#something about those original characters is so compelling to me

[naydralikessoup]

it's happened a couple times before and it makes me a little sad that sometimes i've gone into things convinced they would be bad (like say the live action speed racer movie), and discovering that they're actually very well executed and enjoyable, and extremely sincere. it makes me sad that i find myself thinking and speaking about them sardonically at first, when i claim to be very pro-silliness and authenticity. like, i know there's no need, and no real reason to be mean, so why do i still do it?

maybe because the sincerity feels so raw? not as in like dark or even that deep, really, but if i accept it into my heart as something i really love, it shows very clearly something about some part of me i'm maybe too shy to show off otherwise. if i tout myself as an unironic fan of these silly, sincere things, i find myself feeling like i've exposed the silly, sincere, vulnerable part of me that drew me to them. but i'll never be able to live up to the ideal of the eternal search for self knowledge if i can't look these things in the eye; i've gotta learn how to reach into the irony and take hold of the real treasure within: cringe.

[hadesknockedupintheunderworld]

"But why would Sonic still be friends with them why wouldn’t he denounce them or treat them like the villains they are? Why won't he realize they're just evil?"

First of all, has it perhaps occured to you that Sonic loves/cares for them no matter what they do and doesn't want to hurt them if he doesn't have to? Has it perhaps occurred to you that he doesn't see them like irredeemable villains and it's not because he's a dumb dumb idiot?

Second of all, haha keep talking and I'm gonna unroll my character analysis essay. "They're just evil" yeah that's rich. Bet you thought the ending of the series was about "redeeming" them too, huh?

[sudokuplayer]

I agree with you about the ridiculous book titles but I don't think the ones you mention are so great. Like what's so good about them👀

hiii 👋🏻 I apologize for this long answer. This is so serious for me lol I could talk about it for hours.

I think Giovanni's Room is a perfect title. As I said, it's short and evocative, and I think it's also mysterious but not that mysterious. You don't know what's up with the room in question but you can gather, for example, that this guy Giovanni is Italian, otherwise the name would be John or something, so for sure his Italian identity will be relevant. You have to assume there’s intention behind something as significant as a main character’s name. Also, and more importantly, there's no last name attached to Giovanni so it suggests intimacy—being on a first name basis. It lets you know that whoever tells the story is close to Giovanni; for sure close enough to have been inside his room. Name and last name creates a sense of distance and formality, or it suggests the person is 'important' or special; preternatural like Dorian Gray, famous like that woman Evelyn Hugo (probably, I haven't read it). But just ✨Giovanni✨ ... you can tell it's going to be a first person account of the events by someone who knows Giovanni very intimately. But obviously I’ve already read it and my interpretation is biased. Nothing about the title guarantees it'll be a first person account. This is just what I mean by evocative; it makes me theorize and read into it.

Now, just Giovanni, like Emma or Carrie or Rebecca, wouldn't work because—and this you find out once you read the novel but the title is already telling you—the room is the main character; it's the metaphor. But I wanted to mention those single name titles just to say I don't like them lol. I get them but I think they don't really work nowadays. A recent example I can think of is Eileen. Crickets, right? Eileen by Ottessa Moshfegh. It's a good novel though.

And I also don't like "[Name] [Last Name]" titles very much:  - Anna Karenina  - Jane Eyre  - David Copperfield  - Oliver Twist 

As I said, full names give a sense of distance (imo!), BUT those I mentioned make sense because the novels span the lifetime of the character. Of course the title of a person's life should be their name, and at least it's not something like The Unbelievable Life of David Copperfield, which would be so silly. I think full name titles had their time too. Just Evelyn Hugo would be crickets but it doesn't mean its original title is any better lol 

Giovanni's Room is perfect because I think "[Name]’s [Noun]" is a good title formula: - Charlotte’s Web - Ender’s Game - Sophie’s Choice

Adding an adjective to any of these would truly fuck them up. Imagine if it was Giovanni's Mysterious Room… flop! It was already mysterious. Or Giovanni's Peculiar Room, also a flop and an awful sounding adjective. 

You have to be very particular about the adjective to make "[Name]’s [Adjective] [Noun]" work. Howl's Moving Castle is a perfect example of a good one because it could have been something like Howl's Magical Castle, right? But that sounds basic. The chosen adjective, Moving, couldn't be more perfect.

The other title I mentioned in my post is The Bell Jar. Just picture a bell jar; something so delicate that can trap or protect or display or contain. You can already tell the metaphor game is going to be strong. Also, its formula is my favorite ever: "The [Noun]": - The Trial - The Metamorphosis - The Waves - The Tunnel  - The Goldfinch

This formula is serious business for me. I think it's perfect. Short and so sure of itself. They demand to be taken seriously. I see them and I feel reassured that the author is confident and clear about their work. 

"The [Adjective] [Noun]" is good too but it really has to need that adjective:  - The Virgin Suicides  - The Savage Detectives

I love "[Adjective] [Noun]" — Short yet compelling. Just two words so you can have them tattooed on the back of you ankles or something: - White Teeth  - Wuthering Heights - Sharp Objects - Invisible Monsters (Chuck Palahnuik’s titles are always a hit with me. Short and straightforward; they come across as very cool and crude, Fight Club, Choke, Snuff, and then he delivers cool and crude. The 3 titles below are by authors with a similar vibe to Palahnuik, and look at those titles… chef's kiss) - Exquisite Corpse  - American Psycho - Mysterious Skin

I also love "[Noun] and [Noun]" — To contrast, to compare, to complement each other, whatever it is it's always a hit. The alliteration in both Jane Austen's titles is more poetic than whatever long wordy title you can think of: - Pride and Prejudice  - Sense and Sensibility - War and Peace  - Sons and Lovers - Crime and Punishment 

❌ Now, the ones I consider flops no matter what. The long “creative” ones that come across as eager and insecure and make me roll my eyes.

Anything that tries to sound like The Unbearable Lightness of Being. Also these wretched formulas:

"The [Adjective] [Noun] of [Fuckass Name + Last Name]": - The Unlikely Pilgrimage of Harold Fry - The Seven Husbands of Evelyn Hugo - The Secret Life of Walter Mitty - The Curious Case of Benjamin Button - The First Fifteen Lives of Harry August  - The Strange and Beautiful Sorrows of Ava Lavender (Two adjectives! Get out of here!)

"A [Noun] of a [Noun] and a [Noun]": - A Song of Ice and Fire - A Court of Thorns and Roses - A Book of Spirits and Thieves

"The [Person’s Job/Occupation] [Relative]" — The relative is usually a wife or a daughter: - The Surgeon's Daughter - The Time Traveler's Wife  - The Zookeeper's Wife - The Shopkeeper's Daughter

"All The + [Some Bullshit]": - All the Bright Places  - All the Light We Cannot See - All the Dangerous Things - All the Colors of the Dark

"Where the + [Some Bullshit]": - Where the Crawdads Sing - Where the Red Fern Grows - Where the Dead Sit Talking

"This Is How + [Some Bullshit]": - This Is How You Lose the Time War - This Is How It Always Is - This is How You Lose Her

"We Are All + [Some Bullshit]": - We Are All Completely Beside Ourselves - We Are All the Same in the Dark - We Are All Birds of Uganda - We Are All Made of Molecules

I also don't vibe with titles that instruct you to do something: - Go Tell the Bees That I Am Gone  - Drive Your Plow Over the Bones of the Dead (good novel though!) - Raise High the Roof Beam, Carpenters - Go Tell It on the Mountain (adding one by the author of my beloved Giovanni's Room so you know I'm serious about this lol)

💌 To finish my rant on a more positive note, there are always exceptions, and I do like some poetic titles: - Tender Is the Night

One of my favorites and I haven't read it, I just like how it sounds. That would be "[Adjective] is the [Noun]". I don't know if there are more like this. I like that it's taken from a poem but it's not too wordy. 

