#sr fandom critical

[megafreeman]

So if you don't keep up with Saints Row community drama some big stuff went down today.

Flippy released a video talking the state of SR2 patch, including mentioning minimaul's role in it, which pissed minimaul off so now saintsrowmods.com is offline.

For the record, saintsrowmods is the host of 90% of Saints Row mods (all of the games), and hosts all of the resources and tools for making mods.

[very-uncorrect]

ADS AREN'T CONTENT THEY'RE ADS

[southasianpercy]

media made in asia by asians for asians but apparently it still centers on whites ? make it make sense 🤨😭

[gxldencity]

"The money used to pay balfe and zimmer couldve gone to the laid off devs" get this what if the layoffs didn't happened bc they don't have money what if it was just corporate greed lol

[sweetsickheart]

blocked, blocked, blocked and BLOCKED!! all you ranboo rebrand antis are KILLING me lmao. its so funny to see ya'll argue like fucking children. i want to compile this into something that makes sense but im mostly just gonna be shooting off thoughts ive had.

number one: the ranboo rebrand is not FOR you. its just...not. you're allowed to not like it, and you're allowed to just take a step away if you have to. its for them. he is doing what he feels comfortable with. "but if he wants to stop being an mcyt he should quit mcc!!" they still like minecraft??? and are allowed to??? he just doesnt wanna be associated with weirdos.

number two: you guys crit him and then talk about fucking the dteam until they pass out and call them ur uwu kittens or some shit. you can NOT be talking. yeah, i see you with "PROBLEMATIC" in your desc. yes, i can and will critique ranboo if they say something fucking dumb. but, i dont go "hell yeah sapnap!! go and support the corporation that promotes trans genocide!!"

three: please, for the love of god, check your parasocial relationships with internet creaters. they dont owe you their old selves. they are allowed to move on in ways that feel comfortable for them. ranboo just keeps getting dragged back into the tranches of who they used to be. you're still allowed to like old ranboo, but please, let them move on. its a normal thing normal people do. people enjoy different things, people switch fandoms, people get new favorite colors, people fucking, idk, move houses or some shit. your allowed to be sad about the rebrand, your feelings are not invalid, but just remember that ranboo is a human that changes, and sometimes they can and will be sudden.

stay as safe as you can, the internet can be a horrible place sometimes, and i hate contributing to it. please, just dont be a fucking jerk.

[thatguykaboom]

Screenshot redraws

With old oc

Beta designs

Hair crisis bc he just looks like kevin

I have no name ideas for him…

[lee-em-dee]

These tags yes exactly 👏👆 @kizo2703 @alannacouture @jeanie205 @pendragaryen

A Sequence Analysis of the 6x13 Bellarke Reunion

[a.k.a. the final scene of The 100 because Jroth can Jrot in hell]

After a grim conversation between Bellamy and Jordan, the sequence transitions to a warmly lit, wide angle perspective of the reunion at Sanctum. Friends and lovers “meet again,” hugging, kissing, reconciling in a series of action shots: Miller & Jackson, Murphy/Emori & Raven, Jackson & Echo. The sound of their laughter cuts through the uplifting strains of the melody playing [GAITS “Other Side”]. Against the show’s constant onslaught of death and destruction, the beauty in these brief flashes of joy isn’t lost on us; it’s fleeting, but it’s potent. We’re back at the gates of Arkadia in 2x16, only this time around, prospects for the future aren’t quite so bleak, nor is it “getting dark, too dark to see” beneath “that cold black cloud [coming] around” [RAIGN “Knocking on Heaven’s Door”].

Instead, the refrain “I know I’ll see you on the other side” embodies a sense of hope and certainty while also referencing Jasper’s parting words in S4. Unlike his nihilistic outlook, however, the soft, inviting quality of these opening shots seems to suggest that there’s light at the end of the tunnel—a glimpse at the other side of heaven’s door, where peace prevails and war is a distant memory.

