#that audience knowledge is NOT character knowledge

[atrophiedemotion]

escapism vs reality in alien stage

in this post (elaborated greatly by geo's tags as well) i mentioned a big sua/till parallel i noticed (but didn't go into much detail because i didn't want to derail the post lol), and i wanted to go into more detail on that and the overall reality vs fantasy theme alnst has going.

sua & till both use their love for mizi as a form of escapism. sua's love for mizi and the weight of her knowledge of their universe causes her to create a safe (fake) bubble for her and mizi to exist in & makes it as perfect as it can be before they're out of time. till uses his love & admiration for mizi as a beacon of hope, as motivation to go on despite how horribly he's treated in day to day life. mizi is the brightness in both of their dull lives.

this view of mizi as a hopeful, optimistic sort-of deity sheds light onto an entire theme of alien stage, escapism vs reality. it also shows that mizi & ivan, in this specific instance, are antitheses of each other.

mizi, as a character, symbolizes hope and escapism. she is the only character out of the main four that didn't understand the exact conditions of their world due to how she was raised. she does not fully grasp how horrifying the alnst universe is until she watches sua die, which is the inciting incident for the entire series. escapism isn't possible anymore, but hope is still there when she gets rescued by hyuna and joins the rebellion.

ivan, on the other hand, literally symbolizes truth and the reality of their world. since he was born he understood the cruelty the segyein are capable of and knows exactly where he stands in the world. he is seen to be fatalistic and even nihilistic. his death, which he sees as an inevitability, is the second inciting incident (the one where everything goes to shit chaos afterward). it is a brutal reminder of the truth of alien stage to both the characters and the audience.

sua & till actively seek out mizi as solace in their pain, and they both actively avoid ivan (in their own ways) and the connections he has to reality.

sua avoids ivan because, well, he's mean to her, but mostly because he's not even trying to be mean, he's just objectively right and she doesn't want to hear it. he is a reminder not only of the cruel world they live in but her own 'twistedness'. he reminds her that she is not solely the fantasy she's created with mizi, but someone with unavoidable knowledge of the inevitable (as well as someone who is willfully keeping this information from an unknowing mizi).

till avoids confronting his feelings for ivan and confronting ivan in general because ivan confuses him. his feelings for ivan aren't cut and dry in the way his feelings for mizi are, because ivan is and always will be tied to pain and suffering for till (their first meeting in the auction shop, their miscommunication/strange relationship, the fact that ivan is the only one who sees him at his most vulnerable, etc). ivan's death forces him to confront these feelings (for ivan & about their world in general) but even then he's repressing them until he physically can't anymore.

mizi is escapism & hope, literally realized because she escapes. ivan is reality & a representation of the fate of alnst contestants, literally realized through his death.

it doesn't end there, though. sua & till are escapists running from reality (with diverging paths that are both narratively important in their own ways), while mizi represents escapism & ivan represents reality. along similar lines, but going a step further, hyuna & luka showcase these exact themes.

hyuna is the legitimate showcase of hope, of freedom. she is a free human (as free as you can get in the alnst universe) and the leader of a human rebellion focused on uprising as a race against the segyein.

luka is the perfect example of compliance within reality. he is now a two time alien stage champion and the definition of a pet, no matter how he actually feels.

hyuna & luka are similar to, but a step beyond, mizi & ivan. mizi symbolizes escapism, but she is faced with reality and must grapple it, while hyuna is freedom personified (albeit with demons of her own). ivan symbolizes reality, but he still yearns for something he thinks he'll never have, while luka completely shuts off those emotions because he knows they will only jeopardize his chances of survival.

the characters of alien stage perfectly embody one of the core themes of alien stage, the discrepancy between fantasy and truth, and the way those can coincide in a world.

[literaryvein-reblogs]

Writing Notes: How to Choose POV

A Quick Guideline on Choosing POV

Refresher: Definitions

First-Person Singular: First-person singular narration uses the pronoun “I” and is the most commonly used form of first-person point of view. This style is perfect for character-driven novels and creates a close, immersive connection between the reader and the story. However, this type of narration limits the author and the reader to a single character’s experiences, feelings, and knowledge.

First-Person Plural: This first-person narration style utilizes the pronoun “we” and is less commonly used. It combines the intimacy associated with first-person with the flexibility of third-person omniscient. First-person plural can be effective when done well but can be tedious and is limited to the collective voice.

Second Person: Second person utilizes “you” for the narrator but is more commonly used in short stories. This style easily fosters close bonds between the readers and the characters as you start to feel as if they are you.