And the following are all by John Steinbeck. His title game was insane! And they are all references, which shows it can be done with grace and measure: - East of Eden — biblical reference - The Grapes of Wrath — lyrics from hymn which references a bible passage - In Dubious Battle — from Paradise Lost - Of Mice and Men — this one could go in the [Noun] and [Noun] category but the preposition adds a little something imo, and it's also taken from a poem.

Anyway, I hope this wasn't a bore! 💌

[justinspoliticalcorner]

Sigal Samuel at Vox:

There’s a dominant narrative in the media about why tech billionaires are sucking up to Donald Trump: Elon Musk, Mark Zuckerberg, and Jeff Bezos, all of whom have descended on the nation’s capital for the presidential inauguration, either happily support or have largely acquiesced to Trump because they think he’ll offer lower taxes and friendlier regulations. In other words, it’s just about protecting their own selfish business interests. That narrative is not exactly wrong — Trump has in fact promised massive tax cuts for billionaires — but it leaves out the deeper, darker forces at work here. For the tech bros — or as some say, the broligarchs — this is about much more than just maintaining and growing their riches. It’s about ideology. An ideology inspired by science fiction and fantasy. An ideology that says they are supermen, and supermen should not be subject to rules, because they’re doing something incredibly important: remaking the world in their image. It’s this ideology that makes MAGA a godsend for the broligarchs, who include Musk, Zuck, and Bezos as well as the venture capitalists Peter Thiel and Marc Andreessen. That’s because MAGA is all about granting unchecked power to the powerful. “It’s a sense of complete impunity — including impunity to the laws of nature,” Brooke Harrington, a professor of economic sociology at Dartmouth College who studies the behavior of the ultra-rich, told me. “They reject constraint in all of its forms.” As Harrington has noted, Trump is the perfect avatar for that worldview. He’s a man who incited an attempted coup, who got convicted on 34 felony counts and still won reelection, who notoriously said in reference to sexual assault, “When you’re a star, they let you do it. You can do anything.” So, what is the “anything” that the broligarchs want to do? To understand their vision, we need to realize that their philosophy goes well beyond simple libertarianism. It’s not just that they want a government that won’t tread on them. They want absolutely zero limits on their power. Not those dictated by democratic governments, by financial systems, or by facts. Not even those dictated by death.

The broligarchs’ vision: Science fiction, transhumanism, and immortality

The broligarchs are not a monolith — their politics differ somewhat, and they’ve sometimes been at odds with each other. Remember when Zuck and Musk said they were going to fight each other in a cage match? But here’s something the broligarchs have in common: a passionate love for science fiction and fantasy that has shaped their vision for the future of humanity — and their own roles as its would-be saviors. Zuckerberg’s quest to build the Metaverse, a virtual reality so immersive and compelling that people would want to strap on bulky goggles to interact with each other, is seemingly inspired by the sci-fi author Neal Stephenson. It was actually Stephenson who coined the term “metaverse” in his novel Snow Crash, where characters spend a lot of time interacting in a virtual world of that name. Zuckerberg seems not to have noticed that the book is depicting a dystopia; instead of viewing it as a warning, he’s viewing it as an instruction manual.

Jeff Bezos is inspired by Star Trek, which led him to found a commercial spaceflight venture called Blue Origin, and The High Frontier by physics professor Gerard K. O’Neill, which informs his plan for space colonization (it involves millions of people living in cylindrical tubes). Bezos attended O’Neill’s seminars as an undergraduate at Princeton. Musk, who wants to colonize Mars to “save” humanity from a dying planet, is inspired by one of the masters of American sci-fi, Isaac Asimov. In his Foundation series, Asimov wrote about a hero who must prevent humanity from being thrown into a long dark age after a massive galactic empire collapses. “The lesson I drew from that is you should try to take the set of actions that are likely to prolong civilization, minimize the probability of a dark age and reduce the length of a dark age if there is one,” Musk said. And Andreessen, an early web browser developer who now pushes for aggressive progress in AI with very little regulation, is inspired by superhero stories, writing in his 2023 “Techno-Optimist Manifesto” that we should become “technological supermen” whose “Hero’s Journey” involves “conquering dragons, and bringing home the spoils for our community.” All of these men see themselves as the heroes or protagonists in their own sci-fi saga. And a key part of being a “technological superman” — or übermensch, as the German philosopher Friedrich Nietzsche would say — is that you’re above the law. Common-sense morality doesn’t apply to you because you’re a superior being on a superior mission. Thiel, it should be noted, is a big Nietzsche fan, though his is an extremely selective reading of the philosopher’s work.

[...]

The broligarchs — because they are in 21st-century Silicon Valley and not 19th-century Germany — have updated and melded this idea with transhumanism, the idea that we can and should use technology to alter human biology and proactively evolve our species.

Transhumanism spread in the mid-1900s thanks to its main popularizer, Julian Huxley, an evolutionary biologist and president of the British Eugenics Society. Huxley influenced the contemporary futurist Ray Kurzweil, who predicted that we’re approaching a time when human intelligence can merge with machine intelligence, becoming unbelievably powerful. “The human species, along with the computational technology it created, will be able to solve age-old problems … and will be in a position to change the nature of mortality in a postbiological future,” Kurzweil wrote in 1999. Kurzweil, in turn, has influenced Silicon Valley heavyweights like Musk, whose company Neuralink explicitly aims at merging human and machine intelligence. For many transhumanists, part of what it means to transcend our human condition is transcending death. And so you find that the broligarchs are very interested in longevity research. Zuckerberg, Bezos, and Thiel have all reportedly invested in startups that are trying to make it possible to live forever. That makes perfect sense when you consider that death currently imposes a limit on us all, and the goal of the broligarchs is to have zero limits.

Vox has an insightful article on the disastrous vision that broligarchs like Elon Musk, Marc Andreessen, Peter Thiel, and Mark Zuckerberg subscribe to.

[maladaptivewriting]

since the tiktok ban, i've been seeing a lot of stuff where people blame americans for jegulus and i can't stop thinking about it. i don't know why people feel this way, but i am prepared to make an argument. so please allow me to make my case.

[also this is completely based on generalizations. i know americans that hate jegulus and love jily, and i know british people who hate jily and love jegulus]

so i've never been a jily girl. even years before i found jegulus, i never cared about that ship. i straight up didn't even know that people wrote fics about them specifically. (i actually still don't know if people do write fics about only them because i would never seek out something like that).

originally, i'd thought it was just because i only cared about the golden trio characters and occasionally sirius and remus, but the more i got into the marauders era, the more i realized that james and lily together were the standouts, i just really didn't care for them.

it got to the point where i only read fics that referenced jily if they were extremely background to the story (which they almost always were bc there is just not that much to say about them) or preferably if both of them were already dead and it was just remus, sirius, and harry who remained.

shortly after i really started getting into the fandom and writing for jegulus, i spoke to someone who hated jegulus and loved jily, and i told them that i'd always felt like james and lily were on the road to divorce before they died. this person was SCANDALIZED. they could not understand why'd said that.

now granted, this person was in their early twenties and in my experience, if you haven't lived long enough to see a lot of your friends go through divorces, then the idea that james and lily might divorce may seem crazy.

however, and this is where the american thing really comes in, i realized after this conversation why i felt that there was no way that james and lily were going to make it and that was specifically because of growing up a conservative christian bible belt ass place.

do you know how many couples i knew in high school who started dating their senior year even though they seemingly had nothing in common, had sex one time and didn't use protection because sex education is extremely limited down there, got pregnant, and had to have shotgun wedding?

so. fucking. many.

do you know how many of them are still married?

only one.

so when i see jily, two characters who have nothing in common beyond being gryffindors, get together, have a kid, and get married (not necessarily in that order) all within like two years, i know that the odds are not in their favor. those two aren't staying together. don't play with me.

now i don't know how people feel about young marriages in other parts of the world, especially in the uk, but i've spoken to a lot of americans, especially ones from the south, and so many of them have had the exact same experiences with their peers. i just can't help but wonder if that lends itself to less people being interested in jily.

i have other arguments to this, like that jily is not as entertaining as almost every other ship that james or lily could be involved in and americans being partial to entertainment above all else, or the american (and christian) obsession with the concept of redemption and self sacrifice making regulus a more compelling character than one that lived and died good (lily and james), but this was the one i wanted to focus on today.

