#stp commentary

[choatic-bumblebee-agenda]

Still thinking about Starscream's ultimate fuckup. Like. I can't. This guy.

Arcee: Arachnid killed my partner [Tailgate]!

Starscream, thinking she's talking about Cliffjumper: Bitch are you SERIOUS that was ME. How DARE she take credit for my kill.

Arcee: ...

Arcee: What

Starscream: What

Arcee: You weren't there when he died.

Starscream: Wait what? Who are you talking about?

Arcee: Who are YOU talking about.

Starscream: Uh

Starscream: No one

Arcee: wait a minute

Arcee: It was YOU WHO KILLED CLIFFJUMPER

Starscream: NO

Starscream: MAYBE

Like bro you are in cuffs and unarmed that girl can KILL YOU what the HELL were you hoping to achieve there

[artificial-radiance]

Love your Path in the Woods AU! In this one, how exactly would the behavior of the Monster change with the Princess’ actions? Does the Monster become the Presence after he kills the Princess?

I've been keeping vague on how the monster becomes these later variations, since i have friends and partners that follow me and I actually plan on running an interactive story game for them based on this.

But there are 3 main choices, story-wise, that change what may happen:

Do you leave your cabin armed or unarmed?

Do you go left or right at the fork in the path?

Do you attack, avoid, or approach him? Or do you act on fight, flight, or freeze when he finds you?

You attacking him and killing him while armed would lead to the Presence, meanwhile sparing him after bringing him near death would result in the Lashed. I won't say what direction you would need to go for that, but left results in the monster finding you, and going right is the reverse.

The Monster is reactionary - he changes based on what you've done to him, what could help him survive both you and the woods, and what might make you trust or avoid him more.

The Monster becomes the Presence in response to you ending him without giving him a single chance. He is, in essence, vengeful, and he wants you to feel the same as he did. He stalks you through the woods, and, in story, you would have to notice him before he makes himself known willingly.

[mantisgodsdomain]

Finished Slay The Princess.

Final order of princesses: The Stranger, The Damsel, The Moment of Clarity, The Prisoner, The Wounded Wild

Final number of princesses killed: Somewhere between 0 and 0.5

Final number of princesses slain: 0

Out of all of the Princesses, The Beast ranked at #1 enthusiasm from the liveblog chat and #7 (out of 7) at amount of coherent commentary made. #1 comment across all routes was "women" from all members of chat. Had a lot of fun doing it. We are really, really bad at slaying princesses.

[teruuu2]

This post contains spoilers for Pristine Cut. I’m trying to keep it as minimized as possible, but do beware!

The “Epilogue” chapter for STP in Pristine Cut is giving me so many powerful emotions.

One of the many interpretations of the game is that it’s a sort of,, analysis or commentary on real life relationships, right? The “Epilogue” further solidifies my belief in this interpretation. It’s so beautiful how Black Tabby Games managed to portray, and so successfully at that, how codependent relationships function in this chapter. Maybe it’s because I’m a huge sucker for these kinds of things. I enjoy realistically portrayed unhealthy relationships in the fiction that I consume, and I also implement these things in my original characters & AUs for different fandoms. This is because it’s through the creation of these things that I can deconstruct and criticize all the aspects of unhealthy relationships. As someone who loves it when unhealthy relationships are depicted well, I’d say Black Tabby Games did a great job of exploring and solving this topic in the “Epilogue”! But maybe I’m wrong. Maybe I totally misinterpreted the chapter completely, maybe my viewpoint is flawed. What do you guys think??

[wutheringmights]

Commentary for latest CTB chapter???👀👀👀👀

Thank you! You guys are as prompt as ever. Unfortunately, I needed a few days to get my thoughts together (and honestly would have taken even longer if I wasn't going out of town this weekend).

I kinda struggled a bit to have Important Thoughts about this chapter (I have been so tired all week), but I did my best.

(Triggering content from the chapter are discussed below).

I’ve mentioned many times already that I suffered from a massive bout of writer’s block during this chapter; and it’s a bit hard to pinpoint what exactly caused it. 

On one hand, I think the last chapter was just so much that I may have burnt myself out on an emotional level. Usually, a week or two off is all I need to fix it, but I also had a lot of personal responsibilities that took up all of my bandwidth. 

And, frankly, there’s a part of me that is a little freaked out that I’ve been working on this story for so long, and that I might not be able to finish it within my self-imposed deadline (if I have to see CTB’s 4th birthday, I am gonna lose it). That’s not to say that I don’t enjoy writing CTB or that I feel pressured to keep going; I just felt exhausted and overwhelmed by how much of my life I’ve sunk into a story that not only refuses to end in a timely manner, but that I can’t share with anyone I know in real life. 

My burnout required a few months' rest to get over, but that’s not to say I didn’t try to work on this chapter that entire time. 

So I actually started this chapter back in April, right after I published STP. I wrote this opening scene of Link ruminating over the past and got stuck trying to transition to him being found. I got so stuck that I ended up bouncing over to the present-day section, where I got stuck in a new and novel way (which I’ll talk about more later). 

That means that everything else in the past I wrote the day before posting. On one hand, I was raring to go and I felt really good getting all those words onto paper. It did a lot for my ego. On the other, I really wish I took more time to revise a lot of this. I think the pacing overall is really strong, but there’s a few ideas I threw out into the story that I really wish I lingered on. 

For example, I mention that Link’s physical abuse was a relatively short stretch of time compared to how significant it is. Him being violent towards the engineer feels like it went on forever and forever, but it only lasted about 4 months. I like this detail so much because it helps to illustrate how even short-term abuse has lifelong effects on people. If I lingered on this chapter a bit more, I would have found more ways to ruminate on it. 

I almost had Ayane discover Link in his house. I ended up changing it to Jakucho since, as much as Ayane likes Link, she would not care enough to go check up on him.  

For the longest time, I imagined Link’s room at the Miyashita estate to be the same as the one he was held prisoner in post-Kakariko Well. But I ended up stating in that chapter that the room was located in a part of the house he had never seen before. So Link’s room was changed from a formal guest room to a study.

In universe, this is so that he’s encouraged to read books and is easily within Jakucho’s reach.

I personally got a hearty chuckle out of Link being denied chopsticks by default; he’s probably very good at using them in the present, but during this time he’s probably really shit at it. Real white boy behavior. 

If I gave myself more time to work on this section, I would have played around with the idea of him being haunted by an imaginary engineer, just as he had been haunted by an imaginary version of his old self on the way to the Kakariko Well. I don’t know if I would have committed to it, though. On one hand, it would have been a cool way to illustrate his inner thoughts. On the other, it implies a mental break I don’t think he’s experiencing. 

