommend this book. (if you want to avoid reading these bits: ch 47 y.t. meets raven, ch 50 they are in a bar eating, ch 52 things happen that result in y.t.'s anti-assault device activating- she did not activate it on purpose, but forgot it was there- and raven is knocked out.)

please PLEASE dont take any of the following analysis as like, trying to be apologetic towards this scenes. because again they were awful and hard to get through and really gross. but im also cognizant that the author was obviously trying to convey something by making the choice, like the way it was written is obviously not condoning this sort of thing.

i think maybe what stephenson was trying to get at with that, was that we see hiro internally negate any potential for anything untoward with y.t. basically immediately, since he kind of senses that she might have a small crush on him (though this doesnt last more than a fleeting moment, especially from her perspective). vs raven, whose 'poor impulse control' warning tattoo eventually elicits a sarcastic remark from hiro after he finds out raven and y.t. were "a thing". i really dont think hiro knew how far it went? like it was just suuuper weird, but i figured it was meant narratively to 1. execute the chekovs gun of y.t.'s anti-assault device, 2. contrast hiro and raven (especially considering the bike-racing argument where theyre telling the story together, which is supposed to parallel them, while contrasting the differences in how they ended up?), and 3. just to get raven unconscious, i guess. but good god it was weird and i hated every second of it, why couldnt the device have like, activated way earlier?? gah. fucking upsetting. moving past that!

honestly i was really frustrated by how little screentime juanita got, because the way she was introduced was so fucking interesting and then shes mostly off doing her own thing. the bits of explanation she gives at the end about what she was up to on the raft are so sparse and im like damn, can we get a little bit of her pov in here? please? that would have ruled. additionally, shes supposed to be hiros love interest, but we see so little of them interacting outside her intro scenes. a huge portion of why hiro is getting into the sumerian mythology is literally framed as something that will help him understand juanita, but we dont get to see him talk to her about it barely at all.

the supporting characters were quite fun, i particularly liked the librarian. big surprise, i liked the overly literal ai information-dispensor, lmfao. watching him and hiro interact reminded me SO hard of geordi laforge having honest to god conversations with the computer where he tries to coax information out of it, aka one of my favorite little aspects of tng.

and lastly, the major plot themes themselves. i adore the way stephenson approached action, it was very entertaining. usually i cant really visualize action scenes written out, but his use of language was really really effective and engaging. the plot itself was absolutely fascinating, though i found the premise pretty contrived. which isnt bad in itself, i was fully suspending my disbelief until the last hundred pages or so. which for a 550+ page book, isnt too bad.

i did like the approach of linking the ancient to the modern, that is always really neat. and i think ultimately stephenson did it in an interesting way, not how i would have done it, but definitely interesting! creating these ideas about information infrastructures, and there being words that can access those and be used to control people, was wild. not sure if i agree about the equating of religion to a virus, though he did specifically establish that it was more the approach to religion, than religion itself. (maybe if juanita had been more goddamn present in the narrative that could have been elaborated on a little more. literally her perspective would have been perfect in balancing that out!!)

ultimately what did me in was the very very very long winded MONOLOGUE where hiro re-explained the whole premise, in ways that didnt really neatly organize into a cohesive argument. a lot of the scenes where hiro talks to the librarian, which are interspersed throughout the book, are really exposition heavy, because stephenson is rooting his ideas in historical concepts that need to be explained to both hiro and the audience. and i thought all that was fine, because it was a conversation where hiro was grappling with the information, and he was figuring it out along with the reader, and most importantly it was a conversation between him and the librarian computer program.

howeverrr later on we get a full rehash of all that, where hiro makes clear some stuff that was just implied for the reader, and hes literally just telling these important men whats up in this big long monologue. utterly worthless. i kept reading it and going YEAH, we KNOW, we know this we know this. and the important men barely interjected. it added basically nothing to our understanding of the situation, other than reframing it. but everything added was already an implicit thing, and didnt really need to be said again.

the resolution to the book was stellar, the last 30-40 pages, once hiro is onto the raft, were great. ultimately after reading and giving some time to digest it, i think it was a solidly great book with a few big drawbacks near the end, but which dont carry through and sully the ending.