[chewytoothmeats]

That’s Director Wadsworth to you.

Another doodle that got away from me a little, this time featuring Annabelle Wadsworth of @thebrightsessions ! I got to and finished the AM Archives after taking a break when I finished the original series, and it's bazonkers seeing the jump in quality with all that excellent Foley and music supporting the already-stellar vocal performances of the cast.

I always adored Wadsworth as a villain (Alex Marshall-Brown, you are so good at making this woman ooze into a scene) but the AM Archives surprised me by striking the difficult balance of making her truly three-dimensional without revising anything about her, or retroactively positioning her as correct.

Notes on why I made some choices after the cut, if that kind of thing interests you!

I'm a big fan of makeup and costuming informing character and compositions in art, and in this case I wanted to make something that is, I think, fun and reflective of Wadsworth's character while not actually resembling how I believe she'd actually dress and present herself in canon. (This is not a woman who I think would actually wear purple eyeliner and a berry lip to work.)

That said, I did choose the costuming for a reason! The makeup is an obvious nod to purple-as-royalty, and the choice of a dark lip specifically is there to make her look severe, precise, and in-control. Her outfit is of course largely a black void of negative space, but it's also largely inspired by the cuts and iconography of Chanel; black and white, "conservative" (by modern standards) cuts, tweed, and camellias. It's the kind of look that signifies outrageous wealth and power without being ostentatious; Wadsworth really cultivates a kind of soft-spoken, smug affect of self-assured superiority that I think is a good fit for Chanel, lol.

In the background we've got the specter of Helen, her waves attempting to intersect again with the frequencies of Wadsworth's heart and failing; they are lost to each other now, forever. During initial sketches Helen was presented in a much more overtly sinister light, but I nixed it in favor of keeping her more as an indistinct figure on the periphery of Ellie's perception. I think the central compelling tragedy of these two shitty (affectionate) women is the degree to which they were twisted and made cruel by the immensity of institutional violence, and so framing Helen more creepily would sort of... defeat that?

I don't know, I didn't actually spend very much time on this - as you can probably tell - but I quite liked making it! Composition is currently my weakest point as an artist imo, and I think this one's composition is actually pretty solid.

(Those in the know clocked this right away, I'm sure, but I tried to work in a way inspired by Dragon Age Inquisition's tarot cards since they're famously VERY tightly, beautifully composed.)

(sidebar, on top of a sidebar, rest assured that I did see the very kind tags left by Lauren on the last piece of bright sessions fanart I did and it made my day)

[olderthannetfic]

I have really mixed feelings about the small proportion of F/F fiction (original or fanfic), because yeah sure, people have their desires, they should write what they want, I get it. It all works out when I hear it from person to person. But somehow the logic only ever applies in one direction? "There are more male protagonists because men only care about male characters! Women also mostly care about male characters, because that's the majority of characters they get!" And then somehow we also yet kvetch when men write female characters (because it's incorrectly or something, nevermind if women are writing male characters correctly). Why don't we expect gay men to feel compelled only by femslash for the same reasons (but gender swapped) as the lesbian slashers/fujoshi? All of those very rational justifications are applied selectively, "for me for not for thee," and it all only leads to "idk I just don't wanna write femslash", for Reasons. Do we get to call them microaggressions yet?

--

No, you don't get to call other people's fantasy life a microaggression.

That is indeed "for me but not for thee" in the sense that you get to want what you want but other people aren't supposed to follow their id.

Do you also police gay men who spend too much time on drag and obsessing over female divas? That's an actual real world behavior that's somewhat equivalent. It frequently goes unchallenged, at least by progressives, because men are allowed to do whatever they want with chick stuff, while women are "stealing" if they dare to stray into dude stuff.

(God, I've seen so much more policing of drag kings being ~problematic~ for acting out stereotypical gender than policing of drag queens for the same. It's nuts!)

Fujoshi are often queer, but it's absurd to think we're mostly lesbians. We tend to be bi or asexual women with gender stuff going on, though there is a mix of everybody, including lesbians. There are also a lot of AFAB non-women who get lumped in with us. On the rare occasions I find a man willing to admit to being a similar demographic, he usually does like gender play in his hobbies and entertainment. It's just that men face even more pressure than women do to fit into tidy categories. Bi women get told we're whores. Bi men are told they don't exist.

Yes, I know plenty of lesbians who write more m/m than f/f, but in the big picture of all of AO3 or all of fanfic or all of media, they aren't the demographic driving these numbers. They're vastly outnumbered by the bi women, the asexual women, and the straight and gnc women.

The men we should be looking at as an equivalent aren't cis gay men but bicurious soy boys and the like.

Do most of us fujoshi object to equivalent men doing an equivalent thing? I've seen it sometimes, and I agree it's hypocritical. I'd like us to afford men the same ability to play and take on identities in their art. I remember enjoying Ranma fandom back in the day and reading quite a lot of f/f that was probably by men. It had some of that same sense of distance and fantasy that I so enjoy in m/m aimed at fujoshi. (I do consume some by-cis-gay, for-cis-gay content, both m/m and f/f, but it's often too literal and too bound up in specific named identities for my taste.)

On average, the people I see complaining most about men producing f/f material are the same people who think that because I have a clit, I should center my life around women exclusively. In other words, people spouting radfem ideology, perhaps on purpose or perhaps without realizing.

I do agree that some of the ways of expressing a lack of desire to write femslash can get pretty douchey. I want us to move away from some of the less accurate ones like "There are no compelling female characters" because of this.

But the reason for all these jerkass explanations is that women and people perceived as women who like m/m are constantly asked to explain ourselves. These aren't usually microaggressions: they're openly hostile. People get defensive and try to answer with important-sounding reasons about identity and pain because society at large won't accept "I like this" as the true explanation.

Pleasure is never enough of a reason for a woman to do something.

[finishwhatyoustarted-event]

Finish What You Started 2024 - Event Rules

[ID copied from alt: Event Rules on a blue background. ⬒ No new projects ◨ Any medium and any fandom welcome ⬓ NSFW inclusive, warnings must be tagged ◧ Tag #FinishWhatYouStarted2024; boosting/retweeting starts September 13th ◼ Event ends October 31st, 2024]

The goal of this event is to get things done that you’ve already started. We all have unfinished projects whose incomplete status haunts us. Those are what we want to tackle!

The structure is loose, as this is a multimedia event. While primarily aimed at writers, this event is open to any kind of creative fanwork. Fics, translations, podfics, fanart, animations, cosplay - if you started it and never got it done, it qualifies. There is no sign-up required. I will not assign beta readers for writers, but I can boost requests for those who want them! And I can boost messages of those who would like to beta read.

The mod is a danmei fan mainly, but your work can be any fandom. Maybe something you started before your current fandom excitement took over, or one you keep putting off in favor of compelling new ideas.

Feel free to pass this event info along! The more the merrier!

Further rules and clarifications:

Alt text is very encouraged, especially for boost posts or artwork!

If your work is NSFW, I will only boost it if it has appropriate content warnings. Spoilering images is recommended but not required as long as it’s tagged. Do not letter-swap or abbreviate content warnings. These are so people can mute them as needed. Example: "gore" not "g0re"

Remember Tumblr can mute phrases, but each warning should be its own tag as well as in the body.