Third-Person Limited: Narration in third person limited relies on she/her, he/him, they/them, etc., pronouns as well as the character’s name. This point of view limits the author and reader to one character’s perspective allowing the writer to exercise the closeness of first-person singular through thoughts and feelings while also offering the broader perspective of third person.

Third-Person Omniscient: This type of narration also utilizes the character’s preferred personal pronouns and name and gives the narrator god-like storytelling abilities as they can reveal any character’s thoughts, go to any time or setting, know information the characters are unaware of, and comment on events in the past, present, and future. The degree to which these abilities are used is up to you. Third-person omniscient is popular among novelists with large casts and complex plots. However, this style can lead to too many shifts in perspective.

Tips for Choosing POV

You may find that you have a preferred point of view and then realize it’s not a good fit once you start writing your story. Many writers worry about finding their voice, but sometimes the story finds it for you. If you’re unsure which point of view to choose, consider these tips to help you pick.

Explore your options. You won’t know which POV to use unless you try them all. Try writing or rewriting a scene from your story in each POV to see which style fits your novel best.

Establish your POV. Once you’ve picked a style, stick to it and let your audience know which character they’re experiencing the story through.

Note limitations. POV will decide what information your character is privy to and thus determine their actions and opinions. Take time to review your work with your character’s limitations in mind to keep your writing accurate.

Don’t be afraid to change. If you find yourself drifting into another POV as your novel progresses, don’t shy away from revising your work into the best perspective for your story. It’s also important to note that some books shift from first to third to second, and it may benefit you to find examples of novels with varied narration to help you learn to master this style.

Source ⚜ More: Writing Notes & References ⚜ POV

[honey-bell-aint-well]

I keep seeing this Loveball being mentioned in regards to fresh, but I wasn't in the fandom back then and I don't know what the fuck Loveball is and how it created fresh's character? Asking you abt it bcus you seem knowledgeable abt fresh lol

I'll have you know that when I saw this ask I cackled and rubbed my hands together evilly, completely unironically.

Unfortunately I've already rambled about this before, so I'll copy and paste the rant here rather than ranting anew:

So, like seven years ago there was a fandom-wide event called the Loveball, where people gathered their OCs and had them all attend an UTMV dancing ball. Fresh went, of course. There, he met a Frisk called Pacifrisk. Even knowing who he really was [90's parasite], they still believed he could be good. Before this, he hadn't ever really felt a connection to anyone, or even positive emotions in general. But Pacifrisk's faith in him made him feel positively towards them. This freaked him out. [No Fr@ns though, don't worry. That wasn't the intention for this plot.]

As a result, not only did he try to kill them, but he also went through with his plans: the Fresh Takeover [I forget what it's actually called]. His true reason for attending the ball. OCs were either possessed by the parasites or tried to fight against them. Apparently, some people used alcohol to ward the virus off, as Fresh hates substances such as that.

Fresh wanted to take over the multiverse, with this Loveball being the first step for his total domination.

But then right in the middle of things, a Sans AU [which I totally forget the name of X,D] grabbed Fresh and basically yeeted him into an alternate state of being. One where he could see the creators, all staring at him. An audience.

The Sans revealed the nature of Fresh's existence: That he was simply a character in a story. And if the creators got bored of him, he could easily be written aside and forgotten. Erased. His conquest didn't matter, in the end.

Predictably, this gave him an existential crisis. I'm not sure what happened after, but he stopped invading and went somewhere to contemplate his existence in a depressed state.

Afterwards, he had a new goal: To entertain. To convince the creators that he was worth keeping around. Similar to his previous goal of survival, but now with more dire stakes."

Here are some links regarding the Loveball. I recommend checking them out if you want more info about it, because I didn't really talk about it very deeply here:

https://thebonezone66.tumblr.com/post/139210779428/muffets-love-ball-roleplay

https://www.tumblr.com/bestfresh90smess [This is CQ's RP sideblog]

https://loverofpiggies.tumblr.com/tagged/loveball/chrono

Hope this clears things up! :D

Edit: Oh, and Fresh wasn't created during the Loveball. He was originally an April Fool's shitpost doodle that CQ made, inspired by Dippy Fresh from Gravity Falls. Eventually he developed into the horrifying 90's abomination that we know today.