On a similar note, I worry that this chapter wasn’t that effective because it was way less (for a lack of better words) dramatic than the past few “Link Has A Breakdown” chapters have been?

Let me explain. So nearly every time Link has been under emotional duress before this, I’ve played with the prose to show how his reality is being warped. Take chapter 24 for example. Link gets stuck on the engineer leaving him, so the passage of time in that chapter becomes unclear-- both in him not realizing how quickly time is passing and him constantly going back to the day he realized the engineer was gone for good. The prose is written in a way that conveys that reality has broken. It’s very melodramatic. 

But for this chapter, reality is firm. Link’s mind has cleared enough to see what happened in the past clearly. The prose can’t dramatically screw with perception because that’s not what’s happening. The passage of time and the depiction of reality has to be crystal clear. 

So despite making these long, semi-experimental passages one of my signature moves, I couldn’t use it here without actively detracting from the story. On one hand, a more grounded chapter effectively shows how this breakdown is different. On the other, it’s a little basic. 

I have a bit of a problem where past!Ayane is a bit too similar in personality to Linkle. Ayane in the present day is supposed to be a cool teenager who is probably a bit of a mean girl at school-- the kind that will grow out of it the moment she leaves for college. But I wanted to show her entering this stage of life in the past, so she’s less bratty and more troublemaking.

Speaking of which, any reference to Ayane “going through a phase” is supposed to refer to her becoming a moody teenager. I didn’t realize until literally yesterday that it might come off as her family being transphobic. They’re supportive of her being a girl; they just get fed up with how much of a kid she is. 

The point of the chapter that made me start tearing up in the coffee shop is when Ayane got mad at Link for destroying the journal. I’ve been that kid who understands cognitively that a parent in your life is not well but still struggled with what that meant on an emotional level. Her family definitely explained to her that Link isn’t well and etc, but that can be kinda abstract for kids to really understand. So when the mental illness causes him to react badly, it seems to her that he is hurting her because he does not care about her. 

And there are a whole slew of issues you can explore with that idea alone, like how culpable is Link for his actions when he is unwell but still the adult? I’ve already started exploring bits of it with the child’s relationship with Link and the engineer. But exploring this idea from a different perspective (the child and his fucked up emotional issues vs Ayane’s normal preteen perspective) is always interesting. 

Link impulsively trying to kill himself was not in my original plan for the chapter, but after everything... yeah, he would try. This might have something to do with an episode of You’re Wrong About I was listening to work last week where they talked about the percentage of suicides that are impulsive decisions versus premeditated.

(Of course, today I listened to the episode on copycat suicides and now I am very nervous about this chapter being used as an instruction manuel)

I was going to have his attempt be to freeze to death outside, but then I thought of the obi belt, and I really could not resist alluding back to the hanging scene in chapter 13

It ended up being a good transition into a scene I’ve wanted to do for a while now: Ayane’s mom asking him to continue acting like Ayane’s older brother. 

I originally wanted that moment back when their friendship was just starting out, but decided to toss it to his depression arc to act as a moment of encouragement for him. What I didn’t expect was to stumble into this scene being both a way to talk him out of suicide, as well as him realizing he’s a shitty brother. I’m a terrible brother is a monumental realization for him, and I stumbled into it by accident. 

I was tempted to remove Ayane’s mother from this scene and put Jakucho here instead. But Jakucho would never ask Link to play an older brother role. Plus, I like the idea that a random, near-stranger accidentally talked him down without realizing what they were doing. 

And of course, having Ayane’s mother talk helps to develop the Miyashita family dynamic and give a better idea as to why Shigeo is estranged. 

Ayane’s mother also has a very tiny appearance earlier in the story-- chapter 9, when we meet Jakucho for the first time. Granted, I think I only referred to her as Impa’s sister. 

I also stumbled accidentally into the moment with the koi fish and using them as a symbol for perseverance. I really like that scene. I almost named the chapter “The Koi Pond” in its honor. 

I also admit that until fairly recently, I also didn’t know fish could live in frozen water. 

I went back and forth about whether I wanted to make a big moment at the beginning of the chapter about Link going non-verbal, or if I should let it build up slowly; I ended up going with the latter.

I didn’t want to make his non-verbalness the center of his issues when it’s just a consequence of his depression. He’s not depressed and non-verbal. He’s non-verbal because he’s depressed. So waiting until the second half of this section to address it homely drove home that this is only a symptom of a larger issue. 

This chapter also gave me the opportunity to address my sign language headcanon; it’s standard taught in school, but not in a way where everyone is actually good at it. It’s like learning Spanish in elementary school; you grow up remembering a few phrases and words, but never actually become bilingual. 

I like the way the bell motif is used in this chapter. In the past, Proxi’s bells are a sign that things are going to get better. In the present, the Castle Town bells signal that things are about to get a whole lot worse. 

But, yes! After all this time, Proxi is finally here. Hopefully the long wait for her introduction/return will be worth while.

For the present day:

Remember how I said my writer’s block struck for this part of the chapter as well? I solved it in the dumbest way possible. 

One of my big issues was that I didn’t know how to string everything that I needed to get done into a cohesive chapter (because if the chapter isn’t good, then I would have wasted so much of my time on a story that isn’t good, and etc.). My solution was to write a flat draft with only the stuff needed to move the plot forward (talking to Ganondorf, getting on the boat, etc), and then do revisions where I added character moments.

Except, I did character moments by the character. So I would spent a week adding scenes about Spirit, then another about Time, and so on. I said in this post that I turned a 5k draft into a 12k draft. Yikes. 

Because I wrote the chapter like this, I think the pacing is not great. The dinner scene and the post-Midlink gossiping was originally one scene, which I split into two to accommodate other character stuff. But I also think this is one of the most well-balanced chapters in terms of how many characters got a moment to shine. 

I’m really enjoying how much you all enjoy Ganondorf. I think nearly every comment on the chapter so far has mentioned him. I almost regret keeping him in the Zora’s Domain right now, but have no fear. He will be back. 

I am endlessly amused by this moment when Warriors realizes he has to talk to Spirit again, and he thinks “Spirit. / Fucking Spirit.” Is he cursing him out, or is he remembering... you know...

I mentioned a long time ago that one of the issues I had to fix when starting this chapter was finding something for the rest of the Chain to do in this final act. I figured out what their deal is, and a lot of tiny moments in this chapter is the set-up for that.