As this undertone of cautious optimism resonates, the frame is swallowed up by a dark mass of faceless bodies. The music slows, the crowd parts, and exposed in the center of the frame is Clarke Griffin—a solitary, motionless figure within a stream of movement. Her silent presence isolates her from the liveliness of her surroundings. From the side angle of the camera in the shadowy foreground only her profile is visible, yet the expression on her face is noticeably stunned. We’re left with a sense of anticipation. Where is her gaze focused? What commands her attention so fiercely, stopping her in her tracks and arresting her movements? The anticipation builds, and, with it, the percussive intensity of the music. Soft vocalizations trail after “the other side,” echoing in our ears as we --

Cut to a reverse shot of Bellamy. He makes his way to his people, but it’s clear that the words exchanged with a disillusioned Jordan weigh on him. His eyes are fixed on the ground, brows furrowed, a pensive expression reflecting his weary frame of mind. It’s the aftermath of yet another battle, another spoke on a wheel that spins and spins, unleashing more devastation with each turn. We, as the audience, can only hope that this is the end of its vicious cycle. He’s lost in thought, but a glance ahead has his eyes snagging on something out of shot. No, someone. Bellamy’s steps falter for a beat, then his eyes widen a fraction. He’s mesmerized.

On the receiving end of his gaze, Clarke sharply exhales. The steady pulsing of the music stutters before the rhythm picks up in rapid sixteenth notes, akin to a heartbeat that skips, flutters, then pounds. Energy thrums in the single look that they share; everything else seems to melt away as they fixate on each other, as the tether that binds them together tugs, as the distance between twin souls is bridged.

We’re hit with the crescendo of the music, punctuated by the sustained beat of the drums. It’s booming. A fluid tracking shot follows Clarke as she launches herself away from the crowd into Bellamy’s open arms, and the force of their collision is shown through their synchronized exhalations of breath, through the swaying movement of their bodies pressed tightly together. Like cymbals crashing, they meet in the middle of the frame. The blocking instantly establishes a bubble of intimacy around them that blocks out the rest of the world as they completely obscure the figures (“girlfriend”) in the background. Refracted light slices across the screen at an angle, tracing the points of contact between these two people who radiate warmth and ignite under a single touch.

The music swells. Their embrace is set to the bridge “oh wait for me in fields of gold,” and as they hold each other, lost to a symphony of grief and elation, we get the sense that in each other’s arms these two broken beings are very much found. It’s a homecoming.

Clarke burrows her face into Bellamy’s neck. The sun beaming in the background sends scattered light over his shoulder, captured as flare in the camera lens. Not only does this element add a layer of visual impact and aesthetic beauty to the shot, but it also intensifies the climactic moment when their bodies collide. Tension is built and built until it finally snaps; in doing so, emotional catharsis (for both the characters and for the audience) is maximized. The combination of the lens flare and camera movements makes for a striking, visually dynamic shot with epic romantic overtones. In their reunion a sense of rightness is restored, which has remained a consistent theme of the show for six seasons. When the camera finally settles, what’s captured is the sheer magnetism of the moment. Nearby murmured conversations are unable to overtake the melody, and the bustling movements of the crowd are unable to break that hypnotic hold they have on each other.

Clarke clings to Bellamy; now, more than ever, it’s evident that her love for him is a refuge, her strength in times of weakness. Even so, sorrow threatens to overtake the solace found in his embrace; Bellamy immediately senses this, rubs a soothing pattern across her back. With brows drawn, he nestles his face against her shoulder as if to will her pain away.

We cut to a dynamic two shot, with Bellamy occupying the left side of the frame and Clarke the right. Both seem reluctant to part, and as they do, harsh realities set in. Bellamy delivers the sobering line, “I heard about Abby.” Like a death knell, its implications land on Clarke and reverberate through this gentle, short-lived moment of peace. Her face crumples. With a despondent shake of her head, she manages, “I tried to do better. I did.” Bellamy can only nod. His strained expression conveys how the mere sight of Clarke’s pain is excruciating to him. A sharp intake of breath from her—“And then I lost my mom.” The tremor in her voice betrays her composure; the words catch in her throat, imparting a strangled quality to the line.