[scrumptiousstuffs]

Hi Sue! What do you think about today's episode?🤭

In my opinion it was even better!! (Don't get me wrong, the bed scene between KantBison is still №1) I love the humour this show has, it's my style. The way First is flirting the hell out of everything, I'm here for it 😆 It's for all these times Khao was flirting with him heheh

And the way Style conquers Fadel, I'm living for every second 👀 And as the last scene shows, he's almost there...

Oh, and the music! Is top notch, I love the "Micro" vibes of it all (thanks to Sand I'm a Micro fan now heh)

Hello Mei!!! I love Ep 2 - all four boys continue to do an amazing job establishing their characters. The styling and music (like you say) continue to be a delight.

And since I am vibrating with excitement from the recent episode (despite my sleep deprivation cause the live airing for THK is after midnight for me), here are some of my musings:

1) I am delighted to see First playing Kant with such nuances. There is a degree of complexity with Kant. Yes, he is lusting after Bison (cause the sex was just that good) - but you can tell, he is pulling all the moves on Bison partly because of his job as an informant (the sleeping with target part is currently secondary, although I suspect this will change soon hehee). Everytime Bison rebuffs him whenever Kant tries to get physical/kiss him, you could see a break in Kant’s suave and cool nature (the grit and tension of his jaw, the slight tightness in his eyes and eyebrow lift - all of which occurs in split second before he quickly smooth his expression and becomes the charming flirt he dons on when he is with Bison). Similarly, when he is lusting after Bison, the mouth bite or quick tongue swipe across his lips as he makes a quick sweep of Bison’s body (most noticeable in that tattoo parlour when Bison dressed/undressed his pants).

Plus, him hiring his friend to flirt with Bison just so he could prove to Bison how jealous and protective he can be? - oh yes, I can see why the police keep using him as their informant. Kant is meticulous, a good planner and savvy (although I am quite amused this was the route he took when Babe gave him the advice to show how sincere he is with his feelings to Bison)

You and I both know First is a master in microexpression and here we are given another top tier performance by yours truly.

2) Speaking of microexpression, Khaotung also knocked it out of the park for me as Bison. He may be an assassin with a girgonomous knowledge on how to kill and dispose a body efficiently - but there is a naivety and innocence to him. Truly, only Khaotung could play a mixture of deadly assassin, cutie pie and naive dork at the same time.

His facial expression screams burnout when he is doing the assassin job. E.g: Bison being careless with the gloves? - I think it’s really a way of him essentially telling Fadel and us (as audience), he simply no longer cares about his job. Or everytime Kant flirts with him, the disbelief and bemused expression on his face whenever Kant proclaims he is “so in love” but at the same time, he can’t help be charm whenever Kant does pull the moves on him. And I will like to point out that Bison is gradually letting his guard down with Kant - him slipping and saying “Khun Mae”. You can see the micro-change in his expression when Kant pointed it out.

Bison has also voiced out clearly what he wants most at present is freedom, which includes no long-term commitment (one of the reason he keeps rebuffing Kant) - isn’t it interesting Kant is the one who keeps insisting for them to be boyfriends when he could have just agree with Bison to keep it casual/FWB type?. I mean, I’m sure the FWB will still allow some opportunity for Kant to snoop and gain information from Bison. That itself tells me Kant has subconsciously decided he wants Bison regardless of the informant/police business.

3) Style cracks me up so much in this episode. He is like the buzzing mosquito (affectionately) that Fadel wants to slap off but keep missing. I mentioned in a previous musing (on my side blog) that Style is sharper than most people realise (there is a reason why he is bestie with Kant).

Dunk acting was on point here - from the shameless and boisterous performance at the fieldtrack to him basically haunting Fadel like the Ghost from Xmas Past at the market and gym. But oh - I think he really clocked on how to break into Fadel’s shell after the very enlightening conversation with Bison at the burger joint. Not sure if you realised, but it’s after that conversation, he amped up his seduction rather than just trying to relentlessly annoy Fadel to submission.

Even Style kissing (quite aggressively, I may add) in the gym is calculated on Style part. He saw Fadel did not rebuff him in the sauna, clocked on Fadel actually checking him out. And so he took his chance!

4) And that brings me to my boi, Fadel (urgh, I just want to hug him so badly). We talked about how Bison has a touch of naivity to him. However, I think Fadel is just the same in some aspects.

Bison (bless him) really wants his brother to live a little. I cannot express how much I adore Fadel and Bison’s dynamic as brothers. Bison may be rebellious but he truly loves his big brother. And so, Bison giving his blessing to Style delight me to no end! (Also, did you click on Kant gritting his teeth (heh) when Bison admitted to Kant he primarily agreed for Kant’s bestie to hit on Fadel not because it will free them to date but so that his brother can experience living too!)

