#the protagonist is white but that's because I'm white and I don't want to write someone else's story

[madamedewberry]

"If there's a book you want to read, but it hasn't been written yet, then you must write it."

- Toni Morrison

My contribution to the @creatingblackcharacters Black History Month Challenge

From a Digimon fanfic I'm working on: The siblings, Zaraiah and Zerubbabel, and their new friend, Ekat Anne

For a clearer look at their designs: (though this is them all magicked up, so things like their hairstyles are different)

The reason I chose these characters in particular...

When I was a child, I was really into Digimon. I even made a fan comic with my own fan characters, but not a single one was Black like me

In fact, looking back, I don't think I created my first Black original character until I was in middle school and that's because she was based off of me. Many of my OCs were anthro or nonhuman, but the humans were almost always White.

So, this is me rectifying that. I can't go back in time and tell Kid! Me that she can be the protagonist and smooch all the anime boys she wants. But I can say it to my fellow Black fan creators

It's your story and you deserve to go on adventures

That's also why I chose that quote from Toni Morrison. Her words were a massive inspiration for me and changed my entire trajectory as a writer and artist

It's a little late to tag anyone else to take part in the challenge (I am great at time management), but I hope someone finds this inspiring

[reanimatestar]

go white girl go <3

[image description: pencil drawings of the artist's original character, darla goodwin. she is a white woman with wavy mid length hair.

the first image is a page of drawings. the first is a fullbody of her in a simple style. she is smiling, and wears a crop top with a high neck, loose jeans, and mary janes. she is carrying a tote bag over her right shoulder. the rest of the page is filled with busts of various expressions, such as her looking irritated, scowling, and smiling. there are also two other simple drawings of her sitting down and wearing large sunglasses respectively.

the second image is a bust of her in profile. she is looking at the viewer and smiling slightly. she is wearing a chiton instead of her usual outfit. /end description]

[anachronismstellar]

Hey yo, SVSSS fandom, I arrive uh *checks the clock* three years late and at one in the morning because this idea won't leave my head.

I don't think I'm going to write more of it, because I'm already two long fics deep and *shrugs* I'm also too much like our poor Airplane: high on caffeine, without enough time to write all that I want to write, and this idea deserves better

Basically, after canon, the system got bored? And as it can't mess up with the protagonist, it went on to torture our poor Mobei Jun, curious to know why he's Airplane's fav character and the only character that was kept the way Airplane originally wanted the story to be.

It's just a scene, and if you wanna adopt this idea go for it! Just tag me please, I wanna see your takes on it! :D

Anyway, scene under the cut! TW: Canon mentions of blood, torture and- let's be honest, the System itself should be a TW.

Hope you like it!

Mobei Jun couldn't see who said it, the stench of blood and piss burning his nostrils, the room too hot for him to think. Somewhere on his mind, a voice that screamed too much like Shang Qinghua kept repeating, "Get up, get up, get up, GET UP!" but he couldn't move, both his arms and legs bound by heated metal.

----

"Oh, that won't do."

"That won't do at all," the voice repeated, closer than before. Too close, the little Shang Qinghua voice in his mind would say. He forced himself to blink, head lolling to the side as lukewarm hands grabbed his face, pushing his hair back, a thumb pressing on his demon mark.

"You were written to be better than this," the voice- no, the man mumbled, followed by an annoyed "Tsk", his touch slowly bringing Mobei Jun back to the present, blue eyes widening as he recognized the soft yellow An Ding Peak robes.

"Shang Qinghua?" he tried to ask, but for sure, he only managed a gurgled sound, throat too dry to say anything. Besides, the man - should he call it a man? - in front of him had his servant's voice, but his posture was all wrong, too confident, too sure of himself. Daft fingers pressed on his cheeks, forcing him to look up, making his breath stutter.

"User 001 is not available at the moment," the strange man wearing Shang Qinghua's face said with a smile, too polite, too calm. There was also something really wrong with his eyes, as if someone had taken Shang Qinghua's warm brown ones and swapped with a poisonous green that glowed in the dim room.

"Where's Shang Qinghua?" he managed to speak, blood dripping from his lips as the room got impossibly warmer. Mobei Jun could feel in his conscience slipping, his strength melting from his bones as he did his best to keep himself awake, to not close his eyes and let himself even more vulnerable to his torturer.

"User 001 is not available at the moment," the man repeated again, and then once more, as if mocking Mobei Jun's hazy mind. "There, I hope you understand. Important things must be told three times. Now-" The thumb on his demon mark pressed further, the inhuman strenght tearing a scream from Mobei Jun's throat as a pain thin and sharp like a neaddle splited his skull in two. He couldn't think he couldn't breathe- Where was Shang Qinghua- Was he hurt? Did this skinwearer kill him?! He had to-

"Protocol 24978 generated. System's mission engaged: Author's favorite."

None of those words made any sense, what-

"I hope you enjoy our services!"

Mobei Jun's world went blank in a flash of white.

[writingwithcolor]

Avoiding the white savior of the kingdom

@ceo-of-angst asked:

Okay so I'm writing a fantasy series. There's two main kingdoms though there is a third but that one doesn't have to do anything with this ask. Both of them are likely as big as a continent each so there are different climates everywhere, therefore there's a lot of diversity even within one country. The issues mostly is between the two kingdoms nationality wise, as there's a war. The prince of one of the kingdoms kills his older brother to gain the throne. This is where the issue starts. They have a younger (half)sister who ends up leading a revolution bc of her brother's bad rule (famine, war, dictatorship and incantation or sentence to fight to the death in war to anyone who doesn't obbey the government etc), she's white, she's helped by my main cast who are all poc (one of them also from nobility) from the other kingdom and I don't want to accidently make it a white savior She's not my main character though if anything we only see into her pov bc of a difference between kingdoms in book 2. Most of the pov is on my main cast so I don't know how this could pay out.

Add diversity to the kingdom

There is a simple solution: don’t make one kingdom all-white or all-BIPOC. Add in diversity and mixed race. You seem to already be doing that, and it’s not an issue of race but rather tyranny. White saviorism is when only a white character can solve a problem for BIPOC and they’re seen as the hero. If it’s a team effort, where your protagonist is fallible but well-intentioned, you should be fine. -Jaya

Questions to ask yourself

This critique got levied at Tamora Pierce’s Trickster series, and it’s a pretty valid critique of the books—every time you have a white person as a figurehead of an otherwise-diverse movement, you’re going to start getting into why this white person, and why then?