Her mother’s death clings to her. It’s reflected in her head-to-toe black attire, in the misery painted on her face. The weight of impossible decisions looms (how tragic that her mother’s endangerment was what drove her to pull the lever back in Mount Weather), and it seems that, this time around, the burden is too heavy to carry alone. “Tell me it was worth it,” she pleads to Bellamy, barely choking the words out as she battles tears. “Tell—tell me it was worth it.” In deep anguish Bellamy watches Clarke unravel before his eyes. With gentle words he tries to piece her back together. “Hey—Hey, we did. We did do better.”

This entire verbal exchange is filmed as a continuous arc shot that swings back and forth on an axis (Bellamy -> Clarke / Clarke -> Bellamy) with the sun acting as the focal point between them. The shot—much like their soul-deep connection—remains unbroken and uninterrupted. Rather than keeping a fixed, static position, the camera’s movements allow us to feel the push-pull emotional tension of the scene. It orbits Bellamy and Clarke in a way that cinematically mirrors the gravitational pull they feel towards each other. For years and years, the two have danced around each other. Though distance and time separated them, they’ve always been inextricably tied together in common orbit. Like binary stars, Bellamy and Clarke orient themselves around a shared barycenter. Their center of gravity—the sun flaring at the center of the frame—coincides with the show’s key thematic elements: forgiveness, rebirth, redemption. The rising of the sun marks the start of a new day and, with it, another chance to do better.

With each dizzying motion of the camera, flashes of light shine between their silhouettes, obscured only to re-emerge seconds later as lens flare; The sequence, as a whole, is a study in subtle contrasts: the contrast between the white sun in the background, the light glinting off the water, the pale gold of the sky + of Clarke’s hair vs Bellamy and Clarke’s shadowy figures captured in low-exposure, the darkness of their clothing, Bellamy’s black hair. This balance of light and shadows/brightness and darkness mirrors the tenuous balance between hope and despair driving the scene. In parallel, the despair that consumes Clarke is a darkness balanced out by Bellamy, who maintains a more optimistic outlook for the future and serves as her guiding light.

[Additional Note: These cinematic contrasts are also a perfect illustration of the concept of yin and yang—the cosmic duality that reflects Bellamy and Clarke’s “head and heart” relationship. The two are equal, seemingly opposing forces but, in actuality, function in such a way that enforces their complementary and interdependent nature: One cannot exist without the other, and both are connected as two halves of a whole in perfect equilibrium. Yin and yang—the head and the heart—do not act as isolated parts, but rather continuously influence and interact with each other to bring forth balance and harmony.]

Hope.

In spite of everything, it shows its presence in the vibrant yellow tones of a scene filmed at golden hour; the honeyed glow creates a dreamy, inviting atmosphere, giving off a quality of softness and romanticism that balances out the heaviness of their conversation. Hope echoes in the melody as it conveys the inevitability of reuniting with a loved one in this life or the next: “It’s not the end. It’s all I know…I know I’ll see you, I know I’ll see you on the other side.” (In other words, we will meet again). Hope is felt through the warmth of two lovers embracing, the warmth of the rising sun on their faces.

As we cut to a final close-up shot of Bellamy, he delivers the last line of the scene with resolve: “I have to believe that that matters,” he murmurs softly, brows knit in concern. His eyes search Clarke’s, but her teary gaze is cast low as she chokes down a sob. Her close-up shot captures the internal conflict taking place:

 It’s a mental battle—grappling with the urge to fall apart or to suppress the vortex of raw emotion churning inside her. Bleary-eyed, she turns away from Bellamy as if every instinct screams at her to flee, to bear the burden alone. Still, an unspoken conversation anchors her to the spot: “Together.” “I got you for that.” “I need you.” “If I’m on that list, you’re on that list.” “The heart and the head.” “You don’t have to do this alone.” Though devastation lines her face, the morning sunrise bathes her skin in light. Clarke draws a shaky breath. She turns back to Bellamy, then nods: a decision has been made. The camera switches from this close-up of Clarke to a hazy, low exposure medium shot as she leans into Bellamy, drawing strength from him (notice its resemblance to Miller and Jackson’s reunion). They wrap their arms around each other, and their bodies meld together. Clarke tucks her chin onto Bellamy’s shoulder. The immediate relief that she’s flooded with is palpable. She closes her eyes and sighs, and Bellamy rubs her back consolingly. The visual of their merging silhouettes—reminiscent of two suns eclipsing just above the horizon line—composes the final frame of the scene before the shot dissolves with a last “I know I’ll see you on the other side.”