[horde-princess]

can i ask a question? this season really made me dislike glimmer (s4). why is she so sympathetic to people? she just seemed to be a really bad friend to bow and adora and that really frustrates me bc theyre there to support her more than anything else, esp with her mom gone. i recently rewatched the beginning and honestly bow and adora are trying to be even better friends to glimmer and she consistently lashes out and is power hungry and cruel to them. why is she still sympathetic?

man i like how you’re open-minded trying to get other perspectives about it 😌 i think like everyone in she-ra, glimmer is a pretty polarizing character. she has complex motivations that don’t always present her in a good light. on one hand i agree glimmer WAS lashing out and being a bad friend and especially for adora fans i can see why her actions last season would turn people off. but i still sympathize with her because i appreciate how she is influenced by her trauma. “sympathize” is a mild word tbh, i freaking LOVE glimmer, and it’s precisely because she’s a little unhinged, she doesn’t always do the right thing.. i want more female characters like her!! 

it’s the same with catra, right? people only dislike catra when they are unable to sympathize with her trauma. except in comparison, glimmer’s trauma is sort of glossed over, harder to see unless youre really looking for it. so lets talk about it bc i think appreciating glimmer’s perspective is crucial to understanding the story as whole.

glimmer was raised by the leaders of a global rebellion.. she knows how terrible war is on a very personal level since she lost her father to it when she was little, which is very different from adora’s trauma. she watched her mother grow tired and discouraged, and she’s been so angry for so long, because she believed that she had a responsibility to make a difference in the world but she was too young to really help (like damn remember when we thought glimmer was just an annoying rebellious teenager?). then the war takes her mother away, too. now an orphan, she inherits angella’s duty to keep the world safe, right when they’re on the brink of a catastrophic invasion.

i think the war with the horde is a more urgent threat in glimmer’s eyes than it is in adora’s. adora has a broader vision to protect the universe whereas glimmer is thinking pragmatically about something thats more immediate and tangible, and thats one of the reasons they butt heads this season.

another thing is, when glimmer inherits the throne she carries over this trauma from childhood where she felt powerless against the horde. finally, finally, she is the one in charge, she gets the chance to make a real difference and stop the horde once and for all… but then adora is there, even more overprotective than usual, acting like she’s entitled to call the shots just because she’s she-ra? glimmer has been waiting her whole life for this, to fulfill what she must believe is her destiny–how dare someone try to take that away from her? so this is another point where adora and glimmer’s respective traumas kind of clash and they have a hard time navigating that even though they love each other very much.

and then.. oh man. ive talked about this before but glimmer faces the same thing shadow weaver did all those years ago…. light spinner saw the horde was winning the war and chose to mess with dark magic in an attempt to win. it was about gaining power over her enemies. glimmer finds herself in a similar position where she thinks her only option to defeat her enemy is to use dangerous magic. when you take her trauma into account, her moral struggle makes a LOT of sense. we can understand it better contrasted with other characters–adora had a much different experience with the war and her and bow didn’t experience the loss of a loved one, so making moral decisions about the war comes easier to them. thats what i think prevented glimmer from respecting their point of view. glimmer is willing to cross lines because of everything she has gone through, and unlike her friends she thinks it’s worth it as long as the ends justify the means. this misguided thinking was reinforced by shadow weaver who glimmer never actually trusted, but still the connection sw had to her parents made her vulnerable to her manipulation. 

all of this is what makes glimmer and adora’s conflict in season 4 so engrossing and highlights Noelle’s genius storytelling, because BOTH of them are trying to do what they think is right, but they view things differently bc of their different experiences. its not that glimmer is power hungry or cruel just for the sake of it you know? she still has good intentions and thats what changes my perception of her character.

i also wanna say that i’m not JUSTIFYING glimmer in any way. one of my professors had this great catch phrase, he used to say “context doesn’t justify, but it matters.” i think we can hold glimmer accountable for her actions and still appreciate the context. lets not simply write her off as a likeable/unlikeable character, but instead consider she’s a complex character who’s doing her best and loves her friends even though she has a variety of motivations and personal struggles. ultimately, glimmer does realize her mistake and attempts to fix it, admitting “adora was right.” i think itll be super satisfying next season to see her learn and grow from that. like how boring would it be if glimmer was a nice happy 1D character who never struggled with anything??? 

[mnogorgannik]

2 10 n 11 :)

this is basically an essay im so sorry. watch how hard i can infodump (ill put this under a cut hopefully it works bc sometimes tumblr decimates the keep reading things if theyre in asks)

2. Who’s your favorite of the Bound? What do you think of the different ideologies they have? Which of the factions are you most aligned with?