It’s especially salient if you have the person come into an already-established rebellion movement. Is her involvement the thing that gets the privilege necessary to make the movement valid? What about her makes her the ideal top person in the organization?

Why is she white?

My first question is: why is she white? Is it related to colorism and classism? If yes, then why are you automatically making the leading group white if there’s so much diversity and so many other groups can trend extremely pale?

Why are the kingdoms so big?

My second question is: why are the kingdoms so big? It’s actually frighteningly hard to run a continent-sized country. If you’re attempting to make these single groups so big simply for ease of worldbuilding, and for diversity’s sake, know that a country does not have to be large to contain a multitude of groups. You are allowed to have political rivalry in a small area and still maintain diversity within it.

How much privilege is she willing to give up?

My third question is: how much privilege is she willing to give up? Is she trying to take the throne for herself, or is she trying to destroy all of the structures that gave her status in the first place? Because that question will determine how willing the PoC around her are going to be. Why would they support a ruler if they’ve been subjugated by that family, with no real promise she’s going to be any different once she gets in power?

On the flipside, why would she be willing to give up any of her privilege in the name of removing her brother from the throne, and what stops her from going off the deep end once she has the ability to control others?

It’s likely doable to make this situation read as less of a white saviour, but in order to do that you’ll likely need to wask yourself a lot of hard questions about your motives and the character arc you want to have with her.

People may see a white savior, regardless

And you’ll also have to ask yourself if you’ll be comfortable with never really being able to avoid some people calling this a white saviour plot. Even if you do “everything right” and follow every bit of advice you can, there’s always going to be some people who aren’t too thrilled that the person saving everyone is white.

So examine your motives, really nail down what you’re trying to show with this, and come to terms with not making everyone happy no matter what you do.

~Mod Lesya

[niniane17]

I realize that anti Got Season 8 posting in late 2024 is a bit boomerish, but screw that it's my blog and there's no law stating that I can't post about That Series again.

I've stumbled across an old anti-Daenerys post written by a Sansa fan some months after the show ended and...oh my God. I had nearly forgotten just how batshit crazy those takes are.

Dany is a colonialist. Dany is a white supremacist. If you like her you are both. Martin is just pretending to write her as a hero, in the end he will reveal she was evil all along and freeing slaves was a secret code for enslaving people. Valyria is evil and the Targaryens are evil. Westeros is simultaneously the ancient Americas and Medieval Europe. Essos is Europe but also the Oppressed Middle East.

Sansa is the true anti colonialist hero. Sansa is the true opprossed woman. If you don't support her you are an oppressor and possibly a rapist yourself. The North is good and the Starks are good. When Arya sails West of Westeros sporting the North's banner, she is not partaking in colonialism, in fact, she will be the anti Christopher Columbus. How do we know that? Because she's a Stark, the Starks are good...

It's maddening. No wonder Daenerys fans are driven into a frenzy. It's not irrationality, it's just natural frustration at constantly being held to double standards and fighting some crazy takes.

Now, treating a fantasy tv show fandom as anti-colonial activism is bad enough, but it's clear to me that at least some of these takes are motivated by the fact they see Sansa as the underdog, mistreated by both the characters and sometimes even the narrative.

And here's where things get weird.

I've said many times that I didn't become a full Dany fan until she was heavily mistreated by the narrative, and I'm definitely not alone in this. Back in the day, many people who previously didn't care one bit for Daenerys suddenly ended up defending her or even stanning her.

Like, of course if somebody wants to root for the underdog, the first thing to do is rooting for the actual underdog. Season 8's underdog was Daenerys. Everyone and everything was deadly set against her from the moment she arrived in Winterfell. They constantly disrespected her, undercut her efforts, killed off or villainized her allies, snobbed her non-traditional upbringing, conspired behind her back. And all the while they always asked asked asked for more, nothing she was giving was enough.

In contrast, the Starks' and the North's actions were constantly justified or presented as good, even betrayal (which is a very huge deal in Westeros) or, in one instance, outright racism by the Northern people -this time fully intended by the production, rather than an unintentional outcome of some poor behind-the-scene choices.

At the end, Season 8's Starks were absolute gods who could do no wrong and were always in the right no matter what they did -except their bastard son, who was contaminated by the evil people's blood and has to symbolically kill that part of himself forever.

Well, guess what, people didn't like that. But the newfound Dany fans were perfectly consistent: they wanted the underdog to win, to overcome her hurdles, internal or external, and be happy at the end. If the underdog is Dany, well, then it's time for Dany to win.

It's Sansa stans that see everything in terms of How This Affects My Fave and are willing to bend over the narrative to get what they want. They are perfectly happy with a biased narrative and double standards, they just want it to be biased towards Sansa, and everything is fair game to them, including real life politics and vocabulary, with some hilarious results. For example: Sansa as the voice of the Oppressed Minorities is...a take, to say the least. Her world doesn't even have a prejudice against red hair, as it would have in real life.

And guess what else, this kind of Protagonist-Centered Morality is very similar to the one used by real life colonizers, especially in their "explorations". Not that it matters because this isn't a post-colonial story and it never will be. It's a story about a messed up Fantasy Medieval/Early Renassaince World with Dragons, heavily influenced by various periods of European history. The only vaguely post-colonial element are maybe the zombies-as-slaves metaphor, and I think it's more due to the fact that Martin was probably inspired by old horror Movies pre-dating the Romero ones. And who is liberating slaves in his story, again?

Anyway. 2019-2020 was a really weird time to be a Dany fan, and in hindsight it was crazy how much shit there was around a fantasy series with dragons. Surely five years later people are a little more normal, right? Right?