In a similar vein, I feel like I lost the thread on Time for a hot while there. I really had to mull over what his problem is, how he was going to respond, and how I can show Time responding near Warriors so that the reader can know. I’ve never had this much difficulty writing him-- or characters in general-- before. Hence, my on-going battle against writer’s block.

Another amusing moment that only I think it funny: Spirit lifting Warriors up by the scruff of his neck to haul into the alley way, like he’s an old cat. Honestly, I should write more jokes based around Spirit being strong enough to lift Warriors now.

Now that I think about it, I have a scene in my head where Warriors bitches so much while traveling that Spirit just throws him over his shoulder and carries him like a sack of rice. Is it out of character for both of them? Yeah, but we can imagine it happens in the AU where they are friends.

I have been wanting to provide some form of a resolution for Midna and Twilight for so long, but there hasn’t been a good moment to make them talk-- or at least, a moment where they can talk while Warriors is nearby to listen.

I really enjoy striking a comparison between how Midna and Twilight hashed everything out versus the bullshit Warriors got up to last chapter, especially because Midna and Twilight’s solution was to just give up. It’s not going to work out ever, so they might as well enjoy themselves now.

I love MidLink so much, but part of that love is in how it 100% would not work out between them. As Midna says, they would hate each other in a year. But they keep trying anyway because they love each other right now and that’s what matters. 

Speaking of which, Midna’s “we’ll hate each other in a year” line is a reference to the Greta Gerwig Little Women movie. I love that movie so much, enough that I can forgive Timothy Chamalet for being in it. He has a scene where his proposal is met with basically the same sentiment from Saoirse Ronan’s character. 

Tiny little headcanon: Skyloft’s theater style is very similar to ancient Greek theater, with heavy use of masks and choruses. That’s why he mimics holding a mask when performing Twilight’s line for Lana.

His line was originally something Twilight actually said, but then I went in a revised the MidLink scene and got rid of it. I kept Sky’s mocking of it because I thought it was more realistic.

I won’t say much about what the boys talked about post-confession scene, except to point out that they were kept up by the noise, they might have an idea of the timing of when everything went down during the Hot Mess

I’m glad everyone found my joke about always going to Wild’s era funny lol

Chateau Milk (aka: alcoholic milk beverages) is a tiny little world building detail I have been dying to do for ages. I wanted to use any scene of milk-drinking to shove in a joke about Hyrule being intensely lactose intolerant (he’s immune to all bad food except dairy), but I couldn’t squeeze it it. 

The ribbon kinda got a disproportionate role considering how briefly I referenced Spirit losing it last chapter. 

The reason Warriors was sharing a room with Four was so that I could finally do a follow-up on the Four Swords stuff I started forever ago, but it has once more been punted off to another chapter. Maybe one day...

By the time I got to this second conversation with Time, I was feeling much better about how I was writing him. Between this and his earlier appearance, this is definitely the stronger moment. 

I also deeply amused by Ganondorf and Lincoln have to pretend to be very bitchy with each other in order to not seem like they were married. I wanted to write a scene where Ganondorf argues that Lincoln needs to show him the proper request so that Lincoln would have an excuse to kiss his hand, but I ended up not having the energy or will power to go back in and add it. 

Spirit is so not used to anyone having a genuine interest in his senses that Sky’s question totally caught him off guard. Thank god Sky is the type of person who would ask because I got a good moment to clarify more of the limits of Spirit’s senses-- mainly, that a lot of the info he gets is so contextual that most of it is nonsense to him

To clarify, Spirit’s senses freak out people outside of his era. In New Hyrule, where the idea is a bit more common place, it’s considered rude to ask just as its rude to tell people what you sense. Lokomo customs, and all that.

I didn’t plan on having Spirit cut his hair, but I was deep in the throes of writer’s block and felt like I needed to write about Spirit doing something a little insane to respike my interest. Cutting off your hair because the guy you hated saved your ribbon fitted the bill nicely.

(Nonetheless-- RIP Spirit’s long hair. You were much beloved)

Spirit and Lana’s relationship has always been very underbaked on my part. I didn’t do a lot with them at the beginning of the story, and I haven’t done much with it now (or even much with Lana in general). Here is a vague attempt to salvage my mistakes. If I could ever revise the whole of CTB (I will never), this would be one of the things I would improve

Oh God... the Nephus stuff...

Like, I knew this was going to happen. What I worry about is whether it feels cheap to just have a character go back on their word like that. It’s realistic, if only because Warriors’s deal was really shitty. But on the other, it’s not very satisfying for the reader. You want the characters to have complex reasons for everything. I’m not sure that this qualifies. 

And this applies to all of the war stuff this chapter. Did Nephus lie about not wanting the Triforce? Whatever the answer is now, it’s not going to be satisfying. 

I know I said previously that Lincoln had no suspicions as to what happened during the Hot Mess. Well, I lied. Guy had it figured out fairly early on and only needed the opportunity to ask.

I just hope this scene with him and Spirit shows how Lincoln can be Warriors’s dad. Warriors is his mother’s son, but some of his insanity is from his father. 

Also we’ll pretend Lincoln has had that arm tattoo this entire time. The tattoo is not plot relevant, but it’s important to me.

Legend’s “it’s always the fucking Triforce” speech is my favorite Legend line in a chapter.

On a subconscious level, I was basing Castle Town on Boston. Why? I have no good reason. Just felt right. 

I really wish I managed to get us to Castle Town any time before this part of the story, if only to explore all the various neighborhood ideas I have. I managed to squeeze in the Gerudo neighborhood, but I have more thoughts on neighborhoods for the Zora, Goron, Rito, and even regular-old humans. 

I’m going to tell you right now that the girl in the graveyard is not plot relevant. I had a whole thing about the grave being a memorial for all the heroes across the eras and her praying to the memorial for a new hero that I just never got around to explaining

“Shines with humility” is another line that deeply amused me. Like, buddy. That is not how humility works.  

The Master Sword rejecting Warriors is supposed to feel very fitting and very unfair, all at once. I wanted people to understand why he’s lost the right to use her while still being frustrated that he was still being punished. I wanted this to be another opportunity for complex feelings. I don’t think the scene hit the right way, but that’s alright.

There was a point of time where I was plotting this half of the story when I realized I could use the Triforce scar idea that I had previously abandoned. I like the idea and the scene a lot, but I wonder if it feels forced? Like the whole story bent over backwards to make my silly idea possible. Let me know if this feels like a natural conclusion, or if I messed up somehow. 

That being said, this whole scene where Warriors and Spirit were cutting the Triforce into his hand was a lot of fun to write. Nothing breaks writer’s block like writing an insane character dynamic. 