WE ALREADY KNOW THE ANSWER I AM A PETER LOVER THROUGH AND THROUGH!!!!!! oh baby i love that morally questionable architect. pretty early on in getting into pathologic (it’s coming up on a year now...) i thought about peter stamatin too hard and now i’m here. but really i find him to be such a fascinating character!

the thing about pathologic that i love is how almost every character can be as complex as you want. pathologic does an excellent job of implying a lot of character traits while only exploring some in further detail, which in some games is frustrating but patho does it so well! it consistently hints at traits and lets you fill in the details yourself. peter’s character is extremely interesting to me... and maybe a little more relatable at times than i want to admit lol.

i think i’ll talk about both stamatins though! their dynamic hurts me a lot. i’ll start with andrey bc i’ve been thinking about him lately. although i’ll bounce back and forth between both stamatins.

i’ve said this before but i’ll say it again.... andrey’s role as a protector who inadvertently hurts the people he cares about really gets to me. he is not a shield but, in his own words, a battering ram. and the problem is that battering ram has a recoil.

i have to wonder how that mentality of his came about, anyways. the implication is that it’s always just been him and peter, so did he take on that role because there wasn’t anyone else to do it?

in his efforts to protect peter from... military, i believe, he kills four people. which leads to daniil getting mistaken for andrey, which leads to daniil getting shot. and almost dying. he protects peter but to a smothering extent, peter even says he’s been suffering for ten years bc of andrey which is a LOADED line. he protects on a physical level but he kinda fucks up on the emotional.

there’s a horrible irony in peter and eva being the people he cares about the most and both attempting suicide. with eva once she’s missing he immediately goes running off trying to look for her, and . ahh i can’t remember right off hand what exactly he thought happened. but ik he was probably expecting a fight. with peter he says that after that he’ll never let peter leave his side, at least “as far as his knife can fly”... it sounds cheesy but the one thing he can’t save anyone from is themself.

and god the way andrey bases his ENTIRE sense of self worth on peter fucking hurts. they’re not peter and andrey, the architects. they’re Peter And Andrey, The Architect. (thinking about “one architect, two brothers” here.) andrey thinks he’s larger than life and all but he’s constantly living in peter’s shadow. their theatre of death positions come to mind here, with peter standing up, looking down at andrey. but andrey is on his knees in front of peter, arms limp to his sides.... separated by a wooden beam...

peter’s side of this dynamic is fascinating too. his dependency on andrey is. ow. leaving all practical matters and decision making to him... there’s this resentment (That’s Fine I’ve Been Suffering For Ten Years Because Of Him) and lack of communication that especially shows through for him.

while in p2 andrey completely crumbles if peter dies, peter doesn’t seem to care...... at all....?? which hopefully is elaborated upon in p2. he’s willing to talk to aspity about worrying if andrey is angry with him but he can’t bring it up with andrey himself. when he asks how andrey is doing he stops and says andrey is a “tough man” and can handle anything. in general, while it’s definitely there for andrey, themes of dependency are really glaringly obvious for peter.

one of my favorite peter things i’ve talked about before is still his ego!!! peter has a gigantic ego!!! he really does think that even though he’s hit the ceiling and can’t go any further he is still “a true architect” and “the rock upon which is built the stairway to tomorrow”. he has a blunt edge to him and he doesn’t ever tell you more than he thinks he needs to which i love. if he doesn’t want to tell you something he isn’t gonna do it. this is a character trait i think ppl miss which is sad because it’s so good and adds another layer of depth to him!

it really does hurt me how he’s valued for his mind alone (AHEM AHEM AHEM. GEORGIY) but it’s the thing nobody understands about him. i’m nowhere near as smart as peter lol but i do know that pain of feeling like none of your ideas can be understood because you just can’t express them the way you’d like, and then feeling like you’ll never be able to make it happen.

also, here’s a little thing  i’ve picked up on. this connection probably doesn’t exist but i’m making it because the stamatins make me lose my mind and start becoming one of those people who looks for connections in everything i guess. peter standing in the theatre of death, andrey below him. peter’s loft being at a high point in the town, the broken heart being underground. peter’s loft is also higher north on the map but the broken heart is lower south. just smth interesting

i have more thoughts on them of course! but this is all getting awfully long. i feel like i’ve only just gotten to the tip of the iceberg  even though i’ve written so much skfjskfjs this just feels quite surface level or. at least what is surface level for me who thinks about the stamatins so hard.