[akajustmerry]

I didn't really like the helmet grab by Michonne in towl. I didn't think it was necessary for them to make her do that even though I know they were trying to show how angry she was. Am I overthinking this?

forgive me but I actually think you're not thinking enough. You're not thinking about what's happened from michonne's perspective. even if you were, you're not extending her any empathy because writing off her as just "angry" does not cut it here

....Michonne had to carry on believing rick was dead for FIVE YEARS, raising their kids despite that grief and then when she was given the smallest hope he was alive she gave up another 2 years with her kids, risking her life in the wastelands, surviving chlorine poisoning, and enduring more fucking trauma with nothing keeping her going but the fact that she loved him and would not give up looking...... AND THEN she finds him against all those odds and rick had the CAUCACITY to try and trick her into ABANDONING HIM and insinuate that she DOESN'T TRULY LOVE HIM UNLESS SHE DOES??? of fucking COURSE she rips that dumb fucking helmet off his head!! she wants him to say that nonsense to her FACE, hear how insane it sounds, and be greeted with the only appropriate response to an assertion so ludicrous: silence.

When my dad and I watched that episode we both agreed rick actually got off easy for trying to pull that shit after what michonne had been through. My dad even left the room when rick was bragging about his stoopid plan to trick michonne into leaving to jadis because my dad is very sensitive to second hand embarrassment and rick was so fucking idiotic for trying to do that to michonne and thinking it would work.

ALSO.....something that I've ranted about before is this idea of an empathy gap between how people see white characters and characters of colour (ESPECIALLY Black characters) because such is the racism of the world that people simply don't empathise or even sympathise with characters of colour because they've been conditioned not to. Years of racist media conditions you to empathise with white characters almost instinctively even when they're wrong. In this case, rick was wrong. Totally wrong, despite his intentions. He was dishonest, condescending, and inconsiderate. Michonne had every right to be angry and every right to show him how angry she was. The fact that you're uncomfortable with that maybe means you haven't really paid mind to what michonne has been through and maybe you haven't done that because she's a Black woman. Personally, I loved that scene so much and I also love all the scenes in ep4 where she's pissed off because michonne isn't just rick's love interest she's a protagonist in her own right and she's NEVER not once accepted less, even from him.

anyway, hope you don't think I'm being mean! I've just seen weird discourse about that scene that is so unnecessary. It simply wouldn't be a thing if people actually cared about michonne as a character, rather than just as one half of a ship.

[starrylayle]

women in severance

an incoherent rambling about the female characters in severance, specifically focusing on Gemma and Helly. Mostly Gemma. A bit of Alexa too. Spoilers under the cut.

Ok so to start off, I absolutely adore all the women characters in severance they're all soo spectacularly written.

I remember when I first started the show, I thought that Helly was going to be the stereotypical, fiery and the only female protagonist whose story started off interesting but in the end her only character purpose was to be Mark's love interest. Boy, was I wrong. First the elevator suicide scene and then the Helena reveal, I knew this show knew how to write women.

Similarly, when Ms. Casey was first revealed, I remember rolling my eyes, thinking, oh look another stereotypical robot-like Asian lady who has no greater character purpose. Then, it was revealed that Ms Casey was (partially?) severed and not a part of the staff like I'd initially assumed. Of course, then the Ms Casey = Gemma reveal happened and I was SHOOK. Like,, you mean to tell me that she is actually an important character with narrative purpose? And Mark's wife -- I had assumed she was a -- white woman -- who would never actually have a character arc and would only be shown in dead-wife-john-wick-style flashbacks to further the plot.

I became so hyped. Two characters, the 'dead' wife and wellness lady, were actually one which meant they (she) would actually have character arcs!! And she's a woman of color!! Woohoo!!

But now that season 2 is progressing, as much as i absolutely adore it, I'm just worried that Gemma/Ms Casey will not have the caharcter arcs I wanted. Especially the theory that Casey is secretly a clone and not actually Gemma,,, or that she's brain dead,, or that she'll die again,, or whatever else. I know that it narratively works, but I just wish there was some way that Gemma/Ms Casey could have a proper character/character arc, even if it resulted in death at the end. I hear a lot of Mark/Gemma and Orpheus/Eurydice parallels which gives me hope because Eurydice is still a fully formed character (at least in the musical Hadestown llolol). I've seen some people theorise that Mark may have romantacised his marriage with Gemma and maybe they weren't as happy as they seemed?? Which I highly doubt, considering the info we were given in 'The You You Are'. Or maybe she secretly worked for Lumon beforehand?? I dunno how I feel about these theories but they would definitely make for an interesting plotline and character arc.

I guess what I've realised is that the show writes white women very well (Helly/helena, Ms Cobelvig and Devon) and their woc counterparts,,, not so much. Still holding out hope for Miss Huang, Reghabi (what is her deal btw?? I must know!!), Natalie and Gemma/Ms Casey, and that they will have fleshed out characters by the end, but who knows.

This may be an unpopular opinion, but Alexa, the woman mark went on a date with, was actually a favourite of mine. I was convinced she was gonna be relevant to the plot lmao. but eh she feels more of the 'disposable Black gf trope' :( tbh I'm still delusional enough to believe she will come back. Maybe if Ricken beomes a sell-out Devon will leave him date Alexa?? Yes I sound like a delusional lesbian but cmon Devon clearly liked her enough to recommend her to Mark?? maybee?/ Anyways this was a tangent. Maybe if they decide to go the Helly got pregnant route (which I hope they don't unless it ends in miscarriage) Alexa will be there coz she's a midwife (or doula?? I hear different ppl say different things??)

Anyways, I know this is all very far from the main narrative so I don't mind too much, I'm just hoping that they fully flesh out Gemma because she, along with Mark and Helly, are at the core of the story.

[hollowtones]

first yiik impressions?

Hi. Thanks for your message. I've been thinking about this for days. I wrote paragraphs. Here you go!

Everyone talks up how the game is bad, but I've never looked into it much myself, so I went in with an expectation along the lines of "people whose opinions I often agree with think it was an awful mess, I'll likely think something similar". Expectations were low. Even then I wasn't really ready.

"YIIK" is a game of tedium. I don't think it's a game about tedium, that's something different (though it could be, if it was a different video game altogether; "what if the world was made of pudding" etc). To some degree I think the tedium is by design but I'm not really sure what it's in service of.

