#that out of all the characters involved in the scene

[hayatheauthor]

10 Lethal Injuries to Add Pain to Your Writing

Prev: Non-Lethal Injury Ideas

Need some creative ways to give your characters a real fight for survival? Here are 10 ideas: 

1. Punctured Artery

A puncture to major arteries like the femoral artery (thigh), the carotid artery (neck), or radial artery (arm) can cause rapid blood loss. It starts off with a sharp pain, weakness, lightheadedness and eventually can lead to hypovolemic shock. Requires urgent medical attention.

2. Punctured Eye Socket

A punctured eye socket will cause blood vessel damage leading to internal bleeding. I would use this for non-combat characters trying to get away. The eyes are an easy weak spot + you don’t need much strength to cause a critical injury/puncture. Also good for a protag's tragic backstory.

3. Torn Achilles Tendon

A torn Achilles tendon can result in severe bleeding if nearby arteries or veins are damaged. Your character will be forced to hobble away as pain causes their foot to swell and bruise. Plus, you can easily adjust the pain levels per your scene, from swift cuts to explosive jumps. 

4. Neck Hyperextension (Hangman’s Fracture)

This injury will fracture the C2 vertebra and can lead to spinal cord damage, paralysis or sudden death. This isn’t a light injury your character can come back from, so I would suggest using it only when you’re aiming for death.

5. Pierced Lung

A punctured lung will lead to a pneumothorax where air escapes into the chest cavity, collapsing the lung. Characters with this injury may have difficulty breathing, chest pain, and a cough that produces frothy blood (all the dramatics you need). 

6. Severe Concussion

A severe concussion will lead to confusion, vomiting, immobility and memory loss. More dangerously, brain swelling, internal bleeding and damaged brain tissue. Plus, it has a long recovery period. 

7. Shattered Pelvis

If you need something severe that restricts mobility but also causes severe pain then this is perfect! Involves signs of shock, internal bleeding, numbness, swelling—really a lot of things. Can occur if OC falls from a high place, hit repeatedly, car accident, etc.  

8. Internal Bleeding from Blunt Force Trauma

I like using this when you need something subtle since it doesn't show immediate symptoms. Over time, they will feel weak, cold, nauseous, and intense pain. Perfect if you want that 'everyone made it out then suddenly someone collapses' moment. 

9. Intestinal Perforation

A sharp blow or penetrating wound can cause a tear in the intestines, leaking bacteria into the body cavity, then peritonitis. It can go from small stomach pain to near death pretty quickly. Without prompt medical care, sepsis can set in, causing organ failure and death.

10. Cut to the Jugular

If you need something more visibly dramatic then go with the classic cut to the jugular. A warm rush of blood will pour out, and blood would spurt with every heartbeat. Causes panic, choking, and internal bleeding too. All the blood and gore you need. 

This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. Remember the worse the injury the more likely your character is to die (so be realistic folks). Happy writing! :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[katerinadeannika]

Notes after watching the full Behind the Scenes of Agatha All Along posted on Nov 13th 2024:

There was no way they could have written an ending for Agatha that did not involve death.

I have been saying this to all the naysayers from the get-go, to all the people making posts about being done or fed up or angry about the ending, or how it makes no sense, or how they should have could have done something different and been fine story wise. The behind the scenes confirmed my point.

The main through line for the entire show was the theme of Death; of Agatha never being able to escape it. Where she both loves and hates death and Death, the concept and the woman. Where she's been running from Death for centuries, but Death came for her son and was always coming for her the second she slowed down.

Every completed trial meant someone would die. Billy created the road based off the rumors and witch lore. And the only rumors out in the witch world were that someone knew someone else's aunt/relative/friend who had undertaken the road and never returned. In reality, that was Agatha's doing. But to Billy, it meant that somehow, the Road took its toll on them. And when the coven traveled it, the Road exacted the same price that Billy expected it to. Death or near death at every trial.

The first trial killed Sharon. The second gave Alice her power back and then Billy almost died (and probably would have if Agatha hadn't pleaded with Rio on his behalf, if the coven hadn't worked together, and if Billy hadn't made the Road with his own powers. Some interesting combo of the all the above). The third trial killed Alice who was trying to save Agatha. And the fourth trial killed Lilia and the Salem Seven.

Jac said she intentionally wrote it where Death was a very real thing that everyone in the show had to come to terms with.

And for Jen Kale, her gift was already dead, and she was supposed to resurrect it and take her own power back. She escaped because after Agatha's trial, the fifth one, someone DID die.

And this time it was Agatha.

Agatha had avoided it every other time by either being saved, or having the rest of the coven as fodder for death.

But in the end, when she could have left once again, she must decide who has to pay the final price for her invention of the Road. The Road that she has used to kill and lure countless witches to their doom over the past few centuries.

She can save the boy she has come to love and mentor after the loss of her son. Or, she can leave once again. And so she makes the final moment of self sacrifice, and chooses the final victim of the Road: Herself

She has been running from Death for centuries.

For Agatha's story to have a thematic ending that wasn't cheap or manufactured, she had to stay true to that through-line. That's how writing works. You find your themes. You write about and explore them. And you have a final consequence that determines if it's a positive arc or a negative arc for your main character.

They chose for Agatha to have a positive arc. A moment of final growth. To end the show on her finally making the right decision, even at the cost of the life she's sustained through countless centuries and via countless deaths.

There was no way the show could have ended any other way.

PS: There is no excuse to hate on it. At all.

It doesn't meet any of the criteria for the 'Bury your gays' trope. It doesn't even end Agatha’s story. But it does provide expertly written, well thought out, thematically poignant endings for all the characters in a way that satisfies their personal journey—throughout the show and the centuries.

And I am so glad they made it, and that it ended how it did. I wouldn’t want it any other way. As a writer. As an editor. As a viewer. And as a lesbian.

Agatha All Along is a masterpiece in TV writing. And I can’t wait for more.

PSS: Watch the Behind the Scenes on youtube that Marvel just posted. It’s super good and includes all sorts of info to help with fic writing and just general understanding of the writing and show creation. Also lots of Kathryn Hahn and Aubrey Plaza in interviews!

TLDR: Quit complaining and griping about the ending. It was written beautifully. The reason you got so invested is because of all the heavy death elements throughout that made things mean something. Embrace it. Or find media where you were the target audience. Cause if you couldn’t handle something well written that ends like this, you weren’t the target audience. And that’s okay. But move on before you keep griping and causing issues with the community and the cast.