There’s a true sense of finality to this closing shot which sets it apart from others before it—or, rather, establishes it as a culmination of every moment in Bellamy and Clarke’s “exhausting” history to get to this state of perfect alignment. The hug, in particular, serves as a departure from previous seasons’ hug scenes in which an interruption was often required to progress the conflict and reestablish some semblance of distance between the two of them.

In this season, however, though death and distance and other outside forces conspired to separate Bellamy and Clarke...they, against all odds, end it with bodies intertwined, defenses stripped away, never more unified both physically and emotionally: the heart and the head joined together in perfect equilibrium. Two bodies, two souls breathing, moving, thinking, and working as one.

[severussnapemylove]

Sometimes I wonder if JKR even realises she wrote Snape as a victim of sexual assault. Because he unambiguously is, and she writes him as traumatised by the incident. So it seems mad to suggest that she might not have thought through the implications of her own writing, but if she did get it, I am baffled by how sympathetic she remains to James. Harry is never really made to confront how vile his actions were, because he looks for comfort from Remus and Sirius rather than telling Hermione who would react in horror and disgust, and he gets to skip over it completely in The Prince’s Tale. JKR clearly considers James a hero, and has confirmed that in interviews. She’s even more sympathetic to Lily, who is portrayed as an absolute paragon of goodness, morality and virtue, despite her being attracted enough to James *after* he publicly commits sexual assault on a less privileged kid to marry him! What a malfunctioning moral compass. JKR also has no sympathy at all for Tom Riddle Sr, who is a victim of rape, and his rapist Merope Gaunt, who is herself strongly implied to be a victim of incestual abuse, is condemned by Dumbledore and the narrative not for what she did to Tom but for not being as courageous as nice, pretty, middle class Lily Evans because Merope committed the crime of…dying in childbirth. The only conclusions I can draw from this is that JKR is the sort of ´feminist’ who doesn’t believe men can be the victims of sexual crimes, and that deep down she thinks being a member of the underclass who can’t drag themselves out of it alone is indicative of moral failure.

This! All of this!

I don't think she puts it together at all. She's incredibly tone deaf about a lot of the abuse she puts these characters through. And with the blasé attitude she has about male victims of SA in the books definitely goes along her brand of toxic radical "feminism". It looks like she just doesn't recognise the severity of what happens to these characters. On top of Severus's attack and Tom Riddle Sr, remember that Ron was roofied with love spell that was intended for Harry, and Moaning Myrtle is incredible predatory towards the boys. Sadly, this attitude carries over from the author to a chunk of the fandom too. I've seen so much dismissiveness of the assaults against the male characters, especially Severus. And it's even more disappointing when I see people who have experienced abuse saying that what Severus endured "didn't count" as abuse. Had someone today on another platform having an absolute meltdown at me, saying that what happened in SWM wasn't sa, and that he wasn't traumatised from his abuse and if his anger was caused by trauma then why wasn't Harry the same. Seriously, you can't tell another person that what they experienced wasn't "bad enough to be abuse", that's a very warped mentality. Survivors are supposed to support each other, not belittle each other's trauma. Also, what book did they read that they think Harry doesn't have issues from the life he endured? He has different issues than Severus, yes, because he had different life experiences and everyone's reactions to trauma are different.

"Merope Riddle chose death in spite of a son who needed her, but do not judge her too harshly, Harry. She was greatly weakened by long suffering and she never had your mother's courage."