I don't think tedium in a video game is a bad thing. "Morrowind" and "Breath of the Wild" are two video games I like very much, and some of my favourite memories of those games are of slowly wandering through empty expanses, or having to suddenly deal with equipment degrading or supplies dwindling because I forgot to prepare. Moments like that feel thoughtful! They're interesting moments of reprieve or of tension that feel thoughtfully and intentionally designed! "YIIK" feels like trudging through chest-deep molasses so it can shout "hey did you know you're stuck in my molasses right now? that's weird, why are you stuck in my molasses right now? did you notice?" directly into your ear.

You'll notice this is a pattern.

Combat is turn-based and involves completing little minigames, timing button prompts or hitting targets or some such. It's a cute idea that wears out its welcome when you start realizing how long every single one takes to resolve, especially when you have multiple party members, and sometimes multiple enemies (I'm told this part specifically gets more egregious as the game goes on). I don't think it's awful or unsalvageable but I'm not super into it as of the point we're at.

This is a pattern.

Leveling up is a manual process that you have to unlock, and it involves going to a save point (any save point? we didn't check), to enter the Mind Dungeon, to enter the actual Mind Dungeon, to walk down a set of stairs and enter individual doors one-by-one, so that you can choose how you want to allocate stat increases, so that you can walk down a different set of stairs to commit your choices and spend your banked experience to level up. I think "you can only power up at specific points / times / locations" and the granularity of stat growth are interesting ideas, and the environment they made for it are a charming idea, and I don't think it needed to be a "Hotel Mario" level that you had to slowly walk through. It could have been a menu. They could have used the resources for a nice background or backdrop for a menu that accomplishes the same thing.

This is a pattern.

I haven't really mentioned anything about the story or writing yet. The protagonist's name is Alex and he's a very self-important nerdy misanthropic dickhead white man (a very specific kind of guy that I've definitely met at least once or twice) who is obsessed with a paranormal message board populated by people like him and desperate to find out more about the disappearance of a woman he witnessed. (The woman & her disappearance are based on the real life death of Elisa Lam & aren't handled with a whole lot of tact, IMO, but other people have put this into better words than I can right now. It sucks. It keeps coming up and it makes me bristle every time.) Alex is a bad person. I know he is. You know he is. The game knows he is. I've seen some reviews say a negative point of the game is "the main characters aren't likeable", which I don't really get, because that's the point of the characters, as far as I can tell. The issue, then, is how much time the game takes to exposit at you how bad the characters are. It's exhausting. Every time Alex has a monologue, it feels like it sums up to 10 minutes of "I am a bad person. I am a bad person. Alex is a bad person. This character is a bad person. Do you get it? He's a bad person. Alex is a bad person. Do you understand yet, player? Alex is a bad person. You should know that he's a bad person. Do you get it?"

This is a pattern.

(I don't know how interested I am in bringing up the game's lead writer right now, if at all, but there's a well-known anecdote where he talks about wanting to write a story about a bad person who is forced to grapple with himself and do better, and how the reason why his game wasn't well-received was because people who play video games didn't get it & weren't ready for a story like that. I dunno. I can understand being upset about negative reception to something you poured time and sweat into, and saying something hasty because of it. "Final Fantasy 4" is a beloved RPG classic, though, and "Disco Elysium" came out the same year to overwhelming praise. I haven't played either of these yet, though, so I'll admit maybe I'm off the mark here.)

The characters we've met so far (i.e. the ones that aren't unnamed NPCs) are… well. There's a smarmy younger kid who idolizes(?) Alex & also made the aforementioned paranormal website. So far it seems like he mostly exists to go "hey fuck you Alex, you dickhead" and immediately say something even more insensitive. There's the insensitive based-on-a-real=ass-dead-woman elevator woman, who immediately disappeared from the narrative while still being an essential part of the narrative. There was a dead(?) robot in a bedroom, who had a choir of ominous hooded people monologue about how weird and sad and strange and uncanny the scene is. What the!? There's a woman who works at the arcade and has Powers. Her design's cute. (I feel like, generally, the game's visuals are Fine. The audio, too. That all ranges from Just Fine to Surprisingly Neat. I don't really have much issue with those aspects of the game, but I don't have much to say about them either.) Alex and Kid Whose Name I Didn't Care To Remember are constantly very uncomfortable to her, because she's a woman and because she isn't white, in the 15 or so minutes we've seen her on-screen, and she gets to tell them off, but then immediately kind of goes "well whatever I can smile and put up with this and hang out with you". It feels misogynistic. I know to some degree Alex is misogynistic on purpose, because the game is bludgeoning your skull in and yelling "ALEX IS SHITTY TO WOMEN! AND PEOPLE OF COLOUR! DO YOU GET IT? HE'S SELF ABSORBED IN A SHITTY WAY! DO YOU GET IT, PLAYER? YOU UNDERSTAND THAT ALEX SUCKS ASS YET? MAYBE 10 MORE MINUTES OF THIS WILL MAKE IT CLICK?" But for a woman of colour (the only one we've seen so far who isn't Probably Just Dead) to finally tell him off for being a shithead, only to turn around and go "well it's ok, you're cool now, let's hang out now because it's narratively convenient and you're the protagonist" is pretty damn egregious!

This is a pattern.

Writing in general feels stilted and long-winded. Most of the main characters feel like they don't talk like people do. Alex gets to feel like a person but that's mostly because he gets to talk to himself so damn much. Most of his monologues feel like overly flowery prose, like someone padded it out with identical adjectives to meet a school essay word count. There's an interesting idea or premise or setpiece every now and then. There's a spark. A glint of something compelling. Every single time this has happened so far I find it immediately snuffed out by an over-blown "oh my god!!!!!!! how weird!!!!!!', or a very long plot dump, or a Joss Whedon-ass quip. There can be no small moment of joy. No story element or visual element can stand on its own legs. There can be no room for ideas to breathe. No space for the player to wonder, to dream, to play in the space. The narrative is compelled to suffocate iself on itself, to take up all space, to swallow itself whole in its making. One very minor (so far?) side character has some interesting dialogue in this one dream world, and I think "oh that's neat", and then I learn they're lines taken wholesale from a book (and I think that's fine, reference is fine, but I have a bit of a chuckle over the fact that this character is the reason why the game has a giant REFERENCES option in the main menu). The literal first minute of the game is a bird telling you "oh my god, the title of this game, right? why'd they spell it like that? so fucking dumb, am I right!" It feels insecure. It reads like the writing has no confidence in itself. It has to make a comment about how silly and video-gamey it is, roll its eyes at itself, mock itself for the thing it's doing while continuing to do it without addressing it or discussing it or doing anything with it.