I feel like I should talk more about themes and what this means for them, but you have eyes. You probably get the point by now. Instead, I will inform you that I did try to read that section to my writing friends, who all agreed that they did not have enough context to understand what the fuck was going on. And, yeah. That’s fair. 

I really wish I waxed more poetry about Warriors reentering the public eye. I did not have enough willpower to revise the hell out of that scene. However, I love the ending bit with Warriors asking Hyrule to make sure he gets the scar. 

One last thing-- I really should have done a revision because an important plot element may have gotten lost in it. I won’t say what, but hopefully it won’t cause problems down the road. 

And that’s the chapter! I feel like I didn’t have a lot to talk about this chapter, despite taking a near-week to write up all my thoughts. Next one should hopefully come sooner, but note that I still have a few more weekend trips and real life responsibilities to handle. My life is not settling down again until the beginning of October. 

I really want to emphasize that my bitching about my writer’s block and the source of it is not something I really need sympathy for, and it’s really not something encouragement is going to fix on it’s own. I appreciate the thought, but a lot of my issues right now just require some self-reflection on my part. I don’t want anyone feeling forced to drop a nice word or feel worried I’ll drop the story without it; I’ll still dedicated to finishing CTB. I just need some time (and to stop hanging out with my extended family). 

In other news, my friend offered to bind CTB into a book for me. Well, books. She knew the word count going in, but I have heard many complaints about how long CTB is. Apparently, it’s 6 volumes so far. Some volumes only have two chapters. When I told her I updated last Sunday, I saw the light leave her eyes. I love her dearly, and I will find a way to pay her back for this. 

[dizzying-faust]

Personally, i don't see why people are comparing Slay the Princess to DDLC.

Sure, both are visual novels that have meta elements, but they're very different in the meta commentary and how they handle said meta. They're just as apples and oranges as they get.

At least the Stanley Parable comparisons make sense because there are genuine comparisons you can make to both games (such as the narrators, time loops and getting different endings). There's nothing about StP that gives DDLC vibes.

[notalostcausejustyet]

Re-re blog. Because @bellisima-writes hit the nail on the head. The more you dig into the book, especially, the more apparent the themes of systemic corruption and apathy become. There’s also a LOT of subtext about privilege and intersectionality when you start to really come at it sideways, which is also very much a Terry typical thing to have tucked away into his work.

Crowley is not a good person. He's just really bad at being an evil demon.

Aziraphale is not an evil person. He's just really bad at being a good angel.

They're both just a person trying their best to do what's right, which makes them both really bad at their jobs.

[ty-bayonet-betteridge]

vothunted is prey obviously but which voice is his pred during play? im going to make a wild suggestion here and say votcold. follow me for more insightful stp commentary

[bloodsbane]

Hello, Happy (late? Its 1 am so I think technically late) birthday :) I just saw in yer tags that you decided to play Slay the Princess on your birthday, and I wanted to ask what you thought of the game :)

thank you~ ^^ i'm more than happy to talk about it!

short answer is that yes, i did play, and i had a really good time! I did one "full run" of it. for those curious, i got these in order: the Fury, the Razor, the Damsel, the Prisoner, and the Adversary.

it's a game i'd definitely recommend to anyone who's at least slightly interested in it! and that it's absolutely one that's the most fun going into as blind as possible, BUT by its nature, you'd still have a lot to discover on your own even if you watched someone play part of most of a run ;)

(more concrete commentary and vague spoilers below)

(and of the routes i got, I think Fury and Adversary are my favorites, though I did the Godkiller branch of Fury so I'm really curious to get that again and try going with the Broken's suggestions heh)

I ended up getting what I think could be called a 'middling/Neutral' ending, which was fine, I was playing to explore and pick what felt right in each moment rather than get something more definitive. I think I got a lot of insights by the end of my route so I'm eager to get back into it and play the game at least like 2 more times.

I REALLY enjoy the game, I think the ideas behind it are so cool and I love how it has so much replay-ability. like, I watched Joseph Anderson's playthrough of it (which was super funny, though I didn't finish watching the end of it bc he got a different Ending than I did and I didn't wanna see every detail of that), and it was really interesting to see not only what other routes he discovered, but how when he encountered routes that I'd also run into (Razor, Damsel), he managed to get slightly-to-moderately different versions of them! Like, his version of the Princess at the end of his Damsel route was totally different from mine!

The presentation is perfect, too. I'm already quite familiar with Jonathan Sims' voice talents of course, since I've been a huge fan of The Magnus Archives for the last ~5 years, and he wrote/voiced in that podcast. He does a phenomenal job acting out all the Voices in STP, and it was really nice to hear him performing again (even as I'm keeping up with the TMA sequel podcast, where he also voices, just not as predominantly!)

The voice acting for the Princess was amazing too, I LOVED hearing all the different variations of her vocal presentation. I thought it was such an immediately cool detail... especially since I chose to take the knife down with me on my very first go at it, so my first impression of her was the much more dangerous and stern delivery, which I wasn't expecting - I anticipated the writing to have her play innocent at first, but of course I know now why that wasn't the case, hehehe.

and of course the artwork is amazing. i LOVE how it's kept to a more sketchy, work-in-progress feeling style, i think it conveys the fragility and impermanence and transformative nature of the game and where it takes place. and of course all the ways the princess is stylized, both more subtly and obviously, in each route, is one of the most fun elements of discovering new versions of her. a lot of the compositions are great and i love her expressions a ton!! uhg just really great artwork all around

and speaking of art, the ost is fantastic, really perfect ambiance as well as tracks that convey the feel of each route, like, i'd call them each uniquely textured in a way perfectly suited to each. i'll probably throw the ost on by itself at some point to try appreciating the music on its own a bit more

overall great game!! im excited to play it again and im curious just how many variations of paths and endings there are!

[birdmitosis]

Just wanna say I really enjoy your stp works and your commentary on other stp related posts😭Super happy to have you in this fandom

Anonymous! 😭 This is so incredibly sweet?? Thank you so much, I am happy to share this fandom with such kind people!

[astrangeraccoon]

BNHA rambles (part 13 (I think))

Season 2 episode 2: Here we go! Here we go with the start of the sport festival arc

(Also I’ve put a ‘view more’ separation since it’s just a bit longer than what I usualy do bc I know that I can write a lot. If any of those who read those ramble think it would be better if I used that on my other post please just tell me)

-Once again: All Might, stop putting pressure on that boy. At least he recognize he’s asking for himself

-Shinsou’s here! And ready to declare war despite looking totally exhausted. At least he’s honest about his goal

-Tetsu Tesu please, I know you’re not thinking anything bad and are just a little over excited, but coming here to ask people about their traumatizing experience is a big NO NO

-Bakugou is kinda growing

-Training sequence!