Anyway, I’m regressing. Poor Fadel is having a whiplash from all the emotions he has never previously experienced hitting him all at once because of Style. Style annoys him (yes) but you could also see the flicker of amusement in his eyes and begrudging admiration for the gumption of this shameless boy who does not fear him and will come up to his face (even if he gets soak with water, foot stomped or the threat of windpipe being crushed. None of these really faze Style (and I think that sticks in Fadel’s mind). Plus, with Bison whispering in his ears about how Style is cute and fearless (really Bison gaslighting his brother into thinking more about Style 😉).

And so, him jerking off to Style beautiful body (and face) that really was a revelation for him (he is so so aroused but also damn mad with himself for having any feeling at all) - did you also clock Fadel’s fantasy Style looking angelic and even more alluring/seductive than real life sauna event? (Truly good cinematography and storytelling here!)

Speaking of which, I am going to give a special shout out to the dancing scene by KantBison. Some people hate it (and I read some fans actually skip it due to the cringe nature) - I don’t know about you, but I love it. And we know with Jojo, there is always good reasons why a scene is included. Yes, it is a tribute to Pulp Fiction (which Jojo adores), but beyond that the scene is important for several factors:

1) Bison subtle challenge for Kant to prove he is willing to do anything for him

2) Kant essentially lying that he couldn’t dance (and Bison commented on this later on), which Kant smoothly cover up by saying he was just following Bison’s lead (that tells me Kant has variety of skills that we and Bison are not privy too!)

3) And oh the song choice - the lyrics talk about scheming, mixed signals and how the eyes don’t lies - ahem, what does that remind you of?

Ok, enough analysis 😂😂😂 - this is getting way too long. I’m also going to finish up by saying - I’m intrigued by Bison’s choice of phone - an old-fashioned flip phone when we know this is set at present time. And we still have yet to see Fadel’s choice of phone model - does it mean anything? ☺️

[slowcatsisland]

I love your Post about Laws ideal type. 💯😍Do you see him more with a boy or girl?

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A/N: omg I love this question sm bc regardless of what points I say it’s ambiguous and up to the audience’s interpretation and ultimately Oda’s however I seriously doubt Law would have a significant other in the canon timeline. Ty Ty for asking I had a ton of fun writing this out!

- I’m not religious and haven’t read the Bible so don’t attack me if I say smth improper about any of the sects of Christianity bc I’m using my preconceived and second hand knowledge abt it. if u think of smth pls comment and share ur thoughts w me I would love to be educated by another further respectfully ^^

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Trafalgar D. Water Law; Boy or Girl SO Preference?

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If you look at Flevance, they resemble a typical small Christian community, even if it isn’t explicitly stated. There were religious crosses, nuns, churches. There was most definitely a theme in Flevance’s religion about hope and the good in others, as the nun that Law sees says smth like, “There’s always a hand to help you.”

Flevance also had a high status of wealth (the whole diamond scheme) and the average cost of living/luxury of the average person was reasonably high. There vastly majority of the couple in Flevance were also probably traditionally monogamous, with one man and one woman.

I think if Law had grown up in Flevance his romantic interests would solely be focused on a female partner bc that would be the socially acceptable way and he wouldn’t view males in the perspective of a potential suitor. (Idk if this is recent interpretations of the Bible or not but it’s realistic to say that there would be stigmatism surrounding same sex couples in Flevance as most traditional believers of Christianity view same sex romantic relationships as ‘wrong ish’. At least where I live..)

However, the destruction of Flevance brought change to Law’s character and perception of love. Because of this and his loss of faith from this experience, I think adult pirate Law would be more willing to engage in a same sex relationship. (Would actually be a good writing moment made by Oda if it did happen imo but I digress)

I don’t ship LawLu, but I think Luffy is a real example of the type of person that could help Law heal and has aspects of what Law would need in a relationship. LawLu is good on a companionship/spiritual level imo but sexually/potentially romantically I do not see it at all being reciprocated by either Law or Luffy.

Just the fact someone like Luffy exists that had met Law is a good argument for Law being with a male, just not Luffy specifically.

Law’s significant other to me represents stability, safety, and humanity. This can manifest in people differently though so I don’t see him looking for something based on physicality.

Because of that I don’t see Law in canon having a preference between boy or girl for a partner. Perhaps a leaning towards female because that’s the traditional way of his hometown and in the One Piece world it seems like.