[thenationofzaun]

Arcane's Music Videos and Storytelling

Many have complained about Arcane Season 2 overusing "music videos" compared to Season 1 and I agree. Two in particular - "Sucker" in episode 2 and "Hellfire" in episode 3 - are particularly bothersome because instead of being supplementary to the storytelling, they replace the storytelling. Entire plotlines are told through these music videos and barely expanded upon further through writing. Despite both depicting very major events that are incredibly impactful for both Zaun and the characters involved.

First, the Chembarons' gang war. Shown entirely through the "Sucker" sequence, dialogueless. Later, there are only a few brief written scenes related to it (Smeech heading to Margot and the meeting table discussion, neither of which actually depict the war). Smeech is later killed and the gang war story is abandoned by episode 3. This would have been such a major event for Zaunites. Not just for major characters, but for everyone who has the misfortune to live in that city. If they had actually written this subplot out, the worldbuilding could have been expanded upon and given much more depth, these Chembarons with excellent designs could have been fleshed out and not felt like a waste of characters, and we would have gotten more insight into the lives of the average joes in Zaun. It would have been a natural continuation of the Chembarons' introduction in Season 1 too. This subplot could have easily taken up the entirety of Act 1, but because of too many competing subplots, it had to be cut short and summarized by the song.

Next, Caitlyn's squad releasing The Grey into Zaun. Shown entirely through the "Hellfire" sequence, also dialogueless. The impact of this action is only briefly mentioned later through dialogue, when really this would have had a huge effect on many people living in Zaun. If they had written this entire sequence out regularly, we could have had character building for the three new enforcers as they interact with Vi and Cait while moving through Zaun. We need this, as two of them don't even have names yet. One doesn't have any dialogue yet. We could have seen in detail the impact of their actions on Zaun, rather than only being told. We could have had much needed characterization for Vi. What was her reaction to this plan when it was first conceived? Did she oppose it initially and have to be convinced?

I want to experience these events as a story, not as an AMV. It's admirable how artistic and beautifully made these sequences are, but they are the epitome of "style over substance." In my opinion, rather than being at the beginning of the episodes, these sequences could have worked as end credits. They are summaries of subplots after all. The episodes themselves could have these storylines written out regularly, and then the end credits have beautiful imagery summarizing what happened.

They could have taken a page out of Chainsaw Man's book. Each episode of Chainsaw Man had a highly stylized end credits sequence, all with different animation styles, with imagery of that particular episode's plot. The episodes themselves have normal written storytelling. This way you can flex your artistry as much as you want, without sacrificing the writing. Arcane's end credits are just a black screen with text. If anything could have been replaced with stylized visuals and have nothing of value lost, it was that.

[justin-chapmanswers]

hi Justin! just want to say I ADORE ii and it's one of my favourite shows out there; actually inspired me to start my own!

which is a lame segue into my question- do you have any advice for someone wanting to make their own show?

That's so exciting!! Art makes art!

Oh golly uhhhh. There's so so much to say in so many different departments. So. I'll keep it broad and of course anyone can ask more specific questions haha.

My go-to advice tends to be for creators to start as small as possible early on. Even if you aspire to create projects that are huge-in-scale down the line. So much about becoming a great artist involves moving through the stages of your art (whatever type it may be!) from start-to-finish, every step of the process, over and over and over again. So say in show creation, idk if you plan to be hands-on in every department or if you have a lot of help, but that could mean breaking down stories and outlining, writing, recording, constructing audio scenes and boarding, character and prop and background design, animating, music assembly, mixing, finalizing and editing, etc, over and over again. Obviously not every step may be involved in your project depending on what your goal is, but whatever it is that you do, do it sooooooooo many times.

While there's nothing inherently wrong with jumping in and making your first project something say, movie-length, or something immensely complex in scope, I do find it can, for many (not all) be limiting when it comes to learning a lot of fundamental building-blocks in craft. As well, I see a lot of people get lost in an overwhelming project, trying to focus on quality>quantity right out of the gate. But spending the majority of your time just on adding some extra polish as opposed to running through the whole process again and again can only do so much for you. Obviously, a mentality of quality>quantity is great once you have a strong baseline understanding of production. But again, I think it's a huge plus to work on shorts and teeny-projects to start.

Since the above is pretty dry, I'll add an additional fun one. I've found that a lot of newer artists will toss away the concepts that make them joyous in hopes that they can instead create something that fits an objective perception of "professional." Nothing wrong with that, but I strongly advise artists of all levels of experience to toss everything they've love about the world and other media into their work. Their favorite genres and tropes, the stupid inside jokes that make them light up with their friends that they can invite the audience in-on, adaptations of stories that have made them cry. Create the things YOU love to experience. It's fine to let go of what you think the audience wants. Cause that's not easily guessable. But what YOU enjoy is something certain to you. It's sorta like how they say, it's better to go to the gym and do an suboptimal-but-fun workout that keeps you coming every day than a perfect workout that leads you to quitting. Share your joy with the world, and someone will resonate!

Be silly, be cringe, have fun!

[felassan]

Paste Magazine: 'Dragon Age: The Veilguard‘s Creative Director Talks Restoring the Lore'

Rest of post under cut due to length and possible spoilers.

"“I was the one cinematic person who always snuck their way into all the writing meetings because I love storytelling,” [John] Epler tells Paste. “I love narrative, and they wanted me to be Narrative Director on the franchise.” When the Creative Director position opened up later on, Epler was primed for the role thanks to his experience across multiple aspects of game design.  ‘They wanted someone who had a good relationship with the people on the team, who could work across disciplines, and who knew the story,” Epler explains. “You know, knew the franchise and its storytelling. Because I think for Dragon Age in particular, narrative is such a core part of the franchise’s identity. They wanted someone who could operate in that space, but also knew how to work with gameplay, work with design, work with art, and that was something that, with both QA and cinematics, I had learned to do. I think just a history of being always willing to do whatever was necessary and also having good relationships with most people on the team helped me out.” As creative director on Veilguard, Epler worked with a team that fluctuated in size from a dozen to several dozen depending on which phase of development it was in. And given Epler’s history with cinematic design, that team worked closely with narrative to craft the kind of epic story Dragon Age and Bioware are known for. “Storytelling is huge, probably the biggest part of Dragon Age: The Veilguard,” Epler reminds us."