-Everyone is so motivated! Also Uraraka and Mina working together!

-Did… Did Kirishima just jump of a building? To test his quirk strength? Isn’t there anyone checking what they’re doing?

-Jirou throwing dart with her earjack give me life

-Momo with her hair down is so cute

-Mama inko: Don’t hurt yourself Izuku

Izuku: Sure

Izuku ten minutes later: Do broken bones count as being hurt?

-Mama Midoriya supporting her son

-The reporter? Again? Really?

-The sport festival is really a whole school festival

-I love the mask (I want a present Mic one)

-Oh, Here comes the heroes that think screaming at a kid THAT JUST RISK HIS LIFE TO SAVE SOMEONE, you know, doing THEIR job, is an okay thing to do bc the kids quirkless. Well guess what Asshole? It’s not and I despise you

-Why are all the rooms soooo big?

-Todoroki’s war declaration! That kid really need a chill pill

-Todoroki: “I’m not going to pry on that [All Might interest]”

Also Todoroki: “Are you All might secret love child?”

-Izuku is Ready!

-Present Mic being the commentator he must love that!

-Aizawa must be hating it

-Also quick question, if all three festival happens at the same time who’s commenting for the two other years?

-Mic, Mic please I love you but Stp. Talking. About. Their. Fucking. Traumatic. Experience. Like it’s a selling point. Please respect the kids trauma

-Also the favoritism for 1A is not really nice for all the other course you know

-Hmmm… I’m not really convinced by the choice of midnight as the game animator… I mean the 18+ hero announcing for 15 years old… That not really the best match up

-(On the other side, she was there for the briefing about the USJ attack, meaning she’s one of the most trusted staff member. Her being here is probably another protection, especially with her quirk being efficient against multiple enemy)

-Tokoyami kinda ask the right question here

-All of 1A knowing exactly what Bakugo was going to do

-Also not to criticize but that’s not a really good speech Bakugo

-Izuku recognizing the change in Bakugo’s character as well as his true intention

-I love how they play it as if it’s was hazard as if they didn’t have to put it into place. On the other hand... I can totally see UA preparing multiple games just because they can. Both idea are totally on brand with what we saw from UA for now so…

-This is totally irrelevant but I love midnight eyes

-But her persona is so not adapted for a high school

-Mummy man XD, poor Eraserhead. How did Mic convince him to join him for the commentary?

-Todoroki going overboard… Once again…

-How did Kirishima get propelled in front of everyone else? I mean I see how the other did it but him? Did he take adventage of someone else quirk? Did he just jump as hard as he could and hoped for the best

-Shinso, going on being carried around, what a king

-I hate seeing Mineta being good at something. His idea to use his quirk to go on is really smart. That mean that if he wasn’t a perv like he is he could be an excellent hero. That why I hate seeing how despicable he is. Alo why I believe he still hasn’t been expelled yet. As of now we don’t have any proof of him making any innapropriate comment/move on a girl in front of a teacher, and if no one reported him the teacher don’t know so they can’t act on it (I refuse to believe that they would let him go on like that)

-Also Robots? Again? They really don’t ant the other course to stay in the competition

-And once again (I already ask this in my ramble on the entrance exam), do they have the student sign a contract of some sort when they get into the school saying they agree to face that kind of threat inside the school? I mean they made it clear the festival was pretty much mandatory for all students… Some of them who probably just want a normal education (UA has a great reputation, coming out of it must look good on an application) and they didn’t sign up for facing robots… Or getting frozen… Or exploded…

-I mean I’m just saying, but this is also a lawsuit in the waiting in case of injuries (even with Recovery Girl on staff)

-Okay that was badass, todoroki

-Mic being an over excited puppy and Eraser, just being here wishing to be anywhere else

Alright! Here we go with the UA sport festival! I’m so excited for this! 

(I’m also proud of myself for posting this part today because I didn’t think I’d be able to)

Anyway, question and or suggestion? Don’t hesitate to contact me

Until then, Aya’s out!

[x-rainflame-x]

I see a lot of authors who say they wrote an entire fic for that *one* scene. What scene was that for Stairway to Paradise? Or any of your other fics?

In StP, that one scene was literally the first scene where Ed was blinded and Team Mustang finds him xD So yeah, got to it quickly, then was like, welp, now what? xD DOA it was the scene where Ed follows Mustang and Hawkeye through the woods and provides commentary while Roy starts to believe he’s going mad c:

In SSB, we haven’t seen the scene yet, so I shall not spoil c:

<333

[celestialholz]

A Good Day To Die

Hello, dear Qcard squad - happy slightly belated Tapestry Day! <3 I’m SO SORRY this is a little late, though for once it’s absolutely not my fault! I’m visiting some family up in northern England, and there’s been a hell of a storm that’s outed several power lines locally - they’ve only just reconnected this morning, so I’m finally able to pop this up as my laptop now has some charge! I shall be reblogging all your lovely contributions with commentary tags today too. <3

Let me tell you a quick story before the actual one though, friends, of a girl on a Saturday afternoon playthrough of TNG for the first time, about six years ago now; already a huge fan obviously because we’re in series six, already very much in love with Q and the indomitable captain, but I’d wondered here and there: why was Jean-Luc so special? Sure, he was clever and wonderfully diplomatic, even a bit nuanced, and a nice change of pace from Kirk, who I also loved - but where did this spark come from? Why was he a rebel sometimes, when he seemed to play so much by the book most of the time?

... And then we get to this. A fascinating premise right from the word go of an immediately deceased/critically injured Picard, going into the fascination of a void space, a god cloaked in white with his usual wondrous enigma, and what’s always been to me the single finest piece of character exploration in the whole of the Trek canon. It’s intelligent, deeply amusing, philosophical, psychological, fascinating... we watch this man fall apart and rebuild and learn his lessons, and all the while we have this gorgeous chemistry, this blatant and beautiful homosexual coding, between our two stars, with Q’s ambiguous motives and goddamn, I was enchanted. 

... Honestly, it’s my favourite fucking TV hour of all time, and it’s my pleasure to finally celebrate its anniversary properly. My great thanks to @q-card​ for taking my idea and running wild with it, you marvellous being you. <333

I’d planned to make something much grander and mad for this accordingly, but... well, you know how it is. Very long week, depression... eurgh. So instead, please accept something a fair bit shorter but no less lovely: a parable of ancient Egyptian culture, a delicious dose of angst and love, and the promise of forever from a man who really can’t understand the meaning of the word, but wants nothing more than to offer it anyway. Set during STP, and I for one think this would be a lovely way to end it all...