This is a pattern.

There's a specific part of "YIIK", at this early point in the game (we're only around the start[?] of chapter 2), that feels emblematic of the thing as a whole up to this point. Alex is getting phone calls from a stranger. They're confusing and weird and sound a little like something you might hear in a dream. They make references to some shared past, some childhood, some understanding of Alex, or maybe of you, the player. They've come up a few times. Every single time, I'm left thinking about what it could mean, how it fits in with everything we've seen so far & what the game seems to be talking about, with regards to connecting to other people and to yourself. It's a neat little thing. It's a neat idea. I'm charmed by it. As much as my thoughts on this game are largely negative, I still try to look at it fairly, to understand it, to talk about it, to let myself be surprised by it. As soon as I find myself thinking about this, my thoughts are immediately drowned out by Alex telling me how weird the phone call is, how random and uncanny and dumb this is, and how he's rolling his proverbial eyes about it, in spite of all the other paranormal happenings around him, for another period of Just Too Long. And I am sapped of all strength and I crumble to dust.

I'm genuinely transfixed. I'm transfixed! Maybe the fact that I wrote Paragraphs about the 4-or-5 hours I've seen of the game can tell you as much, even if you skip everything I wrote in them.

I can't wait to see more.

This, too, is a pattern.

[applepie2523]

"[RANT] The problem with Rhaenyra

Show Discussion

It's clear that *House of the Dragon* and *Fire & Blood* are two different beasts with two different goals. HOTD understandably cuts the historical ambiguity and focuses on a more digestible narrative, leaning in hard on the ASOIAF-esque themes of war, monarchy and gender. Doubling down on and expanding the book's diametric framing of Alicent & Rhaenyra is an understandable direction, as is the latter's role as the indisputable protagonist.

This direction of a traditional hero archetype makes sense for her character, just as a traditional tragic backstory does for Alicent's. I do, however, find the application of this and the aforementioned thematic goals to have all but suffocated any interesting facets of Rhaenyra Targaryen's character.

To me, Alicent's writing is muddled and confused; the goal is unclear and the portrayal of the many possible readings is inconsistent.

Conversely, when it comes to Rhaenyra I can see exactly what I believe they are trying to accomplish; it's successful, simple and to the point. I just hate what that thing is.

The Princess and the Queen

Book Rhaenyra is a complicated topic, but for the purposes of this post it's not that complicated. She is fraught with misinformation due to the biased nature of F&B, and so some of the things she does may not have even happened; nonetheless, what appears in the book is inevitably the audience's impression of her character, the information the writers have to work with, and the general situation through which the Alicent vs Rhaenyra feud is filtered. There was a lot to work with, but ultimately the writers had a blank canvas. Rhaenyra's motivations and even actions were up for grabs, and it was up to them to pick and choose, and create altogether, depending on the kind of story they wanted to tell.

I'll get to the point: Rhaenyra starts out strong then falters. As a child (The princess) she is compassionate and fiery, but with clear flaws: headstrong, rude, rebellious, insecure and, most fascinatingly, a rejection of motherhood; as an adult (The queen -- see what I did there?) she is graceful, motherly, patient, merciful, brave, determined, humble, peaceful, perfect and any other virtuous trait you can imagine.

Unfortunately, even Young Rhaenyra's flaws are not really presented as such. Her decision to hire Criston Cole as a Kingsguard is presented and confirmed by the writers as intelligent, her trash-talking Lady Redwyne for criticizing Daemon's war-mongering is presented as a deserved moment of sass, and her publicly mocking multiple men vying for her hand is presented as humorously relatable.

In fact, the only genuine flawed action she exhibits in all her episodes is making a comment diminishing the wants of the smallfolk when hearing they may not accept her as queen -- yet, we get no development on this front, and Rhaenyra no longer thinks this way come adulthood.

The writing elects to sacrifice novelty for likeability, effectively so: She shows compassion to the white hart, because we don't like seeing animals get hurt; she has a night out with her uncle in Flea Bottom, because we think Daemon is cool; she recklessly rides on her dragon to save the day, because it's exactly what we would do if we had a dragon.

This approach continues as Rhaenyra's insecurities are tugged on each episode to evoke pity. Episodes 1-4 I would criticize for depicting the same arc to varying degrees: **She feels undervalued, unwanted and alienated from her father, finally they reconcile near the end of the episode; however, the final moments leave us with an ambiguous feeling of doubt.** This is repeated in all but one episode of Young Rhaenyra, with she and Viserys finally on the same page in Episode 5. I'm not claiming her motivations to be nearly as inconsistent as Alicent's, but it's something to observe nonetheless.

And that's where the nice things I have to say about Rhaenyra sadly end. Because once we get to Episode 6 of S1 and onwards, it becomes increasingly clear what the writers' intentions were for her.

The motherhood problem: A tangent

I feel that the most interesting aspect of Young Rhaenyra by far was her aversion to motherhood and the innate prison she felt it placed upon her. The seeds of her contempt for these feminine confines -- the Arya to Alicent's Sansa -- grow upon her mother's death and hang over her interactions with Viserys, Alicent, Daemon, even Rhaenys.

This is a trait which the second half of the season completely abandons and skips over, instead dealing with an adult Rhaenyra having given birth five times and being pregnant with a sixth. Having spent girlhood in fear of being a woman defined by her womb, Rhaenyra's identity now heavily revolves around being a mother, something that continues into the second season.

It's a jarring change, character development in the most crudest of technicalities; fit for a twitter post but not necessarily for a narrative. Point A to Point B is not a story if there is no bridge in between. Like Alicent, Rhaenyra changes so jarringly off-screen, and her very different actor's performance exaggerates these changes, however unlike Alicent this discrepancy is not giving an on-screen cause.