WTF is this!!!??? This is just plain victim blaming. "Your mothers' courage"? Lily had supportive, loving parents, was loved by her peers, admired by her teachers, had a very comfortable, secure life. Merope was physically and mentally abused for her whole life. They really criticized the poverty stricken, abuse victim for not being as "strong" as the Mary Sue of the Wizarding World??? Toxic as hell. Personally, as someone who has dealt with self-harm, mental illness and generational trauma in my family, this attitude of "they weren't strong enough" is nauseating and infuriating.

There really is a disturbing trend of extreme poverty equalling a dead-end life with no hope. Which is again an extremally toxic and judgmental attitude and a very dangerous message to put in a book aimed to children. The attitude towards abuse, poverty and indecent assault of men is beyond problematic, not only in the books but in far too many members of the fandom.

I could rant more but this will go on for pages.

[andromedasummer]

this whole lando and donald trump shit is gonna blow over so quickly btw it always does bcos people in the f1 fandom could literally not give less of a fuck about minority/vulnerable groups. nothing happened when carlos sainz made racist comments about chinese people eating dogs in 2020. nothing happened when sainz sr took photos of his dinner the leader of the alt right party in spain. nothing happened when max verstappen used the r slur and m slur towards lance on team radio and nothing happened even after mongolia made a complaint to the UN about his conduct and red bull joked about it the next week in one of their pr videos. nothing happened when nelson piquet and his family got outed as close friends and supporters of jair bolsonaro. nothing happened when zak brown bitched about politics in f1 and then filmed a video with a tory minister. nothing happened when a 20 year old ayrton senna dated a fucking 15 yr old girl! nothing!

you cannot convince this fandom to not bat for these white men, no matter what they say or do. they will die on that hill and they will look like some godforsaken amalgamation of a teenaged kpop stan sending death threats and a disney/marvel adult twisting progressive language in defense of blind media consumption.

ultimately and above all, their comfort and attraction will overwhelm anything else. praxis to them is looking at these coddled fucking manbabies and saying "oh he's so gay" "omg trans ally" "feminist king" when he blinks.

there is a massive conversation we could have about the intrinsic classism, racism and fascism that you cannot remove from f1 (and the whole of motorsport!) without crumbling its core foundations. about how every driver on the grid is complicit in these systems and how they overwhelmingly use their wealth to ensure it's existence. it will not happen here because interaction in that fan space has degraded to sending death threats because you have decided to criticize their specific special human incarnation of oatmeal slop

[oscconfessions]

Stupid and incomprehensible (/srs) ii rant incoming. This post was fact checked by REAL American patriots ✅✅✅

The people that are shitting on ii and saying it's ruined are so fucking funny to me. No, ii16/ii17 wasn't contradictory or out of character. You literally just created your own story in your head and then got mad when it didn't come to fruition. Like dawg that was all you. You created your own problems to be mad at. Just admit your interpretations were wrong. It's not that hard.

NO BUT YOU GUYS ARE SO FUCKING MISERABLE. IT'S A KID'S SHOW. GROW UP. YEAH IT'S NOT FUCKING SHAKESPEARE BUT YOU'RE ACTING LIKE THE FINALE IS THE WORST THING THAT'S EVER GRACED THE EARTH. You guys can't enjoy ANYTHING AND IT SHOWS. "Oh my godd my sugar plum is SO out of character!! The twist came from NOWHERE" are you on the writing team? Have you been planning this for a DECADE? No?? Shut up. Your writing opinions are about as valuable as five Nickel plushies. Just please shut the fuck up. It's not even that they're objectively wrong, it's that they're so fucking annoying. Like the confidently wrong "if you think differently you have no media literacy" type of annoying. I'm in like five other different fandoms and none of them make me feel drained after interacting with them like the ii fandom. Yes I'm separating them from the osc entirely cause they're a different breed. Hell, the ONE community reacted better to their ending than how ii fans are rn. Which is saying a lot because iykyk.

HOWEVER. I am NOT saying I want the ii community to become an echo chamber where everyone believes that Inanimate Insanity is a gift sent down from the Gods because it isn't. There's definitely things wrong with it. And even if it was a gift sent from the God's we are NOT gonna have a massive circle jerk because our favorite show is so cool.