Please use genderbend or genderswap for characters depicted not as canon genders. Example: "#NSFW #genderbend #gore”

Please use Omegaverse or A/O/B for that content. The original letter order is a slur against Aboriginal peoples and will not be tolerated here, even with the slashes. It, like other racial or identity-based slurs, fall under hate speech and are thus not permitted.

This account will post weekly morale-boosting messages and helpful resources. Every Friday, starting September 13th, will be Finished It Friday. All the completed works posted that week will be boosted together in a big thread, so we can celebrate your accomplishment!

Halfway-point check-in is October 1st. Final event deadline is October 31st. The last Finished It Friday is November 1st.

FAQ:

Q: Are original works acceptable?

A: This is primarily a fanwork-focused event. If original work is the only WIP you have to work on, it's certainly fine to work on it during the time frame of the event. If it is posted publicly when finished, you may tag it for boosting.

Q: Are there any restrictions on topics?

A: No, so long as your event # post is properly & fully tagged for content (see rules about tagging above). "Dead Dove" topics are allowed. Some submissions will be 18+. For me, this is less about the content and more about finishing it. 

The usual restrictions based on laws and Community Guidelines of course apply, so you may need to tailor how you post to which event space your interacting with. Twitter, Tumblr, and Discord all have their own rules. There are also some topics that are in poor taste to make fanworks around. The event organizer and mods reserve the right to not boost your work if they decide it is rage-baiting or trolling. They are not responsible for negative reactions to your works. Please be respectful of those you share a digital space with. 

Keep in mind that when I link to your finished work during a Finished It Friday, it may reach a wider audience than you may be used to.

Q: Are there any restrictions on media that can be submitted?

A: Machine Generated or "AI" images and writing are not permitted. If you are found in violation of this rule, you will be removed from the event. All images, writing, or other works must be your own.

This is a positive, shared space. Do not belittle other creators' medium of choice. Please no fandom/character/ship/creator bashing, and don't berate artists or authors for not being done with something, even if they don't finish by the end of the event. Also, please don't passive-aggressively send this event to the author of an unfinished fic you want to see done faster. 😥 Be cool, respect each other, and keep any interpersonal disagreements to your own tumblrsphere.

All posts and boosts will be crossposted to the event Twitter (finishwatustart) and Discord. Expanded rules, explanations, and Dead Dove guidelines can also be found on the Discord. (invite link in pinned post) 

Fics can be posted to the AO3 collection (archiveofourown(dot)org /collections /FinishWhatYouStarted2024_Fall)

Work-in-progress posts should be tagged #FinishWhatYouStarted2024 . If you complete a wip within the event, tag it #IFinishedWhatIStarted2024 for boosting so we can all celebrate!

Find more information and community on the Discord, if you want! Joining the Discord is not required for the event. As always, if you have questions, don't hesitate to reach out!

[yamujiburo]

POKEMON SERIES RANKED (IMO)

I get this question a lot and haven't made an updated list with Journeys

Original Series (S1-S5)

Sun & Moon (S20-S22)

Chronicles (S0)

Diamond and Pearl (S10-S13)

Advanced (S6-S9)

Journeys (S23-S25)

Black & White (S14-S16)

XY (S17-S19)

Original Series (S1-S5)

OS had that first season charm. Very unpolished, still finding its footing but super enjoyable for those reasons

Probably the strongest series comedy-wise

That GORGEOUS 90s anime style

Main character dynamics were REALLY strong

Ash's personality felt much more like a shitty little 10 year old which was entertaining

Dub writing was also the best hands down

Sun & Moon (S20-S22)

Honestly tied for first with OS for me

REALLY fun ensemble cast! They do a fantastic job giving each character enough time for you to get to know and care about

Excellent modern anime style that perfectly fit the vibe of the season and allowed for some of the best character animation of the show's run

Finally figured out how to write Ash like a 10 year old again (but in a kind/sweet 10 year old way as opposed to OS)

Very different from previous series in terms of the formula they'd follow. Doing a school series instead of another "8 badges to championship" plot felt new and fresh!

This series genuinely made me cry the most (MEMORIES IN THE MIST!!!!! LIKE ARE YOU KIDDING ME)

Chronicles (S0)

Fun concept! It was really nice to see more of the side characters without Ash there. We get to see more of Misty, Tracey, Daisy, Brock, Ritchie, Oak, Delia, Butch, Cassidy, Jessie, James and Meowth!

Stylistically really nice. Just solid drawings all around and it retained the 90s anime style in digital form more successfully than other digitally done series imo

BUTCH AND CASSIDY!!! Team Rocket centric episodes!!! Training Daze!!!!!!!

Idk how possible it would have been (seems like a TON of work) but it made me want one of these in between each season, where we'd follow the characters that Ash had just said goodbye to for the next region.

Diamond and Pearl (S10-S13)

Series I grew up with! Honestly I was kinda a hater as a kid but having watched it back, I love the series

Love that Ash and Dawn were bros. They had a really fun dynamic.

Debatably peak Team Rocket. They had some of the best Team Rocket centric episodes this series.

Contests were really fun and a bit more figured out compared to the Advanced series

Fun, memorable rivals for Ash (Paul and Barry) as well as Dawn (Zoey, Kenny and Jessilina sometimes)

This is unfortunately where I stopped caring about Ash as much. He feels kinda watered down for the next couple series.

Advanced (S6-S9)

Pretty tied up with DP for me

Really fun series! Still had some of that early Pokémon charm

I appreciated that they put Ash in more of a mentor role for May (but he still had a lot to learn himself).

Ash and May constantly butting heads was really fun

May was a very compelling character to me, being very clumsy, kinda lazy, directionless, not really into Pokémon, etc. But then over time, she comes around and finds something she's interested in!

Journeys (S23-S25)

I love the episodic take as well as the way they let the characters jump around from region to region at random

Goh was a GREAT travel companion to Ash. They contrast each other nicely, have moments where they get on each others' nerves but still get along and have a mutual admiration for one another.

It was fun that they made Goh's thing catching every Pokémon (the motto of the entire series) so they could focus on Ash just training and prepping for Worlds.

Amaaaazing style. Took the great parts of classic Pokémon, roundness of SM and blended em together for a really fun look.

Black & White (S14-S16)

I don't think it's that controversial to have BW this low haha

I did enjoy Iris and Cilan but it felt like the writers didn't reaaally know what to do with them? Also this was their first time in a while not having Brock and it shows. I feel like Brock was successful because he was grounded and lower energy compared to the rest of the kids. Having 3 pretty eccentric characters is kind of a lot. No hate to the characters in the slightest, there was just not as much balance.

I think maybe they leaned on Cilan and Iris for more comedic relief because they killed the comedic relief that was Team Rocket this series. I appreciate them trying something new with Jessie, James and Meowth but I don't think it worked very well lol

XY (S17-S19)

I've ranted about this series a lot LOL. I get the appeal of it, but it just wasn't for me. I felt like it was the weakest comedy-wise and took itself a bit too seriously for my taste

My main gripe is that Serena, Clemont and Bonnie all like,,, worship Ash. By doing so, Ash begins to feel like a side character because we're constantly looking at Ash through their eyes. There's so little conflict within the group so their dynamics feel really flat. I think this dynamic could have worked if they leaned waaay more into Ash being a mentor and maybe feeling the pressure of having to be a role model for the people around him.

Team Rocket very much feels like an afterthought in this series. They did in Journeys as well, but at least in Journeys they were doing something silly and also had a handful of episodes dedicated to em.

Outside of that, the episodes weren't super memorable for me

I think it's just frustrating because there was sooooo much potential character-wise

[wordsnstuff]

Hello! I just had the realization my original plot just isn't going to work but I'm almost done with my first draft and I'm too married to a lot of my scenes I've already written to feel like i can fully start over. Do you have any advice? Just thinking about starting over is making me want to put the pen down for a while...