Rather than exploring how Rhaenyra grapples with these complex feelings, all of her children are perfect and so is she. Instead "motherhood" is once again a way to either summon cheap "aww"-bait or to hand-wave female character dynamics: Rhaenys didn't kill the Greens because of Alicent being a mother, despite killing numerous mothers moments previously; Alicent has a change of heart about Rhaenyra because of her being a mother, despite using her newborn to be vindictive and borderline sadistic.

One of the most egregious examples of the shallow use of Rhaenyra's motherhood is a scene where Luke bemoans, without a shred of insincerity, that he cannot live up to Rhaenyra because she is too "perfect". On a small scale... has any fourteen year-old boy ever called his mom perfect? This is also followed up by one of my least favorite tropes, Rhaenyra perfectly responding to the accusation with "I am anything but perfect", the icing on top of this sickeningly sweet cake. I don't know, this is the only scene I cannot articulate my issue with. It does on a larger scale, however, broadly highlight my main issue with Rhaenyra's characterization: She is too perfect.

I understand Fire & Blood is intentionally written to be biased against Rhaenyra, and perhaps in reality she is a perfect person. But in that case the biased medium surely makes a more engaging story. In transitioning to a medium with one clear narrative, you need complexity that goes beyond miscommunication drama, and you need tension that comes from things other than the protagonist being a perfect human in an imperfect realm.

The protagonist that was promised

There is no scarcity of flaws when it comes to the biased depiction of Rhaenyra in the books. She beheaded Vaemond Velaryon and fed him to her dragon for calling her children bastards and she called for a little boy to be tortured upon him insulting those bastards.

I understand these biased accounts are biased... but is it unreasonable to want Rhaenyra to be responsible for a single questionable act or at least embody some flaws?

The only actions of hers that could be considered morally wrong in the show are so casually swept under the rug that I wonder if they were meant to be wrongs in the first place. She orders the murder of an innocent serving man at the behest of her goal to marry Daemon and intentionally traumatizes Laenor's now-childless parents. Like with Young Rhaenyra's many "flaws", is this truly depicted as a flaw? Does anybody watching this episode treat this with the severity it deserves? I saw more people blaming Alicent for the murder of Harwin and Lyonel Strong. Any moral consideration gets deflated by the reveal that Laenor is alive. The same can be said of Rhaenyra calling for the torture of Aemond. Despite this clear contextual meaning in the book, and the exact words being adapted, this can only be interpreted as a literal "sharp questioning" following Viserys doing just that.

Why not write a situation where Rhaenyra is extremely protective of her children's claims to the point that she is involved in Vaemond's death? Why must Daemon bear all her sins? I understand her feeding a human corpse to a dragon could be viewed as one of many F&B embellishments, but it's actually from a more trustworthy source than stories used to malign Aegon's character, such as Mushroom's account of the child-fighting ring we end up seeing in Episode 9. Why not do something interesting and shocking with Rhaenyra for once?

Not to mention, Alicent not only continues to demand Lucerys' eye in the show, but grabs a knife and makes to do the job herself. Alicent's violence is dialled up while Rhaenyra's is obfuscated.

The nail in the coffin for me is the existence of The Song of Ice and Fire. It's probably one of the most contentious plot points in HOTD, and for good reason, though not nearly enough for its weakening of Rhaenyra's character. She now has prophetic justification and her motivations are infallibly pure. To admit to a sole redeeming aspect of this point and her character, the idea of Rhaenyra resembling and following in Daemon's footsteps as a child, but resembling and following in Viserys' footsteps as an adult is a interesting and realistic concept. It's played well by Emma D'Arcy and creates great conflict between Rhaenyra and Daemon.

However, it also purifies Rhaenyra the same way the motherhood aspect does, undermining ASOIAF themes. Unlike the tragic failure and admonishing of Viserys' prophecy as he took immoral actions for his own dreams, Rhaenyra is completely justified every step of the way, up until and including her decision to go to war. (The prophecy being contradicted by GoT holds as much relevance as the context of "questioned sharply" in this show. What matters is presentation, and we are led to believe Rhaenyra acted perfectly with the information she was given.)

I feel that so many scenes would be more compelling if Rhaenyra simply wanted the throne out of ambition and an expressed confidence in herself. Had she rejected Criston Cole without divine purpose lingering in the background, it would be one of many ambiguous scenes where the audience is left to parse the authenticity of her stated goals: how selfless is she, really? Instead there is no question: the story is saying Rhaenyra on the throne is the ideal outcome for society.

The power paradox: Passive or Pacifist?

The show is consistently forced to undermine Rhaenyra due to reconciling its themes and goals.

How do you write powerful women who still struggle under patriarchy? How do you write realistic female characters not defined by their femaleness?

These are questions the show appears to struggle with, and it often takes the easy way out. The female protagonists, forced to strike the balance of the show's themes, end up having confused and ill-informed motivations, making them rightfully appear incompetent to the men around them. Despite this, the women of the show are the moral voices and the most innocent: Rhaenyra, Rhaenys, Alicent, Helaena and Mysaria. There is a clear dichotomy, and the significant non-flawed male characters I can think of are Jace and Luke, Rhaenyra's sons.

Because the themes demand that Rhaenyra wants peace, but the narrative demands war, it therefore also demands her failure to avoid it. The anti-war and anti-patriarchy message necessitates that Rhaenyra's judgement be superior to the men around her, however. Therefore, we're at an impasse and the plot must bend around Rhaenyra's motivations to fit these jigsaw pieces together.

This peace-seeking goal of Rhaenyra ends not with a bang, but a whimper. The justification is already tenuous -- the information that initially holds her conviction for peace gets reaffirmed, but this time pushes her to war? -- but the worst offender is how underwhelming it is. Despite Luke's death in the S1 finale being the expected and implied beat that spurs the long-anticipated Black Queen, Rhaenyra has one episode to showcase her grief (which is more than can be said for Alicent and Blood & Cheese) and is then promptly unaffected by the death of her son. Instead, she meanders for three more episodes around the idea of peace, before arriving at the Sept and awkwardly deciding it is now time to fight. Her character is not changed from the long string of tragedies -- her father dies, she finds out he was usurped, she has a miscarriage and then finds out Luke was murdered -- and is not even changed when she finally decides to embrace war. Why involve an arc for peace in the first place, if the plot is just going to get impatient? The plot is utterly irrational, evidenced by Rhaenys immediately being on the same page as Rhaenyra, despite being the one to guide her away from war in the first place and not having access to this new information that changed her mind.