anyways i’ll keep my answers to the other two parts of this question quick! peter and andrey’s more creative vs practical mindsets are rly neat. especially because i would actually argue peter is a little more grounded in reality in certain aspects. not all, but certain ones...... their take on the utopian ideology is interesting. hot take: peter’s version of utopianism leans a tad towards humility. and andrey /does/ feel “straightforward utopian” but i think in certain regards? this man has a bit of a termite streak..... (hi al if you’re reading this). but i won’t get into that right now i’ve already gone on so long. saving that for later.

i think all of the factions kinda suck in their own way sometimes, honestly? although all of them are well written and have their pros and cons. were i in pathologic and i had to choose one i’d probably be a termite but everyone around me seems to think i’m a utopian. is it bc i love peter so much

10. What would you be like as a Pathologic character?

this question is a hard one! i did make a self insert once, mile-a-minute, but they’ve become their own oc by now. i think i’d be very...... very afraid...... probably isolating myself why does every pathologic character break quarantine???? also you could trade beetles with me :) thats about all i’ve got sorry this is real short

11. What is something you would change, writing-wise, about either game?

UGH i’ve been gushing about pathologic because. obviously i love this game so much. but the way it handles racism & such (in both games!) leaves much to be desired :/

i see a lot of the points it’s trying to make but i think the way they’re handled can be very messy. there are moments that work very well but. a lot that don’t. (i am aware that dybowski writes partially from his own experiences)

all too often the game “validates” the kin’s oppression and... at times paints them as oddly antagonistic? i don’t like how often as artemy you’re able to be like “i’m not one of those beasts” and i think there are better ways to touch on his internalized racism. in general the constant comparisons to animals is weird. you get big vlad who is obviously explicitly racist comparing them to animals, but then sometimes it’s like “ACTUALLY calling them animals is fine :)”

i think the herb brides are kind of. Hm. in their portrayal. also using parts of the buryat alphabet to denote an accent is weird. making odongh and herb brides inhuman is weird. connecting the kin to Magic is weird.

and, listen, i’d really like to not be playing Artemy Burakh Experiences a Microaggression Simulator every time i’m playing the haruspex route. hate that you either can’t call ppl out on their shit or if you can it ends the conversation/bars you from getting necessary information. glad you at least get to drag the vlads, i guess?

i also was talking about this but wrt peter specifically, and this issue is present throughout the game but it’s especially visible with peter, i don’t like how often you can mock him for his addiction.

he’s obviously in an extremely rough patch! being able to be just so plain cruel to him about the dependency on alcohol (and iirc in p1 hallucinogens, bc aglaya mentions it) he’s formed to cope with his mental illness & trauma just feels bad. especially because yes it is not a healthy coping mechanism at all but... it still is a coping mechanism, if that makes sense?

the way you’re able to constantly rub it in his face feels awful. peter is fully aware that it isn’t good for him and shows a desire to quit. even if he didn’t it would still be awful to say because. it’s just insensitive. like you don’t just go up to someone and keep being like HEY YOU DRINK A LOT YOU SHOULD STOP DOING THAT DO YOU KNOW WHAT WATER IS? feels really bad to keep harping on something that causes him pain and that he struggles with every single day.

however peter does have moments where he tells you Not to say that, or if you pry into why he drinks he’ll outright say he doesn’t remember you being his friend, which is better than nothing.

in p1 moreso than p2 i hate how you can be like oh he’s craaaazy he’s off his rocker he’s delusional!!!! that “why, i never... an architect of schizophrenia!” comment sticks in my mind because it’s just... so genuinely mean. especially because if i remember correctly that line is from when he’s planning on LITERALLY FUCKING BURNING HIMSELF ALIVE

i think if they were going to have all of this they should have gone more in depth on how it’s really. not good that he’s treated so poorly. and i do believe that’s what they were going for, a la the art book w/ the whole “not to be made into a drunken clown, this is a tragic character”, etc. but it just doesn’t land. i’m holding out for the bachelor and changeling routes in p2 to see if they expand upon any of it but i highly doubt i’ll be satisfied in this regard.

i stand by the One time it was really fucking funny to clown on peter being the time you can tell him little girls eat raspberries and earthworms and he just believes you

[freezeriafan]

Which papa Louie character would be the most sus in among us? I think Papa is automatically sus

You've evoked a rant out of me.. better starts scrolling now or you wont live long enough to make it to the other side

I think I saw this ask last night and I think that's why I had a really long haze-dream about Among Us at 7 am this morning. Here's the thing about being sus in Among Us - if you actually did something evil and were not able to properly mask it, that's pretty sus. Obviously there are ways to be sus while being innocent and thats half the battle but I'm just gonna focus on the good-at-lying aspect to start here.