Again, however, the criticism that ii receives isn't even criticism. It's just people bitching and moaning and it's so draining reading their massive walls of text because they're so fucking CONDESCENDING. Oh yeah you're definitely superior because your take on why the past two episodes are the worst lemme just bend over and suck your dick because that's what you want right?? To blow smoke up your ass and say that you're so amazing and smart and that everyone who disagrees with you lacks media literacy?? I FUCKING HATE THE PHRASE MEDIA LITERACY AND I'VE ONLY STARTED HATING IT BECAUSE YOU GUYS GOT YOUR GREASY FINGERS ONTO IT.

Anyways that's it. I've definitely talked about this before but idc people need to stop being miserable and start frolicking in the flowers. Yes, recognize that your favorite show has flaws, but get your head out of your ass and stop having a superiority complex. And stop making shit up in your head. Write an au fanfic or something instead idk just stop whining about how the show is somehow wrong. You people were literally complaining about ii17 the same day it came out. Why do you have so much hate in your heart.

Btw it's late for me. These are just all of my unfiltered thoughts so I'm like really annoying rn and I definitely would have worded this better but idc lol. Definitely going anon for this one.

[defilerwyrm]

Vote for the wizard who saved the world instead of doomed it.

Vote for the one who showed that trauma doesn’t define you.

Vote for a textual, canonical queer happily ever after.

Vote for leaving things better than you found them.

Vote for the former gifted kid who hit rock bottom and clawed his way back up to fulfill his dreams after all.

Vote for a love of cats that cannot be neurotypical.

Vote for Veth’s boy.

Vote Caleb.

World Wizard Entertainment Final: FUCKING TROUBLE

(And is Vince McSam in the room with us now?)

Well folks, this is it. The final.

We've lost some good wizards along the way. Also some evil ones. Probably some neutral ones as well, I dunno, this wasn't the alignment quiz. We've campaigned, cat-fought, and cried crocodile tears for who was the most wizard, who was the strongest wizard, and sometimes, who just made the funniest argument.

And in this last round, we've had to say goodbye—for now, but not forever—to our champion, our guiding star, our last hope....

A moment of silence... for Veth's Big Naturals.

But do you know what? It's what she and her huge, wizardly knockers (and, maybe, somehow, also Cerrit's roguely big naturals?) would've wanted. Her boy, Caleb Widogast, in the final round, up against the Calamity's dearest heart of hearts, Laerryn Coramar-Seelie.

Pfffft, alright, enough of that heartfelt fuckery.

There's no crying in wizardry, as they say! If you want to see previous polls, rankings, and methodology, please check the tag here. Otherwise, let's get to the trash talk!

(But for real, again, keep it weird and funny, not just... mean. Contrary to popular belief, people can in fact tell the difference. This is for fun.)

Our final round match-up, wizard to wizard:

So come, one and all, and vote for the last wizard remaining! Laerryn, give it your best shot. And Caleb, AVENGE THOSE TOTS!

[tonirollie]

Hey dude remember that Anti bnb/Genshin lover?

Well ya might want to buckle up because I'm going to a whole ass rant so anyways-

One of her post is her defending V*ziepop and saying us hater has intrusive thoughts and calling the Hazbin/Helluva haters and bnb fans the bad guys and other dumb bullshit like I'm not sorry that I have an FUCKIN OPINION DIFFERENT FROM YOU ASSHOLES but if people like a mod that was made by a problematic creator but don't his support their actions, WE'RE THE PROBLEM?? But you support someone who has done MUCH WORSE SHIT YOU SUDDENLY IGNORE THAT?

Honestly I'm losing faith on the fandom and humanity as a whole, and people like them WAS MY REASON I LEFT THAT TOXIC HELLHOLE OF FANDOM.