Starting over near the finish line

By first draft, I'm assuming you mean that this is the first attempt at putting the your story to paper. What I'm about to say is not to devalue the incredible amount of work that you must have invested up to this point. It is an accomplishment on its own to sit down and put words on that page, let alone reach a point anywhere near a finish line.

The first time you do something (anything) is rarely the time you do it well, let alone perfectly.

If I sat a beginner down with some printouts of blogposts about knitting and a spool of yarn, I doubt they'd make me a sweater without having to undo at least 50% of the moves they make. That wouldn't be because they're stupid or genetically predisposed to suck at knitting. Regardless of how seasoned you are as a writer, each work you approach is like starting a brand new hobby from scratch. You have to mentally allow for space to make errors and to let go of good ideas. This doesn't mean you throw the good and essential core of your story out.

Take significant time to review what you have, identify the bits and characteristics that you find most emotionally and mentally compelling. Write them down, examine the commonalities and congruencies between them, and work out exactly you like about your story as it stands. There is always good amongst the bad. You seem to already have identified certain parts that you cannot bring yourself to let go, so once you figure why that is, you'll be able to trim away what doesn't serve you and move forward.

You aren't starting over. This is not the beginning, and you will never be back at the beginning again. This is process, and process is imperative to making anything. If you continue to visualize writing as an act that starts at point A and ends at point B you will never be done. Nor will you do justice to your ideas. If you don't allow them to waddle around and fall on their face like the newborn babies that they are, they won't develop as they're meant to.

This is not failure. This is writing. It's a necessary part of what you're doing. It's normal. It's good for you. It's good for your story. In fact, it speaks well to your character development and world building and even your plot development that you can recognize there is so much worth salvaging in this first attempt to bring to the next. You're already emotionally connected to so much of what you've made, and plot is only part of that. If you're able and willing to acknowledge what doesn't work, you will be able to trust yourself when you determine what does. A story is a sum of its parts, and this is just one part that you're going to put down, regroup, and reconfigure.

There are several resources that I've created over the many years to assist in plot development and all the problems encountered within, and those are available on my masterlist for your perusal.

I wish you the best of luck and look forward to your triumphant follow up once you finish that second draft.

x Kate

[fortunafavours]

Welcome to Fortuna, Kingdom of Splendor!

demo • FAQs • bsky

You are the bastard child of the king’s cousin, you’ve never been anyone special. The Crown made sure of that. Taken in by your father after the death of your mother, you were never allowed to speak of your parentage under threat of being sent to an orphanage, so you took on the role of servant to your father's house. Now, just before your thirtieth birthday, you’ve begun having a strange, recurring dream: something beneath the mountains knows your name—something ancient—and it wants you to find it. But the stone isn’t the only thing after you. According to your oldest friend, an elite team of sorcerers from a group known as SCEPTRE are interested in speaking with you—by order of the king. And that's nothing to say of the rumblings of discontent in the streets, led by someone known only as the Crow. Apparently, they've got eyes on you, too. Why have you suddenly become the centre of attention? You’re nobody special. …Aren’t you?

Fortuna Favours the Bold is a low fantasy, high stakes, romance forward tale about self-discovery and buried secrets. Unearth the truth of what waits under the mountain, find out who you really are, and try not to get yourself blown up along the way!

It draws inspiration from media like Dragon Age: Origins, House of the Dragon, the Elder Scrolls series, as well as a myriad of Dungeons & Dragons campaigns I've been a part of, and other similar stories. If you like any of those, you might like Fortuna!

Fortuna is currently a WIP and, as always, is subject to change!

Play as male, female, or non-binary; gay, straight, lesbian, or bisexual!

Get caught up in a government conspiracy, or expose the corruption within!

Choose from six characters to romance: a chivalrous blacksmith, a charming physician, a socialite lawyer, the captain of the guard, the soft-spoken acolyte, or your mage friend from childhood!

Determine the ultimate fate of the kingdom! Will you lead it to ruin, or improve the state of affairs? Will you be a hero of the people, or a pawn in someone else's game?

Protect yourself, protect your loved ones, protect the city - or don't!

But above all, remember to keep the peace. The Crown thanks you for your cooperation.

Fortuna is rated 18+ for explicit language, sexual content, alcohol and drug use, violence, morally questionable behaviour, and more.

For a full list of content warnings, please see below the cut.

CONTENT WARNINGS: sexual situations (optionally explicit), abuse of power, sexism, misogyny, (occasionally graphic) depictions of violence, elements of horror, unreality, mentions of suicide, classism, alcohol and drug use, mentions of upsetting situations regarding pregnancy (abortions, miscarriages, stillborns, infertility, and birthing complications), confined and dark spaces, and death.

There may be some I've missed, but I've listed all the ones that I know for certain off the top of my head. Please reach out if there's something you've noticed that isn't listed here!

Please note that the MC is 29, almost 30; the most significant age gap is 9 years. Please do not message me about this. Everyone involved in the story is a consenting adult and is treated as such. If the gap in age bothers you, don't feel compelled to read it. I won't be upset.

I, myself, am 30 years old, and am fine with all listed age differences (obviously. I created these characters lol).

Now that that's out of the way, meet the ROs!:

Malcolm Ashford, 36 [M]

The primary blacksmith for the Crown ever since they took over his forge, though he's not exactly happy about it. Malcolm is a good, honourable sort; kindhearted and genuine, he's easy to approach and talk to. He is also the biggest hopeless romantic - a fact that Cyril never lets him forget. He can primarily be found at the forge in the centre of the courtyard marketplace.

Malcolm is 6'4" (193 cm), broad shouldered, muscular, and usually covered in some sort of soot. He has fair skin (but is usually sporting an intense farmer's tan), shoulder length light brown hair, a light beard, dark grey eyes, and a beauty mark just above his upper left lip.

His face claim is Eoin Macken.

Cyril Trevelyan, 34 [M]

An old friend of Malcolm's. If anyone asks, Cyril is a "non-practicing" physician. Previously a member of the Royal Physician's Guild, he has since left and now operates an illegal clinic in the lower quarters of the capital, where he can primarily be found, though he has been known to frequent a local tavern and can occasionally be spotted harassing Malcolm at the forge. Cyril is charming, outgoing, and would love to get to know you. Just don't expect him to be very forthcoming about himself.

Cyril is 6'2" (187 cm), with an athletic build. He has tan skin, short, cropped black hair, stubble, and hazel eyes. He has a small scar across his left eyebrow and another small scar through his upper lip.

His face claim is Miguel Ángel Silvestre.

Dominic / Dominica Trevelyan, 38 [M/F]

Cyril's older sibling and the current Commandant of the King's Army. They care about the citizens of Requiem, but are less idealistic than Cyril about how to go about bringing change. They generally mean well and try to make things as easy as possible for the masses, but it isn't always seen as enough. Their relationship with Cyril is... tense. To say the least. They are taciturn and serious, and could probably do with some lightening up.

D is 6'4" (193 cm) (M) / 6'1" (185 cm) (F). They are broad shouldered and a little paunchy, but muscular, strong, and a force to be reckoned with in battle. They have tan skin like their brother, short, black hair that they keep slicked back from their face, and light brown eyes.

Their face claims are Keon Alexander and Rosa Gilmore.

James Johnathan / Jane Josephine 'J.J.' St. James, 28 [M/F]

JJ is a notable lawyer from the noble St. James household, though they aren't typically the first one that comes to mind when the St. James name is brought up. No, that luxury would go to just about anyone else in their family, given JJ is the only one without magic. They're a hard worker, extremely diligent, but have just a teensy tiny chip on their shoulder. They're a bit smarmy, but there is a good heart in there. Somewhere.