Papa Louie as his canon character Does Not like to lie. I think that he would struggle really bad with being an imposter, and I think that he would be confused when people don't believe him when he says who the imposter really is. HOWEVER. That says nothing about his lying capability.

Papa Louie is a business man. He has to know how to save face and keep a consistently smooth demeanor. Above all, he's gotten very good at playing 3D chess in order to have the number of successful businesses that he does.

If you got him to play Among Us, and explained thoroughly that "it's just a game, people EXPECT you to lie to cover your tracks, that's part of the fun," then I think that he would be very very good at being the imposter. Because he KNOWS how to Appear Genuine, and he KNOWS how to Play people. Plus, who wants to doubt Papa Louie? He's so sweet and friendly!! You'd never expect him to lie about himself or anyone. He doesnt like to lie, but he can do it, and will do it if necessary, and especially if it's for a fun game.

Other people who know how to play people and would make or try to make good imposters:

- Quinn. Very smooth and assertive, good at rolling with the defenses (she's literally a lawyer), one flaw is that people usually expect that shes the imposter bc Who Would Argue so eloquently and voraciously their innocence if they were a crewmate (Quinn would), so shes often highly suspicious. She also takes up the discussion time arguing other people's cases too, just because she can and also because she can't help it, so playing with her can be really exhausting. Luckily she never has time to play it anyway.

- Radlynn. She is CRASS and RASH and somehow good at lying. She'll say such nonsense with such conviction that you believe it, and if you hang with her for just a day you'll see that shes the natural born leader for any friend group that she assimilates into. For these reasons, you want to doubt her, but her tone when shes innocent and her tone when shes not are exactly the same, and you know that if you read her wrong then she would just love that, so for those reasons you temporize and bite your tongue (and that's what she wants, much to your chagrin). Also she defends other people just to get them on her side. It works.

- Little Edoardo. Ooooh my god. Great bullshitter. You dont want to doubt him because hes so old. It's less poker face skill and much more because he speaks so monotonely that you can never tell by tone if somethings off. He just says things and you have to take his word for it. The hardest part for him is not laughing outloud when a crewmate gets ejected (it's less of a laugh and more of an old man chuckle).

Honorary mentions that try but end up being sus:

- LePete. His tactic is a bit like Edoardo's, and on his own he could probably win a few rounds, but usually people know him and distrust him and usually hes playing with Radlynn who is quick to call him out so idk... living like a barnacle-cleaner yet again.

- Janana and Bruna. I'm putting them together because they kind of go about it in the same way. They're excited to play, theyre thinking that nobody is going to suspect them, they keep getting called "sus" even though they're a crewmate (mostly by friends or family who KNOW that it would piss them off if they got called that), their tempers slowly rise bc their foundation is proving to be of sand. When they do get imposter they almost succeed in sabotaging the place but are brought down by alibis which no one can substantiate. Ultimately they dont have any special skill, but they do have bad luck, and both those things are not what they were expecting of themselves. They're both too stubborn (optimistic?) to quit playing though, so it's just a cycle. It's not even fun for them most of the time.

- Sue. She thinks that she would be good at it but A.) she has to play as red bc it's the last color available, and her work uniform is red and she was hoping to get away from that for a little bit so she's a little peeved and B.) Immediately Quinn points out her ""suave work"" (?? That's what she calls social prowess and manipulation skills and all that) to be "sloppy" and titles her as Sus and since nobody likes Sue they all take the opportunity to distrust Sue. When shes not playing with Quinn, shes the most loyal crewmate ever, and rather than stocking the shelves of the ship, she sometimes actively goes out hunting for imposters. It's a thrill that she doesnt get in her real task-doing job. Shes very good at balancing the patrols with the tasks and at being a manager when they're doing a voice chat. When shes the imposter she gets to live out a twisted fantasy of killing everyone in the store I MEAN ship, and it's easy to tell when shes the imposter bc shes considerably less concerned with bossing people around and bc she uses her costumer service voice to mask the sound of zealous bloodlust that comes with being the imposter.