---

"Paste: When you’re bringing back a series after a decade, how do you decide what threads to pick back up on, which characters to use, which lore to focus on, etc.? John Epler: It is going to sound very cliche, but it is true: It honestly comes as we build it. We knew a couple of core parts of the story. From the end of Trespasser, for good or for ill, we pretty much determined where we were going and what we were going to be doing. It was about the chase, the search for Solas. Solas had been very clear in his ambitions to end the world at the end of Trespasser. And, you know, at the end of the very final scene of Trespasser, we stabbed a knife, a dagger, into the map on Tevinter. So we kind of knew we wanted to go to Tevinter. We knew we wanted to chase Solas. Now that said, as the story started being constructed, and we discovered, okay, where else do we want to go, what characters make the most sense in this story, that kind of determines what lore threads we want to start pulling on. So without getting too much into spoilers, obviously, Scout Harding has a story that’s very focused on the dwarves and their history; Shery Chee started writing Harden’s ark, and realized, okay, this is actually something we’re going to want to dive into more deeply. Belarra’s story is very focused on the ancient elves, not just the gods, but who they were. So that became a lore thread we wanted to pull on.  As far as returning characters for us, it really does come down to who has the most to say about what’s going on in the world. Who is the most likely to be involved in this particular story. And I think, most importantly, this is something that we always talk about, is who has more to say in their story, whose story isn’t over. Because one of the things that I don’t necessarily want to do, I don’t want to bring back a character just so they show up and then disappear. That doesn’t necessarily do that character justice, but it also contributes to what you do see in some franchises, which is a sense of small world syndrome, where there’s literally 30 or 40 important people in this whole world, and they all somehow know each other.  But again, you know, you see Morrigan in the in the previews, and as we’re writing the stories like, well, of course, Morrigan, who is the daughter of Flemeth, who was at least an aspect of the goddess Mythal, one of the ancient elven gods, she probably has something to say or something to do in a story about the last two elven gods escaping. So, yeah, it comes down to who has something interesting to say, who has something more to say in their story, and who do we feel makes the most sense for where we’re going and what we’re doing."

"Paste: Sticking to the long gap between the last two games, what are the challenges in trying to make a satisfying continuation of that story without making it impenetrable for new players who maybe weren’t old enough to have really played Dragon Age in the past? John Epler: Well, I think it was funny because, on the one hand, yeah, the challenge is, you’re trying to tell another chapter of a story that’s been dormant for at this point nearly a decade. But it’s funny because I do think that actually ends up working to our benefit. For the second question, we cannot assume anything about what players remember. Because even people who were playing Origins, were playing Inquisition, all the DLC, they may not have done so for quite some time. And obviously some players are going to like—I mean, I see it all on social media, people doing their final Inquisition playthrough before Veilguard, which is great, but you have to assume that people don’t remember everything that happened. You have to re-onboard them back to the world, back to the lore, and you’re also bringing in new players. I think honestly, for Veilguard, one of the things that’s worked the most to our benefit is that this is a continuation of that story, but the context changes so dramatically within the first hour. You know you’re going after Solas, you know the first mission. We’ve always said we wanted it to feel like the last mission of a different game. But then you get to him, the ritual crumbles, the gods come out. And now, even if you’ve been following this story up to this point, for everyone, it’s just a sharp left turn. Solas is no longer the central antagonist of this at this moment, it’s now these two new figures, which means Rook, you know, you as a player character, but also the player themselves… You need to bring them back into this story, because nobody, including the people who’ve been playing forever, know what’s going on at this point. So it’s actually a really great way to do the first couple of hours, because you can’t assume everyone is coming into it with the same level of grounding in the story itself. Some people are gonna have more lore. And one of the things we do try to do is, anytime we introduce a proper lore term, I use Venatori as an example, we always try to pair it with a more commonly understood phrase. So “Venatori” and “cultists” always go together in the first few hours of the game. “Evanuris” and “elven gods” always go together in the first few hours of the game, but done in a way that doesn’t feel like the game is like, “Hey, don’t worry, we’re going to tell you everything.” It feels natural the way the people in the world talk about it. So you encounter Strike and Irelin, two of the Veil Jumpers, early on, and they use the terms interchangeably in a way that allows players who don’t know as much about the world to get what all these things mean. Like I said, it’s just the context of the stories. The story shifts so dramatically in those first couple hours that everyone is catching up, even the characters, even, you know, Harding is still trying to figure out what the heck is going on."

"Paste: Speaking of what’s going on, in Veilguard we have a new character as the protagonist, Rook. What’s happening with the Inquisitor and the protagonists from the first two games? What are they doing in this world now, assuming they survived their games? John Epler: One of our storytelling philosophies is, for us, especially when it comes to importing, is unless we explicitly say so, assume that those characters are still around. So what we do, because this is the story of Solas and the Inquisitor has a very direct tie to Solas, the Inquisitor does show up in Veilguard. I’m not going to tune into spoilers, or what the role is, but it would have been very strange for us to tell the story of Solas without having the Inquisitor involved, because, again, they were part of that story. As to the previous two protagonists, they’re still around; that said, their personal arcs, their stories that they were part of in their games, aren’t as directly tied into this story, either narratively or geographically. We’re now in the north of Thedas. So the Hero of Ferelden, who you know, if your hero survived, one of the things we talked about is they were looking for a cure to the Calling. They’re not going to necessarily be involved in this because they weren’t tied to the elven gods, and the blight is still present elsewhere. And Hawke, depending on what you did in Inquisition, may be deep in the Fade, or they may have gone to work with the Wardens and also engage with the Hero of Ferelden at some point. So we’re not going to say much about them because they’re not directly related to the story, but we want players to understand the fact that we’re not saying anything about them because they’re still alive. They’re still doing something."

"Paste: A lot has changed in the world of games and game design in the last decade. How has the creative process of creating a Dragon Age like Veilguard changed over that time? How was making Veilguard different than Inquisition? John Epler: I’d say the biggest change for me has been leaning much more heavily into pre-production on everything. So one of the things that we’d done on Inquisition, I was a cinematic designer on it, we didn’t really have the sense of storyboarding, of previsualization the way we do now. But with Veilguard, one of the things we did very early on is we built the entire story in Twine so we could play through and see the interaction points, see the word branch, and get the sense of how it was flowing, how it was coming together. Beyond that, very heavy use of previsualization, whether storyboards or actual white box, in-engine—or, I say “in-engine,” but, you know, in Maya—models, moving together, figuring out how these shots work. But I mean, ultimately, a lot of the same processes are in use now that we did then. Writing does peer reviews, they still do the same peer reviews. Take your work, you put it in front of the group, and you basically say tear it apart. Let me know what works, what doesn’t work. But I do think the other thing that’s been a great change since Inquisition is there’s a lot more sense of… if you’re building a level, you’re not just bringing in the level designers and level artists, you’re bringing in the gameplay people, you’re bringing in writing, you’re bringing in, you know, all these different groups to kind of build the feel, build the shape. Not to say Inquisition wasn’t collaborative, but I will say, as someone who worked on it, I felt much more like each pod was kind of an entity onto itself, you know, doing this thing, but not really touching the other parts of the game. In Veilguard, we very much wanted people to understand how their work fit into the whole that we were building. So there was a lot more sense of collaboration. And then, you know, more practically, COVID happened while we were making this game and brought work-from-home, remote work in general. I’m doing this interview from my basement right now, but in general, people are working more distributedly, so there becomes a much higher premium on communication. And like, we use Slack pretty extensively, and the sense of like, talking to people as much as you need to, as much as you can communicate broadly, and information sharing, I think, has become a much bigger part of it."