JJ is 5'10" (177 cm) (M) / 5'8" (173 cm) (F). They have a lean, athletic build, pale skin, light blue eyes, and copper-brown hair.

Their face claims are Richard Madden and Philipine Urvois.

Amaryllis / Amaranthus Calyx, 30 [F/M]*

One of the royal twins, but also an acolyte to the Divine Valentine, goddess of mercy. They have chosen to dedicate their time to the Temple of the Divines, honing their healing magic and providing succor to those in need, emulating all the virtues Valentine embodies. They are soft spoken and kind, but sheltered and naive. They want to help, but have an impressive lack of self-awareness and preservation, and are more likely to get themselves into trouble unintentionally. Hopefully, you won't have to babysit them too much.

A is 5'10" (177 cm) (F) / 6'0" (183 cm) (M). Amaryllis has a slight, willowy build, shoulder length, dark brown hair that she wears in a bob, a small dusting of freckles across the nose, and dark brown eyes that (like most members of the royal family) are ringed with gold. Amaranthus has a lean, athletic build, short, dark brown hair kept neat and styled back from his face, and the same dark brown gold-ringed eyes as his sister. He also wears glasses, though he's constantly forgetting where he put them.

Their face claims are Adeline Rudolph and Kenta Sakurai.

*Unlike the other gender selectable ROs, A's gender setting determines which of the two twins you end up encountering as opposed to deciding the gender for one character. The other will appear in the story regardless, but will not be romanceable if you select the opposite gender. The other twin has a separate job, position, and demeanour and an entirely different personality from the chosen romanceable one, which will be determined by who you select as RO.

Elliott 'Eli' / Eleanor 'Ellie' Rosefinch, 30 [M/F]

Your oldest friend and most trusted confidant, they've known you since you were twelve and you've been thick as thieves since. They're one of the very few magic users in the capital, and have been recruited into SCEPTRE, the kingdom's elite training program for budding sorcerers. They're down to earth and easygoing, grounded, and calm under fire. They tend towards being the far more rational of the two of you.

E is 5'11" (180 cm), with a dancer's build. They have brown skin, short, curly black hair, brown eyes, and sparse freckling.

Their face claims are Dev Patel and Nikita Chadha.

[lets-try-some-writing]

I have been reading your review of Transformers One again and also looking back at the movie, which gives me this hot potato take:

Orion Pax weirdly feels like a Gary Stu, not because he was overpower and flawless (which I know there are no solid definitions of the term Mary Sue/Gary Stu and I don't think he's one). It's just that his characteristics felt too convenient to the plot as the writers just slap all the likable traits of a typical heroic character and just called it's a day without further exploration. They tried to go for the angle of a normal bot, average Joe from lower classes that get thrust into adventure and great destiny. But nothing about him is normal, even though he was supposed to be an insignificant miner. He was already special in the movie, with his tendency to break protocols and his obsession to find Matrix and be something more, and as you mentioned in your review, we simply don't know why he adamant about finding the Matrix. Would it be better that we showed a hint of Orion Pax not trusting Sentinel actually finding the Matrix in his expedition and felt out of place for being the only one who's skeptical of Sentinel??? And his trust issues with Sentinel could come from all his times sneaking and reading the history of Cybertron and noticing the hole in those records??? This would have made him very compelling and interesting, and also explained why he was so calm and level-head about Sentinel's lie and betrayals compared to other characters. Yeah sure the movie "showed us" Orion Pax's good and heroic traits to hint at his worth for the Prime title later, but uhm, it feels like the movie told us about his traits instead and expect us to roll with his characteristics as his scenes didn't convey these traits well enough or quite lacking.

And for a character supposed to be the main protagonist, he felt more like a deuteragonist supporting D-16/Megatron, which resulted in him being that hero who was just there to make the main villain more compelling and interesting.

I did like TF:O Orion Pax in my first round but after sometimes, I realized I simply like him because I projected a much-better written protagonist with similar traits into Orion Pax and made way him more interesting than he's actually is.

Aside from my issues with Orion Pax, Elita-1 is simply a plot device character, and I just don't get her personality/characteristics at all. She also didn't have any arc and her interactions with other characters, especially with Orion Pax when they were on the surface felt very artificial to me. And she's fake girlboss because nowhere in the movie showed that she's better than anyone, especially Orion Pax.

This is just my longest ramblings about my issues with the movie that barely evoked any emotions for me.

No no you are absolutely cooking with this.

TFO Orion IS a Gary Sue. He has no proper emotional base in order to establish his goals and opinions on things. His background is plain but lacks the hint or originality needed to give him the spark to act out of line, at least in a believable manner. His behavior is selfish, and yet he is proclaimed a hero by the end of the film without his arc having been completed. Orion can absolutely be selfish and foolish in the beginning, but if we are going to herald him as a saint, he needed to have had more development. As it stands, Orion was made God's favorite because... reasons. (Alpha Trion why didn't you guide our main cast while you had the chance????)

I 100000% agree with you on your assessment of Elita. She's there for the sake of sending a poorly written message and that is all. No growth, no real origin, no backstory, no properly established relationships. She's there to kick around a few future Decepticons and make everyone else look like fools. She needed so much more to be excellent, and I am legitimately sad that she didn't get the arc she needed to be a respectable character.

It seems we are on the same page anon.

[oneslimybastard]

Another underutilized aspect of N, Natural Harmonia Gropius himself, is that he's conceptualized as not just a Math Guy, but a Math Genius if we go by some interview trivia notated on Bulbapedia.

It clearly shows in the way he speaks since his (translated) dialogue (idk about the original japanese one) is full of hamfisted references to formulas and frustration expressed when the chaos of the world does not align with them — which to me is like, the core of his character, something that makes him both An Asshole to deal with but also a very intellectually curios and creative individual. It's just a brand of creativity not a lot of people can keep up with nor understand.

N likes math because a lot of math is about clearly defined variables and their relationship to one another. If you come across an inconsistency that doesn't fit any prior definitions, you iron out a new definition and suddenly the field has expanded upon itself tenfold. It aligns with how his Very Autistic Brain functions, x + y = z, if I do x to y then z will happen. If z doesn't happen, then that just means I have to identify the hidden variables within the exchange and rewrite the formula to be more accurate.

Black and White's quality of writing is. Like pokémon often is. Questionable at best. The foundations are there but the execution is dumbed down and corny because it's still aimed at kids, BW in specific really cutting the theme of pokémon trainer ethics short in favor of just "dang u beat me in the pogiebattle guess ur right!". How-ev-er. In my head, and the reason why I still find the plot of those games compelling (aside for my unhinged thirst for goth man-milf Ghetsis) is that to me they're about local cult-raised autist Normal Henry Gropus bashing his head against the world over and over to desperately try and make the formulas make sense, to distill it into variables he can understand and predict on a consistent basis, and failing miserably at it. Because even if the world is Technically made up of a bunch of chemistry that you could, in theory, predict, there's just a lot of random noise in there from microscopic complexities that fuck everything up.

Pokémon are simpler creatures (discounting the eerily intelligent ones) who will be nice enough to behave like math problems most of the time. Humans rarely extend that grace, the more N studies them like a science project the more contradictory variables pop up. They have a million thoughts in their head he doesn't have access to, that brew into feelings he doesn't understand, which leads to actions he can't do a proper traceback through. Which is frustrating, devastatingly frustrating. At least at first.

Due to how BW2 pans out and my own yearning for thematic mirroring, whereas Ghetsis gives in to the Autistic Bitterness over all these NTs he doesn't fuckign understand, I like to think N develops a sort of joy in studying people like the impossibly complex math problems we are. Because he likes math, he likes figuring shit out, he likes buying a nightmare rubik's cube and charting the squares out on a nightmare variable graph (listen i am not a math guy. i respect the hustle but my skill level is too low to accurately attempt to simulate the process in writing. im sorry math guys) so he has a home-made flexible cheat code on how to solve any possible mix-up of it. It's fun for him, it stimulates his brain and he is so stupid good at it that he can only share that joy with like a stray alakazam or metagross because he's a bit of a tarzan just hanging out in the wilderness, he doesn't know any high end mathematicians he can casually geek out about combinatorial game theory with, and the normies just do not get it .