People who are sus bc they dont know what they're doing:

- Roy. Get it together man

- Robby. He tries to be sneaky but he gets way too caught up in the fire and brimstone that the severity of the situation can bring. Half of the time when hes a crewmate he begs you to eject him, because he thinks that if he were on a ship in the ocean with imposters who had begun killing people, once it got dire he would want to walk the plank rather than have his body be eaten and used as fuel for the imposters.

People who are pretty neutral at the game:

- Lisa (only plays if Allan is playing and if she can be blue)

- Allan (only plays if Lisa is playing and if he can be lime)

[kristie-rp]

[2018] Michael & Lucas: Origins

When Michael is born, his parents name him Mizushima Miko. He is their second son: his older brother is Mizushima Juuki. Juuki immediately adores Miko; he’s fascinated and spends as much time as he can watching over his little brother. It’s actually a considerable amount of time: he is still too young to go to school, and his parents are too paranoid to trust a sitter – but they are also far too busy to make time to actually look after their children. 

Juuki is primarily alive at this point thanks to an aunt that visits at least once a week, a woman who claims to be their mothers sister and who looks absolutely nothing like either of their parents. Tamie, the woman he calls aunt, teaches him everything he can grasp to make baby Miko’s life easier. 

It’s enough, in many ways. Miko grows up both easier and harder than Juuki. The youngest boy is not comfortable around his parents, is quiet and watchful whenever possible. He learns young that it is more effective to babble at Juuki after prolonged periods of quiet than it is to cry, because if he cries, one of his parents may come in. 

One of Miko’s earliest memories – certainly the first to involve either of his parents – is of his mother leaning down into his crib. She is wearing all black, with a scarf of sorts around her neck, and something protruding from her back, held in place by a strap. In the memory, he stares first at the tail end of a military-issue machine gun that is on his mothers back as she kisses his tiny cheek, and then at her face as she pulls the scarf up to cover everything except for her eyes. “Sleep well, my precious baby,” she says in the memory, and then disappears into the night. 

They grow up in a house that is big and empty, surprisingly so considering Aunt Tamie and their parents and their parents co-workers are coming and going all the time. Juuki continues to do everything he can to raise Miko without attracting their parents attention, and they never talk about it. To Miko, this is normal; to Juuki, this is better. Tamie especially expresses her pride in him, over and over again, and tells them in her own gruff way that she is there for them before either of their parents. 

It is not until Miko is old enough to be sort-of independent that the two boys are sent away to a boarding school outside the city their parents house is in. Tamie tells them it is an international school, and that it is for the best. Their parents say it is in their own best interests to go without complaint, and Juuki doesn’t complain, because he knows by now that having an armoury as an accepted norm in his childhood is not a good thing, and he’d rather Miko escape it. Miko doesn’t complain because he takes too many cues from Juuki, and doesn’t feel enough attachment to either of his parents to protest. It’s not that they’re negligent (though they are) or distant, exactly; it’s just that Juuki is a better caregiver than them, and his brother is only three years older. 

Juuki takes to math and socialising with absolutely anyone who will talk to him. He finds it impossible to be consistent: to his desk partner in math, he is intelligent and quick-witted, to the girl who sits with him at lunch, he is quiet and sarcastic. There are more personalities that he tries on the same way others try on clothes, and the only one that sticks is the caring older brother. 

Miko takes to school in general, but he does not get flawless grades. He averages B’s and C’s and to Juuki he seems quietly content, though he worries that his little brother is having trouble interacting with other people. It’s not a baseless concern, it’s a fair one: Miko did not know other people when they lived in their parents house, and was always content to depend on Juuki for whatever company he wanted. That continues as months turn into years at the international school, and for all Juuki wishes Miko would learn to do more, he seems perfectly satisfied with offering shy smiles to whoever Juuki forces him to hang around with. 

Juuki resolves to do something to help Miko, because this can’t be healthy – except before anything can change, Tamie appears to pick them up from school. She does not explain to the headmaster or teachers or to Miko and Juuki, instead bundling them into her car. It’s black and inconspicuous. Juuki finds a pistol in the glovebox when he reaches for the gum she used to keep there, and stares at her with wide eyes, weapon limp in his hands. “Auntie?” 