He’d need someone emotionally before he’d need them sexually imo, so if he found someone that worked for him and he was ready, that’s it no matter the gender.

Sexually he would probably be more attracted to females, and a lot of times sexual tension is mistaken for romantic tension but I don’t see Law acting upon either.

Hate to leave this discussion without giving u a definite answer anon but I just don’t think there is a definite answer yk.

My personal preference tho is him with a female because I see him falling for someone with a strong maternal presence. Yk little instincts and gestures they do towards him and the crew that sometimes make them sigh ‘okay mom’ while drawing out the ‘o’ in mom. Someone that reminds him of the feeling of safety and peace he felt as a kid in Flevance where his body wasn’t so tense all the time.

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Hope u liked reading this and it helped u form ur own opinion on who you prefer Law with !

Mwah 😽

[9trixieturner6]

Oh yeah no I get that enjis wasn’t a persona he was just a standoffish dick. I was saying if he had more knowledge in how to handle people or work a crowd he could have done that encounter wrong. And yeah in the future there may very well be a mistrust against rough and tumble heroes we don’t know, given how the biggest focus wasn’t even on what endeavor did to his family but more that he was related to a villain I can’t really say what the general audience reaction is gonna be in the future. Maybe they’ll just think bakugos rude.

Once again could be we don’t see what dropping is, does dropping mean wow he went from fourth to fifth or seventh to fifteenth or seventeen to twenty eight or to a hundred and ninth.

That one is a rough one since it is subjective, unless specifically told something like horikoshi saying yes X and Y were intentionally done and mean this you can take anything done in the story a lot of ways. And even if he does come out and says something like that nothing is stopping people from viewing it another way if they want to it’s one of the best things about art, it’s subjective so anyone can take it how they want.

As for not being brought up again that’s all how you wanna take it, author bias and just not showing what’s going on in the background or is the author showing it isn’t happening anymore. It’s in the tone of how it’s presented too, a lot of people call bakugo an angry Pomeranian lightheartedly cause horikoshi has been showing his personality more for comedic effect since the school festival arc. You can take that as just ignoring the problem or showing it’s not a problem anymore and just a gag. Nothing wrong with either view it’s just a matter of perspective.

Do you mean how he fails for his bad bedside manner? Cause yeah by that point that’s where his biggest weakness was, that’s why he failed it while kaminari and kirishima passed just by helping those two people.

Yeah that one is a mixed bag that falls into the shonen logic cycle. Since this is the main characters test it doesn’t fit the same mold as everyone else’s test. More than being a test against all might it was pretty much just an excuse to start building the bridge between them and honestly it could have been done at any time it didn’t need to be here.

Yeah all might even has that line of working together was a prerequisite not something special, but again that’s on the author giving the test special treatment cause it’s major characters. Just like with shotos and momos, it was more for their growth than to be a true test.

Oh for sure I one hundred percent get that, horikoshis writing falls into that weird space between show don’t tell and keeping the status quo. He likes to have these big moments that show growth or change and has characters point it out to say see this is a bullet point in their growth, instead of more slowly integrating it and letting it slow burn in the background. It’s like he does with deku and aoyama, we really don’t get any build up just all of a sudden they’re friends having this big bonding moment, then it’s completely gone and ignored till it needs to come up for some reason like the traitor plot.

What bothers me the most about Izuku's character is that it seems like he can't feel anything, like because he can't be angry with what happens to him, you know why he can't have negative feelings towards Bakugou? This admiration he has for the bomb boy is not normal and healthy, it reminds me of Stockholm Syndrome. Bakugou stans say that Izuku is boring, but when talking about this thing about him not being angry with Bakugou, they keep saying that we don't understand Izuku's character. What's your opinion? Am I exaggerating?

I don't think you're exaggerating. In fact, I think it's deliberate on Horikoshi's part.

I began to realize Izuku's character was regressing the minute I first came across this scene:

This is the only scene I can justify hating Izuku's character because it was such an out of pocket line coming from him. And it kind of stuck in my head for weeks because it felt so OOC. Like, Izuku of all characters pushing for Todoroki to forgive Endeavor? It made no sense to me.

But do you see how it pans to Bakugou?

To me, this is Horikoshi indirectly attempting to absolve Bakugou. Izuku's line here is trying to communicate that that's how he feels about Bakugou.