-----------------------------------------------------------------

It’s fitting, Jean-Luc, he thinks serenely as he disengages the autopilot with a pang of adrenaline, a silent resignation, stoicism etched into his weathered features. Everything has its time, dear man, and you’ve had more than most.

There’s no real other method of death he’d have been content with, if he’s being honest with himself. It’s explosions, fireworks, heat, when he’s too old for any of it physically, when he’s exhausted mentally, but can still lay claim to the most youthful and adventurous spirits, the very soul of a captain; it’s plunging into a supernova at sub-warp to take out the rejuvenated Borg fleet in the resultant fire, beings he abhors so profoundly, is still so very haunted by all these years later, still has nightmares of his time amongst their number.

The protests of his newfound crew echo through his mind, the panic of five minutes prior naturally fresh; a simple plan, ultimately, forged days after he’d discovered their real enemy. Emergency transport, patterns already established, ready for the simple verbal command of a destination within reach; his friends enveloped, incapable of escape without the certainty of scattering to atoms, horror absolute.

“Admiral, you can’t be fucking serious - ”

“This cannot be how our quest ends! I will never forgive you!”

“... No, no, I know that look - JL, you can’t , you bastard - !”

“They took you once, Captain; we’ve won, dammit! There is no need to prove it further!”

He shivers with their regrets, jaw setting in defiance of his actions - it isn’t about proving anything, and he’d imagined Seven of all people would know that good and well. It’s about setting the universe to rights, ensuring continued prosperity from a species who deserve simply to be left in peace, who had been through more than enough to last them multiple lifetimes... to perhaps finally repaying a fraction of the debt he owed to the dead, the assimilated, of Wolf 359. It will never absolve him; nothing ever could.

But he can ensure it never has to happen again - not to him, not to another living soul in this quadrant. This is their last stand, and he will eradicate them. He isn’t a threat, of course - why would he be, in his tiny vessel?

Resistance is not, and never has been, futile, he acknowledges coldly, teeth beared in disgust. You wanted me to lead you, didn’t you? Allow me to make it so.

“Warning: recommend immediate retreat. Heat shields at thirty-one percent integrity; collision course with Elphoric Supernova in three minutes, thirty seconds.”

“Computer,” he announces frostily, “cease warnings.”

“With respect, my dearest admiral, perhaps you’d do well to pay attention.”

His mechanical heart skips several beats in the same moment, frenzy racing up his spine in anger, anticipation, anguish -

He hasn’t seen the speaker in four years, but he’ll turn up for the last three and a half minutes?

The flash claims his vision, the signature ping resounds, and the air falls immediately silent as he stares at eyes that read eternity and burn solely for him.

“Would you mind explaining what the hell you’re doing?”

He takes a full ten seconds of his remaining few minutes to simply absorb his husband’s presence, the faint lines that crease his forehead, the unspoken despair and the silent love and the carvings of exhaustion, and it’s as though something snaps once more back into place in his soul; as though he’s finally returned home after a solid millennia of travelling, embraced instantly by recalled warmth and comfort and precious, precious familiarity.

... Perhaps he ought to be less furious.

“... War’s over then, I take it?” His voice cracks through the stagnant bridge, and for the briefest of moments, he forgets entirely that he’s voluntarily crashing to his own destruction.

Q’s gaze flickers, stricken, and he regards his spouse with disbelief, crouching before him.

“Hardly the moment.” He curls fingers around shaking ones, squeezes tightly. “Honestly, I leave you alone for five minutes -”

“Four years,” Picard intones, hollow, charcoal eyes ablaze. “Four, dammit.”

Q winces, digs finely manicured nails gently into aged skin with sorrow. “Bit difficult to keep track when the universe is falling apart, though I thought my dearly espoused was rather above the ultimate display of tragic hubris.”

“This isn’t arrogance,” Picard snaps in response, suddenly furious.

The god raises a brow, turns from him for a moment to consult the cosmos; he analyses the situation quietly, eyes falling shut before they wrench open in horror.

“... Oh,” he realises aloud, returning a pitying gaze to his husband. “Well, I was planning to take you for dinner, celebrate our reunion, but... it had to the Borg, of course. It was going to be magnificent, you know. All candles, oysters, Risan teal whiskey - imagine you’ve grown a little weary of the family vintage by now -”

Picard’s internal chronometer, borne of years of starship clockwork efficiency, ticks over to ninety seconds, and he’s kissing him with desperation, with the misery of parting, the anxiety of war, the coldness of a universe where no one else can ever quite understand -

It’s brief because it has to be, given the circumstances, but it’s no less intense for it, shot through on both sides with passion and need and loss and reestablished harmony; they break eventually, slipping back to rest foreheads together, and Q is breathless with pain as he whispers.

“My universe has already shattered once, Jean-Luc.”

Picard blinks against the tears that threaten, the anguish that engulfs him at the very thought.

“It’s the Borg, Q,” he explains simply, voice woven with apology.

“... And it doesn’t count for anything that I could click them to dust, I imagine, stop them threatening anyone ever again?”

He smiles warmly, bitterness rich - not at an entity who has been trying to save his people, he could never be angry at that. He’s trying to do the same, isn’t he? Always has. 

No, life is merely unfair, and it has to end eventually. 

“‘Nothing in his life became him like the leaving it,’” he quotes gently, and a rasp of a sob trips from Q’s tongue.

“Stupid, noble, self-sacrificing idiot,” he breathes, thumb running over the wedding ring unconsciously. “The shen ring, Jean-Luc; you’ve always admired the ancients. The symbol of eternal protection.”

A single tear slips down his cheek, a stammered exhale follows, and he locks eyes to his in true dread. “Please, darling - tell me we can still go for dinner.”

Everything in creation drowns in silence, even as the console roars at him that he’s thirty seconds from death; nothing matters but his words, his long-spoken promise - that his husband absolutely comprehends them.

“I’d be offended we didn’t, frankly,” he whispers. “Haven’t seen you in years, we’re rather overdue a catch-up.”

He kisses his brow tenderly, physically feels the permanence of the relief that bursts through the god; he has to make sure, nevertheless.

“Perhaps tomorrow, we could watch the meteor shower on Tansid VI.” He softly pulls Q’s thumb back to the wedding ring, to the tangibility of what it offers, the vow it proclaims, and runs his own preciously across it. “Croissants. Champagne. Different region, different grapes - I’m not quite bored of that one yet.”