"Paste: So having the different departments less siloed, like it used to be, how has that impacted the day-to-day experience for a Bioware employee. Are they working more or less hours now that things are more collaborative? John Epler: I think it depends on who you are. And, I mean, I’d say generally less but again, it depends. I will say for myself, I have difficulty because of work-from-home. And this is a personal thing. I don’t always have the best separation between work and life because sometimes it’ll be like, nine o’clock at night and you’ll be like, oh, you know what? I just had this really great idea, I’m going to hop on and do something about it. That used to mean driving back to the office. So I will say now I’m not in the office, which is great. For me, one of the greatest things about this has been, I have a personal rule of I don’t ever do work between the time my kids come home and when they go to bed, which means I get to be fully involved as a parent. But then, like I said, 9:30 comes along [and the kids are in bed], and, you know, I think because I’m creative director, it’s a little bit different. I gotta jump in and be like, oh, I want to do this. So I think, you know, it depends on the person. But I think what it’s done is, in general, allowed a lot more freedom in defining your hours. And we do have some people who are not morning people, so maybe they don’t get up and jump on as early, but then I’ll see them later at night, and they’re doing the work that they would have done. And I think that freedom for me has been, and I think I can speak for a lot of people, has been probably the best part of how things have changed."

"Paste: So something else that’s changed in games over the last decade, I guess it really became standard right before Inquisition came out, and it’s something that’s been a constant problem for many people who are creatives in many different mediums. But some of the fans and fan accounts online and how they react to games and designers and games media, starting with what they call GamerGate. What are your thoughts on that type of fan interaction and how has it impacted the Veilguard team? John Epler: Anytime you get fan feedback, the question I always ask is, what is it that they’re actually saying? And, you know, sometimes it is literally what’s coming out, what they’re typing. But a lot of times, from whatever group it’s from, there’s a sense that they’re speaking to something deeper, something that’s, you know… I think ultimately, for me, it comes down to understanding and being confident in your vision which means you take the fan feedback, you can look at it, you can decide what you do or don’t do with it. But one of the most—I don’t want to say challenging, but one of, I think, the easiest traps to fall into is a feeling that you need to be, “oh God, they don’t like this, and they don’t like this, change this, change this.” And I think there’s a sense of, if you have a vision that you’re comfortable with, are confident in, you continue to stick with that vision, you can make make adjustments, make tweaks based on what people get excited or don’t get excited about. But I think the other side of it is, when you’re releasing news, you’re doing press events, you’re talking about the game, you’re only giving people a small slice and a decision that may, for them, like, “I cannot believe that, why would they do this,” makes a lot more sense when you know the context of the decision as a whole. And I’ll say it for myself, one of the bigger examples of this was when the Yakuza series went from action to JRPG, turn based RPG, and I’m like, “Oh, this is so weird. I don’t know. I don’t know how I feel about this. You know, this feels like a very strange shift.” When I played the game, like, “oh yeah, holy smokes, this makes so much sense.” They made it make sense narratively. They made it make sense from the gameplay perspective. So I always try to remind myself, like we know the game as a whole. We know all the pieces and how they fit together. When you get that feedback again, you can look at it. Some feedback is obviously better than others. Some feedback is more, you know, is more interesting, and more does more for us than others. But again, it comes down to know the game you’re building, be confident in the game you’re building, and don’t try to design by committee, because ultimately, everyone has a different thing that they want out of the game, and a lot of people, even themselves, will have two very contradictory things that they want out of a game. So you have to be careful not to overreact and water down what you’re building into something that I would describe as, you know, mushy. You don’t ever want to be in the mushy middle. You want to make a strong statement with your game and how your vision evolves, and stick with that."

"Paste: Where do you hope to see Dragon Age go from here? John Epler: Honestly, I love telling stories in this world, and I think one of the fun things about the ending of this game and some of the seeds that it sows for the future is the sense that everything you thought you knew, maybe you weren’t as right as you thought you were. And that stuff like using the unreliable narrator. It’s fun to be able to take that and apply it to things that you as a player experienced, and then see that there’s an additional layer. Context that you didn’t have at the time that now throws into questions some of what’s going on. So again, I’m trying to be as vague as possible to avoid spoilers. But I do like the idea of—because one of the things, the other side of it is Thedas is one continent in this world. There’s still a whole other world out there. And I think, you know, for myself, I kind of want to know what’s out there. I kind of want to know what’s going on in a world where, over the last 15 years, Thedas has almost ended the world three times by themselves. If you’re from a different continent, how are you feeling about that? I’m gonna guess, probably not great. So I think there’s a lot of fun stories to tell there. We haven’t said much about the rest of this world. So there’s just this giant blank canvas for us to start playing in, which I think is, for me, the most exciting thing about moving forward with this franchise."

[source]

[mimomentomori]

Thoughts/Theories for Arcane Season 2 Act 2: Jayvik centered

Potential spoilers so read under the cut if you've watched Act 1!

To recap, at the end of Act 1 we see Jayce, Heimer and Ekko all get messed around with by the Wild Rune, causing anything linked to the Arcane to glitch out and malfunction. Based on the visuals and what we know about the characters it's likely those three will be scattered across time and space to different degrees;

Ekko will be gone long enough to be considered dead by the Firelights but return with his time powers to deal with the final confrontation with Noxus.

Heimer may be tossed back in time to confront his past trauma and be key in getting he and Ekko back to their correct time.

Jayce... He's gonna have the hardest time. He attacked the Wild Rune with the hammer which caused a massive reaction, so as a result he may be the one separated and lost in the Arcane dimension the longest. Based on the new Arcane Survivor Skin preview and the sneak peaks we got in both the newest teaser for Act 2, he'll most likely be stuck in this dimension for an undetermined amount of time, enough that it will affect his hammer directly and fuse the arcane shard in his cuff to his skin. The question is, how does he get out?

I think Viktor will be the key to his escape. Viktor, as we saw in his last scene in Act 1, is now inherently connected to the Arcane and by extension the Void given that he was fused with the Shimmer-tainted Hexcore. His continued use of the Arcane to heal his new followers will continue to destabilise the barrier between the realm of the Arcane and the material plane, but it could also potentially save Jayce.

If we're sticking with the Jesus/religious leader angle, Viktor was already shown to be having visions since he first coughed blood down into the matrix leading to the Hexcore's creation. After being fused with the Hexcore and by extension granted direct connection to the Arcane, he's been shown to be guided by 'Sky,' or at least a memory/fraction of her that now currently exists within the Hexcore and the Arcane.