Sorry, I honestly needed to get that out. So I deeply apologize if I made you uncomfortable about it./srs

oh....them-? ick.......

yeah i read through some of their posts and goddamn it made me wanna bang my head against the wall istf- :/

i just think it's kinda funny and hypocritical because how are they gonna get mad at bnb fans for supporting an fnf mod and not support the creator , but support somebody who's abusive , racist , transphobic , scammed hundreds of fans and wont adress the horrible shit her cult like fandom did , AND BE FULLY AWARE OF IT!

and not to mention this person defended israel JUST because mcdonald's collabed with genshin <3

i lowkey feel so bad for the sane genshin fans , and the hazbin / helluva fans that are actually chill , dont support vivziepop and can handle criticism cause they gotta deal with all these fucks 💀

[saintsenara]

i think your take on percy is a lot more canonical than the uwu percy takes (which are fine everybody should play with the text however they want) but with your view, any thoughts on percy/hermione?

thank you very much for the ask, anon!

i think harry low-key shipped it, because the narrative perspective - which is, of course, his - is quite gagged in goblet of fire when hermione calls percy a little bitch for defending barty crouch sr.'s treatment of winky:

"Well, Mr. Crouch is quite right to get rid of an elf like that!" he said. "Running away when he’d expressly told her not to... embarrassing him in front of the whole Ministry... how would that have looked, if she’d been brought up in front of the Department for the Regulation and Control - "   "She didn’t do anything - she was just in the wrong place at the wrong time!" Hermione snapped at Percy, who looked very taken aback. Hermione had always got on fairly well with Percy - better, indeed, than any of the others.

and i think we have here the purest encapsulation of why this would be an absolute flop that makes everyone in a ten-mile radius want to hurl themselves down a well.

percy is someone who finds it very difficult to be wrong. so is hermione [even though, in this case, she's completely right - percy should grow the fuck up and stop defending slaveowners... as, to be honest, should a sizeable chunk of this fandom when it comes to sirius...].

but while hermione's need to be right is one part of a broader communication style focused on debate - she's someone who works through feelings and worries and so on by voicing them and testing them through debating [and, in many cases, bickering about] them with another person - percy's isn't accompanied by this fundamental enjoyment of argument. if he's pressed on something he's said, especially if the response is critical, he tends to shut down the conversation, to refuse to listen and/or to talk over the other person until they're forced into submission, and to disengage from the conversation by physically leaving it.

and so, while it's clear that hermione doesn't always love being pushed back against [hence her tendency to do her condescending "lofty" voice, resort to personal attacks, and/or to give the silent treatment when she's been backed into a corner in an argument], she is someone who fundamentally likes yapping, and who is happy to mutually bicker with those she values and who she feels value her in turn.

she's more comfortable with being told she's wrong by ron than anyone else in canon [although this does also turn up a little bit in her relationship with fred and george] because she feels that he respects her, and his willingness to accept her preferred way of communicating as it comes is one reason why. percy's way of handling any conversation in which he's not universally agreed to be correct is going to annoy and upset her, because it displays - as she sees it - a contempt for her, her views, and her intellect.

they would fight constantly, neither would enjoy it, and everyone they knew would be praying for the day it ended.

[xxduncandonutxx]

I'm sorry but I'll block any "Helluva Boss/Hazbin hotel critic" account if they are using Burnie Burns/Creepzo as their profile pic

You ain't helping the critic community's rep or proving the HB/HH fandom that you guys are NOT insane "haters" by using him as your profile picture. /srs

ESPECIALLY since the character is base on an insane, stalkish fan who turn into a creepy, mentally unwell hater.

He's literally base on Lincar Rox and the creator of ren and stimpy.

[cupcraft]

I've been having some thoughts lately and decided to put it in a long post during my lunch break.

Cc's are not and never will be your friend. It's normal to engage and feel parasocial to a degree with cc's but it's important ccs and yourself create the boundary of "we don't know each other and thus are not friends/etc." This is important of the cc, because a responsible cc is aware of their impact, aware of the power dynamic, and sets healthy boundaries for themself. It's important for you in order to stay safe and engage with a fandom and cc with respect and to maintain a healthy mindset.