I think this math enjoying is kind of a big part of his ~Innocence~ as well, since there's a lot of childlike glee to being a Math Guy. It's the love of problem solving as a process rather than a means to an end, it's playful, but severely misunderstood to the point where people kinda might assume things about you if you are a math guy.

N's love of math helps him love the world but it also isolates him. He's a genius, but since he can't communicate it in a palatable way it'll get overlooked in favor of him just being a loomy weirdo on the street chatting up the local patrats.

If introduced to DnD though he'd spend so much time on forging ridiculously optimized multiclass builds, then migrate to digging through old obscure sci-fi ttrpgs from the 80s with hellishly complex systems just for the funsies of learning how the presented variables behave within a variety of frameworks, but then if you actually invited him to play with your group he'd look at you like you'd just called his mom a llama.

He's a neat guy to me, STEM guy who's also one of those animal rights activists who's a little too PETA-coded, I like him :)

[chirpsythismorning]

Mike's character regression can be explained in large part by one emotion in particular: guilt

Just want to preface this by saying that, this is not Mike slander. I love this dude. In fact, I think what makes Mike such an interesting character is that a lot of his behavior throughout the series can be explained in part by previous moments, and after really looking at all these moments together, what you end up with is a pretty fucked up story.

So while some might want to take this as Mike slander, these points I'm making are a part of Mike and things he has done and said and whether they were intentionally harmful or not, it's Mike. It's all shaped him and his role in the story. The fact that we're seeing a visible shift in his behavior at all, with plenty of moments from the show to back up what brought us here, makes it compelling enough to talk about.

So, without further ado, back to our roots:

Ah yes, the infamous canon proof disputing Mike's I think my life started that day we found you in the woods, claim during his monologue. Not only that, but in this original scene from 1x02, it turns out Mike actually intended to send her away the next day (all of which El could hear Mike saying from the open bathroom door).

Mike outright calling El a weapon, again telling the others they need her because they stand no chance at getting Will back otherwise.

I wont elaborate on this now, because there is way too much to unpack that'll honestly be more worthwhile discussing further on.

For now, this is a secret tool that will help us later.

These next couple scenes right here though, are pretty painful if I'm being completely honest. The way its shot, specifically El's very visible exhaustion, accompanied by the varying priorities of others around her, leaves me feeling pretty unsettled upon rewatches.

I obviously can't remember how I felt when I watched these scenes for the first time, but I imagine I viewed them as this huge romantic moment for Mike and El (I was tricked by heteronormativity, okay?). But, again, upon rewatching them since then, I've realized I get this sort of sad feeling by the end. You'll see what I mean.

El obviously just went through something extremely traumatic. She tried to go find Will and Barb in the void, only to find Barb dead and Will presumably alive, but then slipping through her fingers at the last second (no, literally).

We then got a moment where Joyce held El while the others sat by quietly because she clearly needed a moment of comfort given what she just endured.

Then in this scene shortly after, everyone is leaving to get ready for their final attempt at saving Will.

Now, notice how not only Lucas, but also Dustin make the effort to reach out to El to comfort her affectionately after that traumatic event, with those twos' actions specifically being showcased in sequence?

Lucas, who spent the better part of the season being critical of El, is now ending the season rubbing El's shoulder to warm her up, literally soothing her to make her feel better.

Then there's Dustin, who right after Lucas' gesture makes a gesture of his own, putting his hand on her knee reassuringly, to show her he's there and he's happy she's okay.

And lastly there's Mike, who is so kindly allowing El to rest her head on his shoulder. This placement of Mike and El here is definitely a testament to the fact that Mike has vouched for El this whole time in contrast to the others and so, understandably, she put her head on his shoulder for reassurance, because out of the three of them, he's the one whose been looking out for her the most. (Right?)

Now you might be thinking that this sequence's only purpose was to show Lucas and Dustin's development with El, and that it wasn't intentional that they focused on Lucas and Dustins' priorities in this moment in contrast to Mikes'. And I raise you, this next scene.

Here we have a focus on Mike looking on to where everyone left, while the others beside him are presumably just processing what went down and taking a rest (and boy oh boy do they (El) need one).

Mike on the other-hand decides to take this moment of rest to display the most cliche and universal forms of distracted unrest known to man: he checks his watch.

Mike then stands up abruptly, causing El to fall without his shoulder there for her to rest on anymore, all while her and Dustin are looking on after him, sort of like... Okay?

It's small. It might seem insignificant. But if you actually pay attention to what this scene is trying to make you feel, after really looking at it for what it is, it's kind of sad.

In a moment that chooses to highlight the other boys' acknowledgment of El after what just happened, and not only that, but at the tale end of their final battle of the season, Mike is... distracted?

Mike, who has been presumably looking out for El more than the others in the party this whole time, is conveniently out of commission? And right now when El is looking for his reassurance the most? Mike doesn't even have a moment to say, 'Hey I'll be right back, I just want to check something. Can one of you?--', asking Lucas or Dustin to sit next to her in his place. No. Dude just stands up without even acknowledging her.

If it was any other moment in the show, under less post-traumatic circumstances for El, then I wouldn't even think much of it. But it's at this point in the story when El is essentially at her most exhausted and quite literally seeking out support from others, specifically Mike, that makes his distractedness so eery.

Again, you might still be thinking that this isn't that deep. However, I think based on the events leading up to this, and what follows right here, could quite literally hold the answer to the guilt Mike is still keeping to himself to this day.

So... How are we feeling?

Are we feeling like Mike None of you are thinking about El's wellbeing right now! She could get brain damage from using her powers too much! She's not a weapon!* Wheeler is a little bit of a hypocrite? (I told you that tool would come in handy!)

It's actually quite terrifying how similar this scene is framed to the scene in Hopper's cabin in s3, where Mike pretty much says the exact opposite. In s1 Mike goes from being one of the first people to refer to El as a weapon within the context of them using her powers to find Will, with him being completely un-attuned to the fact that she is exhausted in this moment while the others are saying El's rest and safety is the most important, to then in s3 completely flipping script and saying El was using her powers for nothing, blaming the others for treating her like a weapon and not taking her wellbeing into consideration.

It would be one thing if Mike had a little arc where he acknowledged this script flip. Because that's what it is. It is them having Mike use a word in s1 to describe El, that being weapon, only to say the others are treating her like that with that same word being used. It is them having Mike not agknowledge El's well being after overusing her powers, only to say the others aren't taking her wellbeing into consideration for overusing her powers.

And it would be one thing if Mike had spoke to El or literally anyone about how he felt like he wronged El for planning on sending her away the next day after they found her so that they could go back to looking for Will, or how he said she was a weapon that they needed in order to find Will, essentially being no better than the people she just escaped from, who also used her for her powers. But we don't get that (actually we do.. but it's not acknowledged for what it is aka survivor's guilt. It's instead seen as romantic... another tool for later...)

Now, don't get me wrong, I don't think any of Mike's behavior takes away from what Mike did do for El, because yes he was kind and accepting when the others weren't. But even despite all of that, at the end of the day, he was often at the forefront of expecting El to risk her life for them, even if he wasn't outright asking that of her.

Before you freak out, No. I don't think Mike, a literal child, was capable of fathoming that El was going into these situations risking her life. She's a superhero. El's alternative was literally going back to the lab, running, or staying with Mike. This was her safest option.