My theory is, the more he settles into his new role and newfound connection to the Arcane, I think he'll start having visions of Jayce in the Arcane dimension and endeavour to get him out. While 'affection kept them together,' I think it's more than that now. They built hextech and the gates together, and with Jayce now directly affected and trapped by the Arcane they have a mystic connection to each other through the Hexcore. Despite their abrupt and bitter parting, I think seeing the main object of his affection trapped in such a state and clearly not yet fused to it like Sky is, he'll extend his power to get Jayce out.

Inevitably, this would lead to a potential clash/confrontation over both men's involvement of destabilising the Arcane in Zaun and Piltover... But I think in the end they will always do what they feel is right to save eachother.

I also want to add real quick that Ekko's criticism of how the Hexgates were built to send all runoff and potential fall out to the Undercity is valid and a gross oversight on Jayce's part, Viktor being from the Underground would have had to have a say in its design too so he will have possibly overlooked or felt confident this detail would be unlikely as well. Jayce and Viktor were partners on the project despite Jayce being the face of it; i.e. they're both responsible for what happened with the corruption and the Wild Rune.

With time being a key theme being shown in both the opening credits and how Ekko operates, it's looking like the theory that Viktor is the mage that saves young Jayve and Zimmena may be more likely than we think. But at the same time, even though we see in Viktor's new poster that he is able to thrive for some time, the plants that they experimented in did eventually wither and this may be a problem for Viktor as the next two acts progress.

Whether this means Viktor accepts or defies this rot to be in line with League Lore... I'm putting my faith in the writers on that one.

Let me know your thoughts!

[hemlockfox]

Sorry I feel the need to respond to the idea that vase scene is good actually because everyone is flawed in it. I feel like there is something missing in this analysis, and it's that much of the problem with the scene lies less in the scene itself but more in how the scene and the characters' actions within it are followed up by the text.

How the scene plays out in the text is that Winter knocks over the vase while lashing his tail in anger when Moon says Darkstalker is his friend. Winter says that he's evil, Moon responds angrily herself that Winter said he would give Darkstalker a chance, at which point she realizes and Winter confirms that Darkstalker had brainwashed him. Qibli makes the "I'd brainwash you too" comment, says sorry immediately, and then when Winter "turned to Moon as if he was ready for her apology," she turns her back on him and begins picking up pieces of the vase. She, looking to Qibli and Kinkajou but not Winter, insists that Darkstalker only wants what's best for everyone. At which point Winter angrily reveals the Icewing plague. In surprise, she says "What", accidentally steps on a vase shard, and gets a small cut. Qibli rushes to her aid, remarks in the narration that if Winter loved her he shouldn't be yelling at her like this, and then confirms the plague. Anemone comes in with skyfire, winter makes a snide comment about Moon not knowing where she feels about Darkstalker, to which Moon respond sharply that she feels lied to, and then they split up. I'd like to note that when Moon decides to confront Darkstalker, what she initially says to Winter is "Please don't break anything else," before asking Qibli to come with her.

There are three things I'd like to draw attention to:

Moon's injury is small and it's not quite as simple as "Winter injures Moon". She has an accident which compounds on a thing Winter did seemingly on accident.

Moon is not being passively absorbing Winter shouting and making snide comments. She's responding in anger herself, pointedly ignoring him (and how he was personally violated by Darkstalker), and before she leaves to confront Darkstalker, she tells him not to break anything else like he's a petulant child who will wreck the room in anger as soon as he's unsupervised.

Qibli's internal monologue only notes Winter's treatment of Moon as bad

I'll come back to point one, but the other two are not bad, on paper they are good even within a reading of this scene where it is drawing out the flaws in each character present. If these flaws were to be followed up on and the group were to reconcile, and if Moon and Winter were to talk out why each of them were hurt by the argument it would be compelling. The reasons Moon was hurt are obvious, Winter shouts at her and refuses to consider her perspective, that she's been manipulated and didn't know any of this. Winter's aren't so obvious, but still present. Upon being told that Darkstalker had profoundly violated his autonomy, Moon doubles down on Darkstalker just wanting the best for everyone, tacitly implying what Qibli had just been wrong to say outright: that it was on some level justified to do that to Winter. When she learns of the failed genocide, she's expresses being upset about being lied to, but not any of the ways Winter was directly harmed.

And then the books only acknowledge how Moon was hurt by the argument. In the epilogue, it's made clear that Moon and Winter haven't seen each other in person in some time. Kinkajou tells Winter that he should come visit Moon and apologize to her for being mean, and he agrees and says that he knew after that scene that he had ruined any chance with her. At no point after the argument ends does anyone acknowledge that Winter had legitimate reasons to be upset, that Moon had acted passive-aggressively, that reconciliation would involve all of them acknowledging that they hadn't been at their best in that moment. Only that Winter had been mean, so he should say sorry. Every direct perspective on the argument paints Winter, and only Winter, as wrong in his argument with Moon.

And when you consider the vase with this knowledge, it's just silly. It feels like a thing that is there to make Winter seem meaner, Moon more victimized, and Qibli like a nice supportive guy who would be better for her.

The scene becomes ridiculous when put in the context of the rest of the book, because half of the interesting substance from the character's flaws ends up not mattering. Moon and Kinkajou never have their actions in this scene come up again. Qibli's flaws are instantly addressed so he can resolve them onscreen and complete his arc. Winter spends the rest of the book in the doghouse for it and his actions are used as justification for why he isn't right for Moon. In the context of the book, this scene exists to forward Qibli's arc and justify Moon choosing him, and it does both at Winter's expense. It doesn't matter if everyone's flaws are on display when the book is picking sides, and deciding who gets to gets to grow from this argument, who doesn't, and who doesn't need to.

People like to complain about the scene in the NightWing palace in Darkness of Dragons, but I think it's brilliant how the scene manages to bring out all four characters' (Moon, Winter, Qibli and Kinkajou) biggest flaws, and watch them play off one another.

I think it's pretty safe to say that Winter's biggest flaw is that he's hot-tempered--if you get him mad, he gets very confrontational, and that's what happens here. He gets very rightfully angry that Moon and the others are defending the dragon who took his autonomy and is trying to commit a genocide against his people, and he flies into a rage, eventually knocking over the vase and injuring Moon. I'm not tone-policing Winter here--he had every right to be furious, however in his anger, he hurt his friend. However, he's not the only person whose primary flaws are being brought to the surface here.