Similarly to All Might saying Izuku doesn't hold what Bakugou did against him, this is another piece of plot manipulation from Horikoshi. Bakugou's redemption is pushed through the words of others, not through his actions. Especially when it comes to how he treated Izuku.

If Izuku, at any point, was still upset or noticeably traumatized by Bakugou's actions, Bakugou couldn't have been reasonably redeemed. Because there would be no feasible reason to even have him around Izuku and the only reason Bakugou's even relevant is due to Horikoshi sticking him onto Izuku in every arc

[mozzygan]

the wall between us

redraw of this illustration series i made back in 2019. i'd say i've improved lol.

[captaincrazycreative]

I love that Celia went to the Jonah Magnus school of

"Giving vague and ominous hints towards your big mysterious twist backstory."

"Lets just say i have a...complicated immigration status."

GIRL YOU ARE NOT SUBTLE

[notbecauseofvictories]

More than anything in this world, I hate the fact that if you leave your apartment and go do things, it makes you a happier more interesting person. I know I make this exact text post every two or three months, I have done for literal years, and yet every. single. time. it surprises and frustrates delights frustrates delights makes me feel some sort of way.

[freakinator]

thinking about kab and the thing about her i think is she knows just enough to keep herself safe Generally but not enough to really predict what would happen should something more... complicated??? unforeseen??? idk whats the right word to use but something not covered by someones reputation and/or vids happen, believe it or not this also affects her view of clownpierce (we'll get to that)

for example, mapicc has a reputation for being an violent, angry, & impulsive guy and nothing else which makes sense but is incredibly surface level and something that only really works if you dont have a lot of experience working with him

another is reddoons, his betrayal after the base incident while shocking is not unforeseen but his reputation as being a guy whos seen as being a reasonable person whos fairly loyal to his team made it seem like something he wouldnt do even tho it absolutely is

regarding how it affects her view of clown, since he isnt perfectly aligned with his reputation she instead pivots in the complete opposite direction and forgiving basically every crime he does even tho hes something much more mild and complicated than either his reputation or her view of him will ever be (think madonna-whore complex which is especially obvious when it comes to kabs vs woogies view of him)

another side effect of this Just Enough amount of knowledge aside from being blinded by her own expectations is that it frustrates ppl who think shes oversimplificating things (like me and seemingly several other tumblr users as well) especially when she claims that shes objectively correct and the smartest in the room at any given moment

how this roughness in her analysis affects her in the server still has yet to be fully seen but we do still have at least a couple months until the end but 'til then shes just gonna keep stumbling as more and more complicated situations pop up as is typical in lifesteal to happen and eventually shes gonna have to learn to adapt or else she'll be suffering the consequences one way or another

[jupitermelichios]

so you've probably seen the news that riverdale ended with the main 4 in an actual, canonical, poly relationship

and that's amazing for a bunch of reasons, including the fact that the number of canon poly relationships on tv are miniscule and also it brings the number of canonically straight main cast members down to 1. Ethel is legitimately the show's token straight representation. love that for her

but to get the full impact of that news, you really also need to know that in order for the polycule to form:

Jughead's transdimensional angel girlfriend has to destroy multiple other timelines to create a new stable timeline for the polycule to live in. timelines destroyed include the one where jughead is immortal and trapped forever in a bunker underneath riverdale, and one where tony and fangs's magical timetravelling gay baby is fighting an evil wizard for control of a train full of evil ghosts

Jughead's magical transdimensional angel girlfriend then returns to the newly created main timeline, and restores the main cast's memories of all the other timelines, which she does by forcing them to watch the show riverdale. That is not a joke or a metaphor she even goes to the trouble to bring a colour tv back to the 1950s so they can watch in colour, except for Clay and Julian, because they did not exist in any of the previous timelines and they're sad about it and refuse to watch a show they're not in.

(Well, Julian technically did exist in the original timeline, but only as a ghost possessing a haunted doll, which doesn't really count)

(Also for some reason as well as the main cast, she makes dilton doily watch it, despite his only contributions to the show being a) dying as a human sacrifice in the og timeline, b) trying to blow up the planet and then dying because of it in the rivervale timeline, and c) gay kevin telling people he has the biggest dick in the 1950s tlmeline, and honestly, I feel like it would be kinder to just not show him any of that)

(ethel does not get to watch riverdale, because she did the only sensible thing any riverdale character has ever done and fucked off to a normal town to have an actual life, because as well as being the token straight character, she's also the token sane one)