Rhaenyra is necessarily both a victim to patriarchal expectations and a victor of them. The show's thematic interpretations demand this. She is consequently framed as the center of all Black decisions, unlike Aegon who is a useless puppet, but she does not actually make decisions, instead passively accepting when they are thrust upon her. I do not think this was intentional:

The choice to finally send dragons after many days of pressure via the councilmen, is voiced by Jace before she can discuss her change of heart; she accepts this. Her idea of going on dragonback herself is shut down; she accepts this. Rhaenys volunteers on account of Meleys' strength; she accepts this (and with wordless confirmation, no less). All three ideas: sending dragons, not going herself and sending Rhaenys, are said by other characters and Rhaenyra simply relents to them, allowing it all to happen. This notably follows a trip to King's Landing that caused her council to be thrown into chaos, a trip which she was also told by another character to take.

"Some have mistaken my caution for weakness" Mistaken? in the scene-hushing words of a hurried Hightower, "There's been no mistake. It's too late, Rhaenyra". Too late indeed, as Rhaenyra's strength continues to be undermined.

While Alicent's flip-flopping on her goals in the Dance was inevitable from the writers painting themselves into a corner, that dissonance does not exist with Rhaenyra as the plot, narrative and characters bend to her will to make her justified. Her goals are perfectly aligned with the narrative's morals. War should be cautioned against until Rhaenyra is ready, and then it's justified.

If the excuse for Alicent's agonizing perpetual passivity is telling the story of the failures of self-imposed submissive feminine roles, what is Rhaenyra's excuse for also being so passive?

The Dany problem: A tangent

This is a theory, but I think the issues stem from a motivation to do "Daenerys done right". In parts I agreed with this idea at first, in parts I didn't. However, although I expected the show to explore the patriarchal themes of the Dance, I wasn't a fan of Rhaenyra herself being given motives of political advocacy.

What makes Rhaenyra as a concept interesting to me is actually her remarkable ordinariness. She is simply a woman claiming her birthright, just as the men who came before her did, only her existence is unfairly scrutinized.

The problem is Show Rhaenyra is unrealistically virtuous. I understand the motivation to make her patient and graceful in the face of a reputation littered with misogynistic nicknames such as "The bitch/whore of Dragonstone". But I don't want her to be Daenerys, to want to free the world from slavery or patriarchy. I like that Rhaenyra is simply fighting for the throne because she's the heir, with no noble goals.

It's true: Rhaenyra in F&B could, for all we know, have some Cersei-esque lamentations on the male privilege she misses out on, but like Cersei I feel that these should be confined to Rhaenyra's own selfish interests and not trying to meaningfully fight the patriarchy. If GRRM wanted to write a story where she is advocating for egalitarianism and not simply claiming her birthright, then Rhaenyra would have likely given birth to daughters to make the stakes for her victory higher. Instead they are sons, and Rhaenyra is fighting for her own interests -- the patriarchy is simply in the way.

This legacy of Daenerys nonetheless hangs over Rhaenyra, much like Game of Thrones understandably hangs over House of the Dragon. Indeed, they are both dragonriding women aiming to be the first queen whose claim to the throne resides in succeeding their father. But I think the writers are trying too hide to fill the void left by GoT's disappointing conclusion and projecting this heroic Targaryen "girlboss" energy onto a character that would truly thrive without it.

She witnesses cosmic signs of her importance, such as the white hart in S1. defying the idea of Aegon as a king even so early on. Syrax is also made to be the mother of Dany's dragons, instead of Dreamfyre. In case it wasn't obvious enough.

Missing the mark: Misogyny and Monarchy

The sexism of the Dance is because Rhaenyra, as a woman, is existing in a way that puts her at odds with a patriarchal society. Her character is picked apart more than if she were a man: a merciful queen is weak and soft; a merciless queen is hysterical and insane. The soul-eating nature of this double standard and the lose-lose situation it puts women under is the type of sexism GRRM is commenting on. He understands this nuance. It seems that the showrunners do not.

Rhaenyra in the show is instead the most objectively deserving of the throne. Her lack of flaws and her persistent positive traits are one thing, but being divinely justified thanks to the prophecy and intentionally wanting to unite the realm is what demonstrates the show writers were unable to meld critiques of patriarchy and monarchy in the same story.

The idea that she would make a good ruler if only the men would give her a shot completely misses the point that under monarchy there is no "good ruler". This is a bad feudal system that goes against the will of the people and prioritizes rich families holding onto power so they can continue to be rich.

Rhaenyra does not need to be a vastly superior ruler to communicate this; the point is that women should actually get to be mediocre or even bad rulers (just as men can be) without their leadership being tied to their womanhood. Neither Aegon nor Rhaenyra should be exceptionally bad or exceptionally good, but average rulers who get pushed into doing horrible things because of the succession crisis that tears the realm apart.

And this is what makes the Dance compelling to me. It's two spoiled brats clawing for power and destroying their family because of it.

The show meanwhile beats us over the head, episode by episode, with how screwed the realm would be if Aegon were king, and how much of a utopian paradise we would get if Rhaenyra were queen. In all likelihood they would both probably listen to their counsels and maybe make a bad decision here or there, like most kings. The stakes are the war itself, not who ends up on it, which would be negligible. The show has made an error in essentially justifying this wry from Rhaenyra's perspective by in every moment instilling it into the audience that it will all be worth it if Rhaenyra one day rules.

Monarchy is thematically bad in ASOIAF and F&B. If the two claimants are bad rulers, it's not because they are bad people unfit to be monarchs, it's because there are no good rulers under monarchies. The bigger picture is that nepo baby dictators, including Rhaenyra, are not a good thing.

It should be a bloody fight between two vindictive privileged children of the king who feel they are entitled to the throne no matter who it harms, rather than a one-sided tale about our hero being punished again and again for trying to save the world.