Since the very beginning, naivete has been among Moon's flaws, along with a desire to believe the best in people. This is compounded by her mind-reading abilities, as she has the expectation that she understands people. There's a telling moment in MR where Qibli asks her if she loses her faith in dragons since she can see their motivations and thoughts, and she tells him that she actually believes better of other dragons because she reads their thoughts. She's settled into a complacency in her belief that a) dragons are all good at heart and b) she's so used to seeing everything, that she doesn't really compute that people can be hiding things from her or that she doesn't have a full picture. You have to remember that as much as Winter was justified in his anger, Moon didn't know what was going on, because Darkstalker was deliberately hiding what he was doing from her so that she still believed in him. She's reeling from the knowledge that Darkstalker lied to her, broke promises and is trying to do horrible, horrible things, and to her credit, she comes around to understanding Darkstalker's villainy, she just manages to hit Winter's triggers as she does so.

And that brings us to Qibli and Kinkajou, who sided with Moon over Winter. Since the beginning, it's fair to say that Kinkajou has been established as very loyal and also not exactly known for her critical thinking skills, and back in MR, she tells Winter that although he's very handsome, if he hurts Moon, she'll take Moon's part. And Kinkajou does, because Moon's her friend and Winter's angry and she isn't thinking about what she's doing.

Now, it's no secret what Qibli's biggest character flaw--say it with me now--having to be the hero and be universally liked. Now by this point in DoD, Qibli is quite smitten with Moon (something he's competing with Winter over) and she's become the apex of his 'desire to be liked and perceived as A Hero'. So, it's his instinct that when Winter--Qibli's romantic rival--is getting angry and confrontational with Moon, is to side with her against Winter, so that he'll come off as the nice guy, and the hero (and this is coming from someone who is a Qibli fan who ships Moonbli, so I'm not trying to hate on your fave).

I think it's just really interesting to analyse how all of their individual character flaws came together and clashed, creating the conflict.

.

[lemotmo]

Sounds like she got lots of asks complaining about this. She removed one post I sent you earlier for what she called an 'error' on her part, but responded to one of the other complaints. As I said they're so close but still so far 😂😂😂

Q. The show did us so dirty on the Tommy and Buck relationship front. I have spent the days following Thursday's episode rewatching their storyline and they actually had very few scenes that were just for and about them. Eddie was way too involved and it allowed their relationship to be overshadowed by his presence. They only had a handful of scenes that didn't directly involve Eddie and that's just dreadfully bad storytelling. Their entire relationship happened off screen. I appreciate Tim making a point of having Eddie outright state that he is straight and I appreciate both Oliver and Ryan shutting down the nonsense as well but the way Eddie was shoehorned into that relationship for no apparent reason is laughable.

A. So heads up people. I answered one of these earlier but I included something that I couldn't find definitive proof of so if you saw that reply no you didn't, lol. The good news is I have lots of complaints about this so it wasn't difficult to find another one to reply too.

Now, anon, you know what's really crazy about the Buck/Tommy/Eddie thing? That absolutely no one tried to point out the giant Eddie shaped thread that existed throughout that entire relationship. It's crazy how not a single person caught how much Eddie was present in that relationship. Weird, huh? Now I'm going to blow your mind even more. They didn't even have a handful of scenes that were just for or about them. Yes, they had a handful of scenes that didn't directly include Eddie, but he was still a factor in each of those scenes. Eddie was not present for their first kiss, but he was the topic of conversation leading up to the kiss. Eddie wasn't in the room when they had their second kiss, but he was there, and the show made a point of showing his reaction to the kiss. Eddie wasn't present for the night at the loft following Buck's shoulder injury, but he was the one who was actually with Buck at the hospital, and he was the one Tommy called to come treat Buck the following morning. Eddie wasn't present for the anniversary dinner, but he was mentioned in the scene when Tommy tells Buck he can take Eddie to the Lakers game 'and die', in what I still think was foreshadowing dialogue. Eddie wasn't present for the breakup, but he's who Buck went to following the breakup. Tommy told Buck he was his first, not his last. The last shot of that episode was of Buck and Eddie. Eddie was physically present in the scene where they met. Eddie was physically present at the basketball game. Eddie was physically present at the bachelor party. Eddie was physically present at the medal ceremony. Eddie was physically present at the virtual bday party for Chris. Eddie was physically present at the hospital following Buck's injury. Eddie was physically present the morning after in the loft. Over the course of their entire relationship Buck and Tommy had ONE scene that did not directly or indirectly involve Eddie in some capacity, and that was the dinner date during the season 7 finale. But even then Buck had spent the entire episode prior to the date, with Eddie. Yes, the point of the relationship was for Buck to discover his bisexuality, but the subtext of the relationship was Eddie. Eddie was everywhere, and that was not accidental. He was purposely written into the narrative. And many, many people tried to point that out to you all. The show didn't play you or lie to you. Lou did and you all did. You played yourselves and then you paid him to lie to you as well.

The show has never had Bobby, Athena, Maddie or Chimney directly state their heterosexuality. That's not something television shows do. Being heterosexual is the assumption. When a television show has a character state it outright it's usually an indication that they won't end up being heterosexual. Actors lie all the time in interviews. It's deliberate. Their job is to make you want to watch the episodes. Not tell you directly what will happen in the episodes. Do we know for sure? No, you're correct about that. But everything the show has done so far has been very loud and not very subtle. And I'm sorry, anon, but usually a character stating their straightness is the beginning of a sexuality arc. That's kind of starting a sexuality arc 101.

Thanks Nonny! Much appreciated!

I agree with all of this. Nothing to add. Ali has slain again, as per usual. 😂

IMPORTANT! Please don't repost this ask and/or a link that leads straight to my Tumblr account on Twitter or any other social media. Thank you!

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[sevs-corner]

Back to more ideas on Tf 141: Mafia AU!

(Im world building rn + epilogue/ extra scene to the 1st Chapter)

Link to prev part:

So I was thinking how, the relationship would build between the 5 (Tf 141 and reader) naturally, ‘cause I want the story to build off of like small interactions and one shots but sometimes have like, coherent chapters in between to stabilize the “plot��� per se.

(Im rusty with my writing skills and I kinda dont edit, ‘cause this is just practice for me but still lmao)

And I want it to be something gradual (just call it slow burn, they say) and I know I write interactions in a slow kinda way where it bounces back and forth from person to person, showing the reader’s perspective then subtly shifting to the character’s perspective— but I think I want to experiment into that, focusing more on dialogue and conversational exchanges that shows how close their relationship has gotten.

For ex, I was thinking how Soap was still wary of reader in the first chap- not as affectionate as he is with his mates right off the bat, he’s wary and it comes naturally in his line off work. You’re an oddity sure, but its not like he’ll put down his walls for you (yet). His speech is rough and clipped, not wanting to reveal much but letting you be privy to the information he can provide- in the mean time anyways.