It is also normal for fandoms to defend their cc TO A DEGREE, especially when comments against the cc affect other people (this is a simple way to say it, theres a lot of nuance to this pt). But, you should never feel the need or actually try to parent or speak for a cc. For example, people being queerphobic to Ranboo is fair to speak up against particularly because the queerphobia affects other members of the fandom. However, feeling like you must speak on behalf of ranboo, be their parent, or protect them at all costs from "evil ccs and fans" is not only against their express wishes but just isn't a healthy or normal way to engage with a cc.

Because if you don't engage healthily besides breaking any cc boundaries, and hurting yourself and mental health, you really can hurt other people. If you're engaging in fandom and cc fandoms especially to a point in which you create yourself an echo chamber of toxicity that seeks to harm anyone in your path that is unhealthy behavior and you need srs help and I mean that genuinely like you need to talk to a trained professional or support group.

Like it's not normal to hate all ccs and people who are not explicitly positive about your cc at all times now and forever. It's not normal to make excuses for widely acceptable bad actions to the point you harm those affected by said bad actions. It's not normal to view holding a cc accountable as "just being an anti/hater/jealous" as you should always leave room to be critical of the content you consume especially if it's from a real person with real actions. It's not normal to dislike those that dislike ur cc so much (cc or fans) to the point you dedicate your social media presence to sending death threats, doxxing, harassment, gory images, etc as well as spending the majority of your blog screenshotting and vagueing and cyberbullying people. It's not normal to feel as though your cc is an infallible perfect idol figure that is in desperate need of an army protecting them at all times where you hang on their every word to dictate all actions, opinions, and morals to the point you will change your entire personality and ethics system just to maintain any ounce of being uncritical of someone. In simpler words, you might want to be aware the line of parasocialism and crossing over into being like a member of a cult (not to say it actually is a cult, this is an analogy)

And you might say to this post "this is a vague" but I'd rather argue that if you feel like this post applies to you regardless if you're mcyt or another cc/celebrity/real person based fandom you might want to realize that you need to do srs self reflection and understand how you got here, who you've hurt to stay there, and what things you've sacrificed for someone you don't even know. This isn't just an mcyt specific fandom problem.

Because why I'm making this post is I feel like something needs to be questioned when we throw away our kindness, empathy, ethics, and compassion towards people just because they are any ounce a tiny bit little bit critical of something a cc did. And it would be easy to say the people willing to suibait/send threats/harassment/slurs/etc toward someone over a cc and be happy about it and own it are people who "just don't care and won't change". But I'd like to think they got there somehow you know that they weren't always the kind of person to justify that. And that doesn't mean they deserve anyone's forgiveness, but it does mean I have concern for that person I hope they genuinely get help and feel the full weight of what they've done all for 1 person that doesn't know them.

As always with everything, please add on via rb if want, correct me on anything, and send asks if you wish. Stay kind out there though ❤️

[tipheeweefee]

!! INTRODUCING MYSELF !!

Hey hai hello how are you ? My name is Tiphe and I am a self-taught digital artist <3 !! I draw stuff and characters I like, aswell as my favorite musical artists!! I am from Tunisia but I live in France, I'm trilingual, I speak arabic (tunisian dialect), french and english 🗣️ Also I'm muslim so yeah !

DNI list : Proshippers, zionists, racists, hawdabi shippers /srs, oc x canon antis, ISLAMOPHOBES (hope yall sleep with an eye open), if ur too old like 23+, anything problematic

Interact list : if you're in any of those fandoms: Genshin Impact, Honkai Impact 3rd, Honkai Star Rail, Project Sekai, Vocaloid, Resident Evil, Love and Deepspace, Bayonetta, Blue Eye Samurai, Boku No Hero Academia, Hunter X Hunter, Demon Slayer, Mortal Kombat 1, Kill Bill and Matrix (does kill bill and matrix even have fandoms??)

As for what I use to draw, I use my pc and a graphic tablet, and the app I use Ibis paint premium.

Looking for moots !! For my future moots, just know that I am probably more scared of you than you are of me so pls interact with meee 😖

Another thing, constructive criticism is welcomed <3 !!