“I have some bad news,” she says as lightly as she can. 

From the backseat, Miko clears his throat. “Did our parents get executed for betraying Yakuza?” 

Juuki whips around to stare at his little brother, wide eyed. He knows his parents aren’t the best people, aren’t necessarily nice, but they aren’t abusive. But Miko sounds so certain, so matter of fact, that he’s inclined to believe it. After all, Miko is the observant one. He’s the one who would know. 

Tamie’s hands are white where they grip the steering wheel, and she directs Juuki to dig through the glovebox to find the papers she actually meant for him to find. There is a passport there for each of them, and plane tickets. They are Japanese passports, which makes sense, considering they are Japanese – but the names are written in English characters, not Kanji or Hiragana or Katakana. Juuki squints at it, interpreting the Romanized characters only thanks to the past few years of English classes. “Lucas?” he asks slowly, reading the name from alongside his own face. “And – Michael?” 

“Your idiot parents,” Tamie starts. She pauses to clear her throat. “Your brother is correct. Your parents are – were – Yakuza, and they made mistakes. Their superiors found out.” She softens her voice to say, “I’m sorry, Juuki, but your parents are dead.” 

He stops for a moment then, processing. “But then – what? I want to see them.” 

“No, you don’t,” Miko says quietly. Still in the backseat, he does not move. “It’ll be better if you remember them alive. Then you – we – get to pretend. Right?”

Tamie nods once, sharply – slowly. For all she isn’t really their aunt, at least not biologically, she does care for them. That is part of why she is here now. “I want you both to know that lying to you has been difficult.” 

Miko swallows, Juuki rubs at his eyes. He doesn’t want to be sad that his parents are gone – they really, really haven’t ever been that great – but he can’t help it. They were more attentive with him than they were with Miko; that’s just a fact, a consequence of him being an only child for a few years. “What’s that supposed to mean?” Juuki asks. His voice has risen an octave. 

And Tamie talks and talks and talks, explaining everything. How their parents are, were, high ranking Yakuza, high enough to be a problem, but not high enough to be on top. About how their home has been a base of operations for much longer than Juuki has been alive, that it has only been a permanent residence for just that long. How their parents are too proud to split custody, about how it took Tamie most of Miko’s life to convince them that it would be best to send them to an international school to learn, to pick up skills and contacts that would make them useful to them in the long run. And she talks about how her name really is Tamie, and no, she isn’t really related to them. She is Japanese-Filipino, which explains why Juuki always believed that she wasn’t their biological aunt, and she was chosen to be one of three undercover Interpol agents infiltrating the Yakuza. It just so happened that Tamie’s in was their parents. She explains in great detail how she has never precisely cared for their parents except in the way you might care for a distant cousin, but that she has always loved Juuki, and always loved Miko, as long as they’ve been alive. This has been her mission for as long as Juuki has been alive, if not a little longer – she is vague on the details – but when the higherups got word that there was a leak within the Yakuza, and investigated enough to pick up the one that existed between Tamie and their parents, well – she is absolutely certain that twisting the arm of her handler until she had a way out of the country for the boys she loves like her own is the right thing to do. And that’s why she did it. 

“So,” she finishes awkwardly, “I, um. If you want, they’ve agreed to let me have sole custody of the two of you. But we cannot stay here, or anywhere in Japan – there is too much risk that the Yakuza will track you. Which is why your passports have American names on them.” She pauses and bites her lip, and it’s such an unusual show of uncertainty on her that Juuki almost smiles. “You wouldn’t be able to be Miko and Juuki any more, except when you are absolutely certain you’re in private. And I can’t guarantee your safety forever, but I know – I will do everything in my power to give you normal lives. As much as can be expected.” 

Juuki – Lucas, now, he supposes – listens, and he wonders if it would be cruel to point out that she has not given them much of a choice. It is no choice, really, when their options are either to reject her and end up alone in a foreign country where Miko – Michael – does not speak the language, and Lucas can barely read it – or they can accept her offer, and get something like a trusted relative out of this. 

It’s no offer at all, really. 

“We want whatever you can provide,” Miko says – Michael says. Lucas pinches himself. Michael, Michael, Michael.

He resolves then that he will do anything to keep his little brother out of trouble, no matter what level of his own integrity it challenges. He can do this one thing for him, be there for him in a way their parents never were. 

It’s the least he could do, really – or at least as he sees it.