Yet , at the same time, I want to show his attraction—

He’s enamored and has (maybe) a little crush, but who wouldn’t when you’re so pretty? Sitting there in the room where they grew up, blanket lazily draped across your form as your barely awake self tries to wake up on his bed, hair poking out in all sorts of places, drool dried at the side of your mouth but damn did he think you were a fresh sight to see in this city.

Maybe you were seducing him? Or was it the allure of the domesticity that was lacking in their relationship? He puts those thoughts to the back of his head ‘till he waits for the news of that meeting he was left out of last night- he feels its important when checking out who you really are.

They can’t afford to be careless, but on the other hand- you kinda were, when you first met them unfortunately, that is. Absent-minded and clumsy, that was what he thought of you as he stared at your tripped up self, sadly sitting in a puddle in pain. You were pale, shivering, and simply a mess.

Honestly, the more that he thought about it, the more it didn’t make sense to treat you like a threat. Well, at least not an active one at that. You could have been having an off day as a spy or an assassin, but if it were him— he wouldn’t be caught slacking like that in public, whether people knew him or of his occupation either way.

He could even see how you lowered your guard! Jeez, you should be more careful- especially with people like him and his mates- if you’re new to the place. He thinks you might be a lil’ looney for going to this place, especially that part of the city when all of its occupants know that it was mostly a dangerous area to get in to and stay at.

As the neutral hub for all of the mafioso around the cities, it is the one place for regular folks not to get involved in. (Unless you want to meet them of course, but he doubts that was your intention… or, shit- it could have been, considering how Price found something on you.)

Now he thinks of you as a potential client, which makes him feel worse of how off-handedly he treated you.

He knew he was gettin’ an ass kickin’ from Ghost if you were, surely.

Alas, what done has been done- at least you still treated him normally as he left, so he thinks he left a good impression.

Though, that wasn’t at the forefront of your mind right now.

Quite literally, you were being worked to the bone for information from the old Italian couple that helped you stay at their lodgings at the 2nd floor of their bakery.

“‘It’ll help un-fuck my week,’ they said but all gave me was a hope that my minimum wage self has to fight for as they get free labor in return!”

But you don’t dare say that, knowing you were speaking out of turn and out of misplaced anger so you keep your mouth shut- cleaning up the bakery for the opening in the morning.

The couple was sweet, but they were also strict, telling you that “you should move your arse so you can sweat off the sick!” Which… you didn’t want to make sense off so you just nodded, asking if that was the compensation for the information of finding your place, and they agreed. On the stipulation that you work and do all the chores on the list they handed you, making you gape and about to ask for a little consideration— but they quickly disappear, out of sight and out of mind, they say.

And you think that was better before you started mouthing off, not get anything, and then end up lost once more— which you wanted to avoid at all costs so you did sweat off the sick.

Albeit, you looked worse for wear.

Which Ghost bluntly points out as you waited their table.

…let’s just say that it was an overtime work-shift that you didn’t get money for and old italian people were slave drivers.

(yes, i made the love-hate relationship start with nonna and nonno)

[glisten-inthedark]

I did most of this with voice to text because I’m rushing to get ready lol so sorry if there are any errors 

I’d love for Ted to become aware of all the upside down stuff and have a much harder time processing it than Karen, but ultimately choose to stay behind for his family (maybe a parallel to season one nearly running away before returning to help fight, though I don’t see Ted doing as much damage as Steve does lol)

But specifically, I want there to be some sort of scene where, the entire season Ted has been on the outskirts of some Byler interactions, like any Byler interactions that involve it occurring in front of or partially in front of the rest of the party, but the audience just assumes that Ted being Ted hasn’t noticed or hasn’t picked up on the subtlety of each interaction 

But then after Byler has gotten together, but they haven revealed this to either Karen or Ted yet, there’s a scene where after a battle—maybe protecting the Wheeler house from monsters in which Will was in protecting people/the house/maybe weed gun or some other weapon and protected not just but also maybeor Ted himself but either way was badass and essential to victory— we see Will spending some time with Holly and Karen and maybe the other party members and he’s comforting or making her laugh or drawing with her or something that is showing his caring and comforting and supportive side,

And Mike is watching fondly from the other room when Ted walks up beside him and quietly says, “I see why you love him so much” or “I see why he is so important to you” and even if it’s the latter with a more subtle implication behind his words, Mike still freezes and stares at his father in panic and fear and a tiny little bit of hope, and Ted turns to look at his son and gives a smile that almost looks like a grimace, but it’s Ted so he kind of looks like he hasn’t smiled in a long time and is still getting used to how it feels so it’s not that he’s actually grimacing, it’s just that it takes practice. And he rests a firm hand on Mike’s shoulder and doesn’t say anything else, but Mike starts to smile and nod and then gives his dad a hug which surprises Ted but Ted ultimately returns it with some awkward pets but their firm pets, it just means that he’s out of practice not that he doesn’t care

And now I have to run out the door lol hope this is coherent!

Hello! First of all the sheer dedication to send me this, I could never lmao so don't worry about any typos!

You see, I absolutely love this! Because yes, I also desperately want Ted to become aware of the UD and to know everything his children have been through.

Like, I do feel like the biggest problem of his character is how he's not there for his children or his wife, him learning about all of it and choosing to stay behind would make for an amazing character growth.

I genuinely believe he's going through major changes we just aren't privy to yet, it'd be pretty awesome to Mike to know he can count on his parents especially after everything.

I need this family actually sitting down and talking ngl lmai

[addamvelaryon]

I still can’t believe HOTD turned Addam into a coward. 😐 Instead of the brave boy from the book, who was assertive enough to claim a dragon to prove himself as a Velaryon, we got a joke sequence of Addam running away scared and then laying on the ground cowering before Seasmoke. GRRM is clearly not pleased with the show screwing up the dragonlore. Based off what we see in canon, it’s unwise to show excessive fear in front of dragons as that can be a death sentence. So show!Addam only became a dragonrider by accident, because the plot demanded it, and not because of his own merit.

The scene should’ve been Addam making an active choice to claim Seasmoke for himself. In the book, Addam was described as “relentless” and “determined”. HOTD should’ve portrayed Addam taking matters into his own hands and going out of his way to claim Seasmoke as a way to earn Corlys’ approval. Instead we got Seasmoke randomly dropping on Addam from the sky. Claiming a dragon was the key for the dragonseeds to obtain upwards social mobility and join the ranks of the noble class. That is the reason they all participated in the Red Sowing in the first place. Hugh & Ulf are shown to have motivations for claiming a dragon, but where is Addam’s motivation in the show? Why is he not allowed to actively pursue his ambition to rise higher?