After a bunch of rewatches and putting together a lot of these moments as a whole, I've come to a point where I believe that Mike's behavior throughout s1 was him thinking that because of who El was, she's already in danger at all times. That is a constant reality for her. And so why not have her help them find Will, because she is able to, all while he can also help her. And El clearly wanted to help them, because she wanted to help good people and finally do something meaningful with her powers for a change. Unfortunately, she also had to endure PTSD flashbacks almost every single time Mike and the boys had her use her powers to help find Will.

Speaking of Will, he is currently missing and possibly dead. Will also, in contrast to El (for now...), does not have any sort of superpowers.

Mike's concern over the threat of Will's livelihood is much greater than Mike's acknowledgement to the true risks El is exposing herself to each time she uses her powers to help them. That is s1 canon.

Is there times when Mike is focused on El and her well being. Absolutely! But is there also times when Mike is not showing any display of concern to El's well being in the moment, in complete contrast to the other characters around him... Also yes.

And so the events happening the way they did, with Mike himself not fully comprehending the severity of what's been going on during these high stake situations going on around him, makes sense.

And that's what makes it all the more sad that when Mike finally does realize what he's truly been asking of El this whole time, which is to risk her life for them, it's too late.

This whole scene is obviously very emotional. All of the boys are crying, but the focus on Mike calling out for El painfully is heartbreaking.

But what's even more sad to me, is that El has been sort of used to mistreatment her whole life. She's used to having to find any comfort she could get from people in her life, all the while they were using her for her powers. I mean even despite Brenner being who he was and doing what he did, she still showed these signs of wanting to love him despite it. Which is very very fucked up. But knowing what she's gone through, makes sense.

Mike on the other-hand does greatly contrast Brenner because he was one of the first people to actually treat her with genuine kindness right from the start (before he even knew she had powers), making it a lot easier for her to care for him even despite that pesky trait of using her for her powers being almost synonymous with Brenner's very similar trait.

So when she looks back at Mike, and points him out specifically before sacrificing herself, it feels like a few things at once.

It feels like her acknowledging the fact that she appreciated him specifically for taking her in and supporting her more genuinely than anyone has in her entire life.

And yet it also feels like her, either intentionally or unintentionally, acknowledging the unfortunate side affect caused by days of Mike leading the efforts to find Will, with the expectation of her to do things to achieve that, which could have all lead to her demise technically. And so now when it all comes down to it and the stakes are at their highest yet, same as the risk, she's got to a point where she believes there is no other choice but to do just that, risk her life, especially if it means saving them.

While this is happening, Mike is backtracking in real time. He is trying to get El to stop and it's because he doesn't want her to die. Obviously.

But that's the fucked up part isn't it? When he finally realized what he's been asking of her this whole time, it's too late.

Which takes us to S2 Mike Wheeler, known by many for being a boy whose been calling his true love everyday for almost a year now because he's just so in love, but is actually in fact a boy suffering the most intense form of survivors guilt, one that involves a person who genuinely feels responsible for the persons death...

But that will probably take at least another 2,000 words so I'm thinking maybe I better split this into multiple parts.

I will tease that the next part involves one specific detail in particular that I never see anyone talk about, a detail that I think, in combination with what's discussed in this post, is so important to understanding Mike's breakdown for what it truly was at the end of season 2. I will also probably do more posts beyond that for s3-4, to delve into the impacts these moments from the first two seasons have basically put in place a perfect recipe for what is currently going down.

So feel free to stay tuned for those nonsense updates.

Continued

[ratwavekayla]

Transgender Deathmatch Legend has a few solid facts about your player character (your Face). You're explicitly trans, you're explicitly a wrestler and implicitly you exist in a world that is hostile to you.

Character creation in the original TDL focused on key pick lists to fill in some of your backstory and then pulling cards to create a finisher. Character creation for the sequel builds on that while also adding questions that are intended to guide players towards creating more well rounded, full textured characters.

The ring names you can pick from got an overhaul (basically to keep things fresh for long term fans). The intention of those names is if you grab one from the picklist it's evocative enough you can start to build a whole character around that. If you decide to not pick one and just make your own hopefully the picklist has served as some inspiration. Here's four of the picklists names I think are particurlaly good:

Tiger Masc

“Hot Rod” Trinity

“Flaming” Blu Heatly

“The Consequence” Shelly Theodore 

Dominator 1

The two big picklists then focus on your shoot background and the gimmick you have. Similarly to how you pick a ring name and a gimmick name the character creation in Transgender Deathmatch Legend is reminding you that you are someone who puts on a persona. That persona might be a lot like you, or it might be an escape from parts of yourself. I think this an element where the game reminds you of that a lot and then assumes that someone used to roleplaying games should find something interesting in there.

(There's more explanation on how gimmicks are thought off and an outright blunt question of "how much of your real self is in this gimmick?" in TDL2 to help out people less used to thinking about performance and personas. It's a theme that compels me as someone who's been a wrestler, a comedian, and a teacher; areas where to different extents you're putting on a mask.)

Here's some of the shoot backgrounds:

Started learning the ropes after experiencing a hate crime

Introed to wrestling through an ex-best friend

Wrestling legacy blacksheep

And here's some gimmick starting points:

Flamboyant showboat who frustrates and flusters your opponents

An old-school throwback with a loud personality

A serious shooter with black trunks and black boots and a mean look

A tortured anti-hero who mines pain for pathos 

An in-your-face punk with skills honed in bar room brawls

(These are broad because you can match them up with the implications of the shoot name you've picked or created and that combination brings a gimmick to life)

More open questions in the game include stuff like "Describe your gender, both in the terms you use to yourself and to society." and "Did you realise you were trans before you became a wrestler?" as well as the aeformentioned real self/gimmick question. There's also a picklist for "what people say about you" which is obviously a very different question than what you're actually like. These questions are there to get players thinking about how their characters marginalisation affects how they interact with the world around them.

The drawing cards for a finisher mechanic is back, though expanded this time so there's a unique table for each different fighting style.

At the top of this page you can see that one of the scenarios (Fight Forever) involves doing a mirror image character creation for your rival, before playing out a series of fights through time that defined your relationship. I think the most interesting question there is the open one "Are you trans as well?". Like, this scenario specifically is about fighting/sport as a relationship. I think that question has a lot of repercussions about what that relationship is build on; is it something you have in common and connected over, where you placed together as the only two trans people in a way that feels semi patronising, or is there a tension in that one of you just has significantly more opportunities in the world than their creative partners.

So yeah, that's an overview of character creation. I'll probably do a layout sample of what it'll look like in the book proper sometime. The games launches on the 29th and things have been slower than I'd have liked (I worry that the games content has meant it hasn't been favoured by the algorithms of the world). If you're excited about the game giving the teaser page a pre-save would go a long way to ensuring the launch is successful. There's big exciting things coming for this as a campaign, but to get to any of that I need to hit that initial goal. I'm not down for the count yet.

[batmanisagatewaydrug]

heya!

so, WRT that "incest is hot" thing you mentioned, would you mind elaborating on that a little? Because I'm sort of in the same boat, but have never been able to put my finger on why, and always felt kinda guilty about it (yeah, even though nobody's getting hurt. whatever)

best I can figure, it's some degree of "because you're not supposed to," which makes it exciting. or something. IDK.

well you see sometimes I think it would be hot and/or funny if two characters fucked each and happened to be related. the Tridentarii twins. Helene and Anatole from the short-lived and devastatingly iconic musical Natasha, Pierre, and the Great Comet of 1812. Wolverine and his half-brother in the indie art film X-Men Origins Wolverine. reigning champions of canon loser twincest Jaime and Cersei Lannister, although I will freely admit that one is actually just comedic to me there's nothing sexy about those two. it's not so much that the mere concept of incest is hot to me as sometimes two characters have something very specifically wrong with them that I think could include fucking their sibling and that can be kind of a compelling space to play in.