After watching Riverdale, all of the main cast except Jughead and Betty decide it sucks and they hate it, and ask tabby to rewipe their memories and only give them the cute bits and not all the serial killers and shit, because the writers have run out of time for subtle metaphors and they weren't sure the audience had fully grasped that the entirely last season of the show is a weird metacommentary on the criticisms people have of the show riverdale so they're just straight up going to have archie andrews look straight to camera and say that the show should have been more like the comics

also I have no idea how only showing them the happy bits works, because that removes 90% of the entire plot so I assume they just have a bunch of completely out of context sex scenes and meals at the diner and nothing else. possibly also some musical numbers, idk if I'd count those as happy memories personally

Betty and Jug chose to keep their memories of the Gargoyle King and Betty's 2 long-lost secret gay serial killer brothers because they're edgy (and also because the writers are annoyed at all the people who say the show should be more like the comics, so they have the smartest characters say they liked the actually and everyone else is being a wimp about all the serial killers, because again, we have run out of time for subtlety)

Having had his memories restored, Jug's like "oh hi tabitha, my secret transdimensional angel girlfriend, I haven't seen you for months, I've really missed you. I'm so glad you're you're back. i love you so much"

And she responds by telling him that she'd chosen to write herself out of the timeline when she fixed in, and she has to return to the great big diner in the sky (not a joke, heaven is a diner in the riverdale universe and, it is heavily implied, also in our universe, so that's something to look forward to), so she freezes time halfway through kissing him and just nopes out of time and space. which is also how I would handle all break ups if I had angel powers tbh

since jug is now single, and all 4 of them just got multiple timeline's worth of fucking one another mainlined straight into their brains, the main 4 decide to all start dating

(they are probably inspired to do this in part by betty's sister, who in the new timeline is a burlesque performer who's stage name is Polly Amorous)

As far as I can tell from the last episode, they tell gay kevin about this and literally no one else, for reasons known only to themselves

also genuinely can't tell if this was the writers wanting a poly relationship for them, or if they just couldn't be bothered with the internet slap fights that would have followed them picking individual monogomous ships to be endgame

they also, hilariously, refuse to say that archie and jug are dating, I assume due to network restrictions, despite archie being canonically bi at this point, so betty's just like 'well sometimes I go to veronica's and we fuck, and the boys do... something we're not going to talk about'

the final episode of the show is a flash forward where as a now old betty is dying, jughead's ghost shows her memories of their teens, in which it's reveal that she has just straight up forgotten about being in a poly relationship

literally she looks at her teen self and is like "wow, I seem weirdly close to veroica jughead and archie" and Jug's ghost has to be like "because we were dating. how do you not remember that we were dating? what the hell? did I mean nothing to you?!"

also old betty specifically seeks out reggie and is like "hey you know how me and you dated, and you and veronica were together for years in multiple timelines, and you archie keep declaring your undying love for one another and nearly fucking, well we're all dating and we specifically decided not to invite you, sucks to be you" and walks away and I have no idea why she did it. justice for reggie

anyway RIP to the greatest television show ever made, it was so gay and so deranged and so meta, and there really will never be anything quite like it again

[ncrthernl1ghts]

live footage of me scrolling through the a.colyte tags and seeing the coldest takes known to man this this morning

[caeslxys]

"I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?"

good meta op, but i'm slightly confused about this part. are you talking of the fandom here or the narrative? because from what i've seen and remember, imogen has definitely been scolded or villanized as you say, by the fandom, but has she been treated that way by the hells or anyone else? i guess keyleth comes to mind, but apart from that, the hells seemed supportive of her wanting to reach out and reconcile with her mom.

Prefacing what i'm sure will be an overly long mostly tangent: you obviously do not have to agree with my interpretations of any scene I'm about to bring up and if you don't sick cool please do not make it a problem

A bit of both, to be honest! The use of the word “villainizing” was definitely more geared toward fandom response, but Imogen has absolutely been scolded—or maybe shamed is the better word—in campaign several times! Yes by Keyleth threatening her in front of them all just for being ruidusborn and related to Liliana, but also by Orym in particular several times.

Which is not to say that Orym doesn’t want Imogen to save her mother—obviously he does!—but it has definitely been more than once that he has shut down her grief and her processing her relationship with her mother by inserting his own grief over it, notably in the immediate aftermath of Ruidus and convo with Liliana.

(Which, yes, he immediately apologized for, but I do find it interesting that Imogen got shit from fandom for her response in the scene I'm about to bring up in episode 49 for EVER but no one was allowed to criticize Orym's response as impulsive and insensitive there and he notably was not disassociating or being actively manipulated. Just think it's interesting!)