Even after that awful scene of Addam & Seasmoke in episode 6, I thought perhaps HOTD would still let Addam show the same assertive nature of his book counterpart, now that he’s finally become a dragonrider. He would fly to High Tide to confront his father and make Corlys acknowledge him because he’s no longer okay with being ignored. Except in episode 7, Addam continued to be a passive character. He tells Rhaenyra that he had no design on becoming a dragonrider; he’s just very happy to be of service to her.

The book version of Addam was willing to claim the Driftwood Throne for himself, though it meant pushing aside Rhaenyra’s son, Joffrey. During the Fall of King’s Landing, he didn’t just follow the example of the other dragonseeds, but took the initiative to act separately. He also escaped the dragonpit rather than submit to an unlawful arrest. Then he set out to clear his name from the false accusations instead of just sitting around to wait the war out. Fire & Blood consistently portrayed Addam as the type of person who takes control of his life in his own hands, who acts according to his own choices, and not solely what his superiors tell him to do. The only one whose will Addam was beholden to was his (grand)father, Corlys, and that’s because they have mutually aligned interests; it’s through his relationship with Corlys that Addam can connect to his Velaryon side, which is the sole reason he’s involved in the war to begin with. It’s such blatant character assassination for HOTD to portray Addam as a passively obedient figure. Rhaenyra says one word to him and he’s immediately bending the knee. After that, he’s just quietly obeying every order given to him. Alyn tells him to stop dreaming big and so Addam has to downplay himself, and he just goes along with being a passive character. 🙄

The duality between duty and defiance is one of the major themes in Addam’s story. Why bother adapting the character if you’re going to remove half of what defines him as a person?

The show didn’t even include the scene of Addam swiftly saving his little brother from the much larger wild dragon, Sheepstealer (who had already killed plenty of other dragonseeds that appeared before him). Although if that event happened in show canon, I guess Addam would just run away scared again.

[phoenix--flying]

sometimes I am sad

and then I think about the Apollo cabin

and then I am even more sad

[simptasia]

LOST: Season One

[flame-shadow]

Nosk Party Time !!!!!! ✨

The final result of a collaborative project run by @flame-shadow and @fly-sky-high-bug-games with folks contributing drawings of their nosk OCs.

Credits and characters:

@brennustheskeleton (Damson), @real-live-human (Aril), @slimeel (Shade Nosk), @notthesaint (Belfly nosk), @zombugz (Saccharin), @monotone-artist (Inkwell), @wabbitears (Vic), @wolfieolfie (Gyre), @localcornflake (Mosskin nosk), @ratcandy (Den Elder), @devilcatdarling (Hive Bee Nosk), @charlieghostcrab (Seashore), @vulturereyy (Boofly Nosk), @reveks (Flora), @ahntherootvessel (Ahn Nosk), @daily-mossfly (Mnoskfly), @littledc5 (Sol Nosk), @flame-shadow (Chalice and Candy), @fly-sky-high-bug-games (Crucible)

[devilsskettle]

not only was i correct about this and think saying “the story is ONLY about what the story is about!!” is stupid but also i think the substance does more than “beauty standards are bad :( it makes girls sad” thing like i think the criticism is so specific to women in the film industry and not just that it makes women in general feel insecure but ageism is an actual structural issue for women with careers in hollywood and all the double standards and power dynamics involving men and sure that message has been “done before” but the fact that it’s still a problem means those stories need to continue to be told and if men complain that it’s “too on the nose” that means it’s something they can’t ignore just because it makes them uncomfortable. they SHOULD feel uncomfortable! the substance achieves that very well. also there is a fascinating perversion of the mother/daughter relationship at play or at least an intergenerational conflict in which both the older and younger generations of women are commodified but put in competition with each other, blaming each other for the limited spaces for women in their field rather than acknowledging that that limitation is institutionally imposed. etc.

i also think it’s interesting how little i’ve seen about the ending/“elisasue” maybe because of how much body horror is involved, it’s a carrie-esque scene without the audience really being able to project a power fantasy onto it because of elisasue’s monstrous appearance and how completely crushed her aspirations are in that moment. i literally sobbed watching that scene hahaha but i think that the pity it invokes in the viewer is overwhelming and not cathartic in the same way that carrie is, i think it actually discourages identification with elisasue in that moment and like i’ve said we all think we’re carrie in part BECAUSE of the catharsis of the “underdog getting revenge” ending and also because in film adaptations she’s generally more conventionally attractive than she is in the book. so that’s something i was pondering after finishing the substance as well and the roles that women traditionally play in horror which can be ambiguously feminist or sexist depending on your interpretation. i think the substance doesn’t let you wiggle out of discomfort by letting you feel vindication for the main character, it’s just horrible to watch (which is fantastic imo!! i love how horrible it is) but i think some people found it to be a bit much, although i think the audiences who would’ve thought that are not really who this movie is for tbh

anyway i think my instincts were right on this one just from reading the reviews and i’m glad i finally sat down and watched it and gave myself some time to process how i feel about the movie, i’m kind of surprised that people are being as dismissive of it as i’ve seen but again it’s just filmbros on letterboxd that i’ve seen saying that so like. grain of salt etc. although i’ve seen people who otherwise seem to have a positive opinion of the film almost confessionally say it was “on the nose” like that’s a bad thing….. why is that a bad thing lol sometimes subtlety is lost on certain audiences

another thing that pissed me off today was reading letterboxd reviews of the substance by men saying it was too on the nose basically like it hits you over the head with the “shallow, overdone” theme of beauty standards for women in the entertainment industry or whatever and it “doesn’t have anything else to say” (i was under the impression that that WAS the premise of the film??? what more do you want it to say). one guy was like this movie ignores the body positivity movement and the great strides we’ve made as a culture etc etc like shut the fuck up!!!!! shut up!!!!!! apparently you haven’t noticed that we are actively regressing in terms of the body positivity/body neutrality/anti diet culture movements.“beauty” and makeup culture, diet culture, plastic surgery, and other trends and social mores that dictate women’s appearances are extremely ingrained in our pop culture consciousness rn. marketers might use different terms to disguise what they’re doing like the bastardized “choice feminism” but it’s just the same shit repackaged and we’ve barely made any progress. if you think we’re past the point where “beauty standards are bad” is a useful message in a film, you are wrong!!!!! i haven’t even seen this movie yet, i was trying to decide if i wanted to go see this movie, and that attitude just rubs me the wrong way. it’s like trying to find an excuse why people don’t want movies with overtly feminist themes — is it “too on the nose” and unnecessary or do you just not want there to be movies with overtly feminist themes

[nexus-nebulae]

every day i wish that Rats SMP was a cartoon bc it would make the greatest show ever i think