“And the day after?” Q’s voice cracks, brittle as sand.

“Oh, moons of Tanothry Prime, I imagine. Driver’s choice. Though I’d quite enjoy a trip to the Magellanic Clouds, perhaps in a few centuries.”

Another sob, profound this time, raises, stuttered, from his immortal spouse.

“I reserve the right to make it hurt less.”

“Oh, please do, my love. My Thoth.”

Q stifles a laugh, so wondrously enamoured. “The Egyptian god of the dead, of magic and wisdom.”

“‘As for Thoth, he crosses the sky in my presence; I pass safely.’“

“Yes, you do,” the deity vows, adoration warming the severity of his features. “Nothing will ever have to hurt you again, darling.”

It’s a strange experience, dying without fear. He’d been so certain, so determined, but so very afraid.

“Ten seconds to impact,” the computer chimes, emotionless.

“I have a dog,” Picard tells his husband, eyes falling closed. “You wouldn’t much like his name.”

Q smiles tightly, clings to him.

“I do hope it isn’t mine,” he replies dryly, and the human chuckles as the ship ignites around them.

“Oh, it’s so much worse.” He beams tenderly at him, braces for impact. “I’ll tell you later.”

“Yeah,” Q breathes, caressing his ring, and together they burn.

[hormonalcryptid]

I got a Model D STP packer about a month ago, but in terms of using it to pee my body has this hookup about relaxing enough to actually let me use it. I didn't spend $100 for my bladder to fuck this up for me, so would anyone happen to have any tips on getting my muscles to relax, if stance affects it, etc? I've only managed to use it twice but still need more practice, and the goal is to get the hang of it by June. You can reblog this if you want but replies or sending an ask with a ♤ at the very beginning is preferred so I can easily compile everything into a reference post later. (The compilation post won't include names, just a list of all the suggestions)

[mediarevolt]

Solidarity Statement

As pro-revolutionists committed to cultivating revolution, many often look to coalitions to do the work of collaboration and moving with the oppressed towards revolutionary practice. In actuality, when we work together it's important to not only iron where we agree and have affinity, but where we disagree and where our affinity diverges, where our strategies might actually be counter to one another: i.e. antagonisms. So that we are not surprised in the future, and we don't flatten struggles for the sake of false unity.

In Los Angeles, or more accurately, occupied Tongva land, in regards to the recent call to ban and isolate the Psyco Brigade/las O.V.A.s/La Conxa, and Defend NELA and the less recent decision to kick them out of the Defend Boyle Heights coalition:

There is information conveniently being left out of the conversation by DBH - namely, that the Los Angeles Red Guards and, their front-group project Serve the People, (coalition members of Defend Boyle Heights) were previously banned from the La Conxa space last year 2018 June due to predatory mactivist behavior and recruitment tactics.

The OVA’s/Pscyo Brigade was kicked out from the Defend Boyle Heights coalition after they had started detailing "red flags," or concerning dynamics and behaviors by coalition members: which had resulted in boundaries being set to exclude Red Guards and STP-LA from La Conxa. Just prior to making a presentation on these red flags within the Defend Boyle Heights Coalition, they were kicked out of the coalition for what they call “identity opportunism”. *Essentially, this term describes a tenet of Maoist ideology. Mainly that “identity politics” is seen as a non-politics since it does not build-up to their desired unified Maoist party line. So then, for Maoists “identity opportunists” are those who they conceive as using their identity as a way to push an agenda other than Maoism. A topsy-turvy inversion of the notion of identity as a site of varied oppressions.

Since the call for isolation was released one of the signees has come forward disclosing that they did not consent to signing the statement and actually contradicted the narrative of events set forth in the statement (the O.V.A.’s were not kicked out of an event for death threats). This, and other information, casts serious doubt on the alleged death threats and the credibility of the statement in its entirety.

Consequently the drafters of this statement want to offer some solidarity, counter-narrative and perspective to those being asked to sign onto the ban and enforce isolation of the Psyco Brigade/OVAS.

We remind ourselves of the autonomy and resilience of groups and people free to respond however they desire/need to, defensively or offensively, to predatory recruitment tactics by overt vanguardist organizations. For the purposes of this paper, vanguardist organizations refer to groups who themselves claim vanguardism as a central strategy of their intent, purpose and organizing. Those vanguardist entities which position themselves as the higher authority or specialized professionals in the liberatory movements of oppressed people- the saviors, gatekeepers, proselytizers and managers reproduced in resistance movements.

We support the role of self and communal determination in combating rank opportunism by left-authoritarian organizations working under the cover of coalitions. To be in coalition is to be in collaboration. Coalitions often hold space for multiple affinities with some strong clear principles and boundaries that bring people together for a shared goal or desired outcome.  Some of these left orgs use coalitions as cover to recruit people to their ideology and specifically, their party or organization, and then isolate those who they view as "competition" in the ideological social war when recruitment does not go according to plan. By left-authoritarian we mean those in the broad leftwing who view hierarchy, coercion, state-power, organized authority and policing as a means to an end: sometimes known as authoritarian socialism or communism.

We oppose predatory behavior and macktivism for the purposes of recruitment, gaining information and access to space and communities, resulting in collectives and spaces  feeling infiltrated. Infiltration is not just an overt act from state agents, but tactics used to gain and manipulate information, access and people, by those convinced their own goals outweigh the dynamics it takes to get there (their ends justify their means).  This is not the spirit of collaboration, camaraderie and liberation we seek and spark, which definitely holds within it space for disagreement and rupture. This is symptomatic of an authoritarian tendency in organizing that seeks to control and manipulate instead of empower us to engage in our own liberation.  We do not embrace a false equivalence, or conception of liberal notions of equality, by presuming infiltration is weaponized against all genders the same way, toward the same end, with the same impact.

Ideological divisions exist and have been amplified as the OVAs/Psyco Brigade has developed their commitment to collective autonomy and revolution which leans more toward autonomy, self-organization and a flattening of hierarchies. This cannot be overlooked as a key ideological divide with some of the forces at play within Defend Boyle Heights.