And while it wasn’t nearly so livid in it’s delivery, that moment in 49 where she was just trying to process seeing her mother and speaking with her and being presented with the idea of peace for the first time in her life was delivered (though you could argue this wasn’t his intent; honestly I don’t think it was, but—) in a way that immediately had her plummeting into self-deprecating apologies for being effectively manipulated. I’ve actually written a bit before about how I find the youth of his grief making it more volatile in comparison to the rest of the hells’ grief deeply compelling as a thematic beat!

That’s a bit of a tangent just bc I find specifically the dynamic between Orym/Imogen/Liliana to be a very compelling one lmao but even in the Uthodurn arc with Chetney insight checking her to see if she was telling the truth or not about her intentions with her mother. Or Fearne bringing up to Orym (also back in 49) the question of what they planned to do with/to her if she turned. It's not that I think, necessarily, that those were ill intentioned but they were coming from a place of, at best, mistrust specifically because of her connection to Liliana. Really only Ashton and Laudna—and FCG, funnily enough—have not in some way taken her grief and yearning and turned against her when it comes to placing their trust in her (whether she was aware they did so or not), which of course speaks to a certain interpretation they had of her character at the time.

And, also, this has obviously since changed and most of them mostly understand where she’s coming from now—especially Orym!—but it doesn’t make the fact that it happened any less true!

[cardentist]

between jay marble hornets and jon magnus archives I think a lot of people really do just take offense to characters in horror movies being People and not action heroes

paranoia and fear are considered character flaws (stupidity or cowardice or a lack of humanity). they're supposed to strong enough to survive but anything they do for survival has to be Socially Acceptable.

you can't have a horror protagonist be Smart without also being paranoid, otherwise it's not good horror. asking a character to always make the right decisions and always know when they're in danger but Also holding them accountable when they're distrustful of the characters that You know are safe is silly.

sometimes not being crazy murdered means doing a little stalking. wanting to live when you know For Sure that there's someone (or something) out there that is completely willing to kill you means choosing Survival over social convention

[gender-euphowrya]

the thing about the michael bay skibidi movie is it's gonna be such a huge fucking flop gkfjfkd

[sincetheducksleft]

"Proshai, Livushka": Arcs or the lack thereof as a major theme of The Sopranos

One thing that's straight up insane about The Sopranos is how a narrative show can expose the insufficiency of narrative to explain our lives. I think Christopher's story is probably the most obvious example, but you see it with every single character, including Tony.

In "Proshai, Livushka" we see Tony rewatching an old mobster movie again and again, and we know that he saw the whole story every time, but the piece of the story that we get to see and our corresponding understanding of Tony's character changes over the course of the episode.

Meaning that Tony's arc in this episode, or the overall arc of the episode, may be less a true transformation of Tony himself than a transformation of what the audience knows of him. In fact, we are the ones who are changed by this episode, and from Tony's perspective he has no arc at all.

Which is sort of perfect, because here if there ever was one is a story with no "arc."

An "arc" (in the context of screenwriting, which is the context in which it was introduced to this show) is what gives meaning to the whole story. It's the narrative satisfaction, the profound feeling, the purpose, the message, the thing that makes the movie feel like it amounted to something and it was worth your time.

In the wake of his grief, Tony isn't obsessed with just any mobster movie, he's obsessed with a movie full of broad stereotypes and simple messages that amounts to a cliched, simplistic mother figure losing her son. It's the tragedy of a mother's profound grief that gives tragedy to the death of the son and makes the movie worth your time.

It's a contrast to Livia's obsession with mothers who kill their children, and its an extension of his comment to Melfi that he deserves to die. And you realize when the son character dies that Tony is wishing it was him in the coffin. Not because he's suicidal, but because he's just that desperate for a sense of meaning. For a story that has an arc.

And then you realize in the final scene, when it's not the mother's grief but the mother's love that brings him to tears, that he knows it wouldn't work. His death would have no arc, no profundity, no purpose. Because Livia never loved him the way a mother figure should.

His story isn't written in broad caricatures and it has no divine mother's love at the center of it giving divinity and meaning to everything else. Losing himself in a movie is the closest he'll ever get to putting some kind of arc or meaning or sense to that relationship.

And if real life has no arc, then at what point does it become worth your time? Or, like Livia and Robert Frost said, is every moment of our lives surrounded and defined only by the big nothing?