Gender (and race, ability, sexuality, and more) is not a secondary identity to that of the exploited worker /proletariat engaged in class war. We are, of any gender, engaged in class war. We are, as women, as nonbinary folks, as trans and gender nonconforming people, as men, engaged in class war in particular ways that include all of the iterations in which class war shows up in our lives. We will not, as the below quote by Red Guards LA posits, wait until after a theoretical socialist revolution to use subsequent waves of revolution to "collectivize domestic/reproductive labor" to resolve "the contradiction between men and women". The contradiction is truly in the daily enforcement of gender as yet another role and job under capitalism and society that is associated with treatment/mistreatment and produces (and is produced by) bosses, masters, and #theotherPig. We will not attack capitalism without also attacking this society. This is not a distraction from class war, this is an amplification of class war." "After the revolution the socialist construction of the dictatorship of the proletariat with a reconstruction and collectivization of domestic/reproductive labor will initially resolve the contradiction between men and women. Subsequent cultural revolutions can also resolve the more aggressive residue patriarchal ideas that linger on as the dying old ideas of a dying old world."

As a coalition that has repeatedly and openly not only called for violence, but shamed others for not being down for "revolutionary violence" we find their response to these unsubstantiated death threats to be disingenuous and oddly opportunistic ideologically. Threats of death are serious accusations that concern trust, safety and security and should have nothing to do with DBH’s purported qualifications and judgment of the O.V.As as revolutionary or not. In fact, it is common for women in revolutionary movements to be used for their anger and furious organizing efforts until it is no longer convenient or threatens an established order of things. Bash back, which is a hxstoricaly queer, trans, lgbtq, women, femme direct response tactic, has always been a form of communal defense and revolutionary violence. For example, in 2014 Queerpocalypse descended on the Los Angeles Anarchist bookfair flipping tables and posting up outside the event, in a rejection of “inclusivity” models dealing with queer representation in anarchism and leftism. Folks were agitating the space, addressing centuries long antagonisms between default representation politics, hetnormativity in organizing spaces and the reality of struggle and oppression, especially within “anarchist” spaces. Lived experience and agitation sometimes rises to meet and challenge our theoretical revolutionary spaces- this is not identity opportunism. We insist on inviting our whole selves into our movements or they are not our movements; and we refuse for our participation to be reduced to another form in which we are treated as exploitable workers devoid of our actual selves.

Beware the forces you breathe life into. It is one thing to call for a boycott of local businesses or nonprofits and expect automatic compliance.  It is another to apply  the same tactic and strategy on more autonomously self-organized collectives and spaces. We will not fault the OVAs/Psyco Brigade for being who they have always been, women and marginalized genders self-organized toward revolution, and growing into understandings that do not fall in line with left-authoritarian ideologies.

"A lack of accountability to a higher power" is often weaponized against autonomous folks or anarchists in an intent to portray us as independent and unrelated to the communities we organize in. Defend Boyle Heights is not the higher power we are looking to empower to regulate self-organized community efforts that don’t align or fall in line with their ideology or strategy. Are you?

We have seen time and time again: even abusers and misogynists receive the benefit of the doubt of Transformative Justice processes, and it is suspicious to see no commentary or transparency detailing any attempts to resolve this issue or address the underlying root issues being dismissed as “identity opportunism”.  We look to other iterations in Los Angeles in which figureheads, leaders and organizations have fallen under intense, necessary but methodical scrutiny complete with fact-finding, testimony and even tribunals. Even in such cases arising to the occasion of physical violence and abuse in the name of revolution, after evidence, proof and process that had been gathered, the entire organization was not banned or called to disband. It is one thing to dissociate, break coalition, rupture, and another entirely to call for isolation and actively campaign for isolation.

Collective autonomy- collective disposability we oppose the isolation of a radical collective in its entirety due to the actions or threats of a few. This is not accountability, but collective punishment. Even as we recognize the autonomy of each person and the responsibility of our organizing efforts to hold ourselves accountable, to call for such a broad ban and isolation without due diligence and full transparency of the above details regarding coalition member organizations is negligent, amounts to gatekeeping and reminds us of carceral politics that would dispose of community members altogether with no attention to interpersonal hxstories and real-time dynamics.

Further:

We recognize that not all our comrades are familiar with the differences in principles, strategies and tactics between left authoritarian v. more autonomous anti authoritarian organizing within leftist and revolutionary frameworks and communities in general. We caution against dismissing these contradictions as “sectarianism” when there are real time behaviors and interpersonal dynamics in organizing practice that show up according to these lines.

We know these dynamics and contradictions between revolutionist ideologies are not limited to this time and place. We encourage others to detail their “red flags” and how authoritarian leftism is showing up in their communities, at the cost of their autonomous & anti-authoritarian organizing.

DBH takes an openly-Maoist line against identity politics which views any sort of attention to identity, other than one’s class position, as being liberal, revisionist or anti-communist. Those of us drafting this piece come from a variety of identities and understand that our lived experience goes beyond our class-belonging (but also includes it): women are harassed on the streets regardless of class; Black people are subjected to gratuitous violence by the police regardless of income; queer people are coerced into heteronormative lifestyles regardless of their job title and people with disabilities which make the sale of their labor-power difficult still are forced to pay for their own livelihood. To say these identities are inconsequential is not only offensive, it deeply misunderstands the nature of the capitalist society we live in and therefore defaults to /privileges entrenched power systems inextricably interlocked with capitalism.  But DBH calls attention to all this “identity-opportunism.” As though there is any explicitly gained opportunity, and at the expense of the community or liberatory efforts, to being a woman, a Black person, queer, or a person with a disability, or facing the multiplicity of these experiences in this capitalist, hierarchical and authoritarian structured world.

Conclusion: those of us that have drafted this statement are not locked-away in our ivory towers, writing out abstract essays for academic consumption. We’ve been involved in organizing, creating radical propaganda, putting on events, facilitating workshops, hitting the streets and other forms of radical action, solidarity & mutual aid. We write this because we know how destructive this type of Left-Authoritarian organizing is to the goals we have and we must defend each other against these types of attacks whether from the Left or the Right.

- Some Pissed Off 'Los Angeles' Anti-Authoritarians

[writingandmaking]

Love this commentary, but i'd argue he missed the last step of every STP story: Make it weird, then make it weirder, then bring it home with the 'holy fuck' moment that is so relatable, powerful, and revelational that you forget to breath for a minute or two

Making It Weirder - David Tennant at C2E2 discussing Good Omens

I think Neil Gaiman and Terry Pratchett… they have a very unique writing voice.  I think that’s why they’re so beloved and that’s why they have such huge fan bases.  I think if anyone else had tried to adapt Good Omens for the screen they would have made it normal.  They’d have sort of knocked off the bananas edges.  It would just have made sense to make it more linear and to reduce the number of characters and to take some of the weirder stuff out, because it’s hard to film. And Neil being Neil just went, “No we’re doing all of that, exactly as it is, and do you know what?  We’re going to make it weirder”