I think in navigating strong female characters, as long as we see Rhaenyra struggling with these gendered issues, then it really only comes down to one thing: What makes for a more interesting character? To flawlessly push for the right decision, or to have surprising traits that make us think about and question her character?

This is why, ultimately, I am disappointed in Rhaenyra Targaryen's character. Thank you for reading."

[asses-to-ashes]

If fiction doesn't affect reality, then why do we need representation. why don't want just make every character in every media from now on a white cishetallo abled neurotypical man and nothing else. This is not meant to be hate but a genuine question.

I'm gonna use this ask to talk a little about fiction vs reality, and cold war era moral panic & comic censorship

I feel like some of you take "what people write about in fiction doesn't represent their values and desires" and think we're trying to say "fiction is meaningless and serves no purpose" which I think is profoundly and purposefully dense.

Fiction is meaningful while also being not real. Do you mourn the "people" who die in disaster movies as if it's a national tragedy? No. Is the plot of the story potentially touching and emotional? Yes. Separating fiction from reality while still being touched by the contents is common sense I fear.

Fiction a way for people to explore potentially dark or taboo topics. When people create or consume fiction there's a general understanding that it isn't real. This is why people can like antagonists, or have morally grey protagonists that they really enjoy. This extends to allowing stories to exist whether or not you find them palatable or appropriate.

Once you start saying "oh you can't write about this because it's immoral/defies American values/it's gross" you're delving into McCarthyism and cold-war era art censorship, where horror comics were discontinued entirely, superhero comics were censored for having characters that could be read as queer, and there was very much a panic over comics corrupting youth into sexual deviance and violence.

Before you reinvent the talking points from Fredric Wertham's Seduction of the Innocent, I suggest you actually learn where your rhetoric comes from.

For a great collection of essays, you can read Comic Books and the Cold War, 1946-1962: Essays on Graphic Treatment of Communism, the Code and Social Concerns

[pyroclastic727]

The Marvels is being scathed by critics, and that's a good thing.

I finally saw The Marvels today. I'm a bit late to the party, so all I saw about the movie was the teaser at the end of Ms Marvel, and way too many critical reviews of it.

Now, obviously on Tumblr you find the good reviews, like, the cats outnumbering the white men and how Kamala Khan is, like, basically all of us. But in person, I've had someone tell me that it's bad because Rotten Tomatoes rates it 43%, which-- besides wondering why anyone would listen to Rotten Tomatoes, I'd have to wonder why the website would give it such a low rating. The easy answer is that the Tomatoes review committee is populated by white men, who, upon having no one to relate to, react badly to the movie. But I think there's more to it.

The Marvels is a revolution. Through its character-driven writing and brazen exploration of morality, it rewrites the superhero formula completely, by questioning what exactly it means to be a superhero.

The Marvels was directed by Nia DaCosta, an award-winning Harlem native and creative visionary whose approach to this film was to define these characters as humans, not as superheroes. Her approach to heroism directly addresses that the idea that a hero is not always right. A hero, DaCosta claims, is "someone who's trying their best with the information and tools they have at the time. They'll always get it wrong." Carol Danvers's arc directly addresses this, as the resolution of her subplot involves her re-igniting the sun that she snuffed out. Her heroic act is to undo the damage that she wrought.

When compared to old Marvel, this message just doesn't come through. In WandaVision, Wanda's grief is for a family that was killed by the Avengers. Yet, she is painted as a villain, even as she searches for a happy home, even as she at one point joins the Avengers. The Avengers cannot undo what they did, and don't really try. They defeat the big bad, sacrifice their lives, but nothing brings back Wanda's family. Nothing undoes that war. No one searches for Wanda after the event, to try to help her with her grief, except for Monica, and she's working against orders. Their heroics are militant, but while they excel at destruction, they leave the people they hurt in the dust.

This antiheroic plot of old Marvel is precisely what appealed to so many American audiences. Their protagonists are: a rich corporation, a super-soldier, a privileged teenager, a scientist who makes weapons, an ex-convict, a man born into godlike power, and I'm sure there are others but I don't actually care that much... (these would be iron man, captain america, peter parker spiderman, hulk, antman, thor, and etc). All these archetypes appeal to American ideals that the wealthy would sympathize with. They claim that there are people who are inherently bad and seek the power that they have, in the way that a poor person might want a job that a wealthy person wants their child to secure. They claim that it is their business to save those which cannot save themselves, and use this to get involved in wars that are not theirs, and beat up badguys whose backstory they have no way of knowing-- and they punch before they stop and listen.

They are cops in every sense of the word. The responsibility of the vigilante is to defend against evil, but part of that responsibility is to figure out who exactly is evil and who is in need of help.

The Marvels creates a team that tries to distinguish evil from good, and delves into the grey area between them. The final battle between Carol Danvers and Dar-benn has the superhero pinning the grey-haired antagonist to the ground as she begs for, then demands, that Carol fix what she damaged. Monica urges her to listen. Through this, The Marvels argues that a hero does not always beat up the bad guy and fight against unrelenting evil, but that a hero can be wrong, and that a hero can reconsider. It's kindness in the way that is revolutionary, where it's much easier to choose cruelty.

The fact that the movie is getting torn apart by critics, then, is not just because it is a "girls movie" or it doesn't have a strong white man for the white male viewer to sympathize with. The Marvels cannot appeal to Marvel fans because it rewrites the genre itself. It takes a film series whose purpose was to depict the struggles of cops, of the wealthy, of people with too much power who are trying to learn how to responsibly wield it, but don't. And it gives that power to people who have watched superheroes try and fail, who are slowly learning to be better heroes than the ones before them.

The next generation is a critique of the last, a group trying not to make the mistakes of the chosen ones that came before them, and as such, the movie exists to critique the movies that came before it. Therefore, a viewer of Marvel who would positively review it, due to sympathizing with the previous heroes and enjoying the power fantasy, would dislike it out of its existence being critical and contradictory to the films they like themselves.

The Marvels is not for Marvel fans-- at least, not those who saw the Avengers as purely heroes. Instead, the film reaches out to people who would have been against the old Avengers, who want a story that dismantles the unquestioned idealism of superheroes and writes about people trying to protect their communities and the people they care about.

So, let the critics complain. The MCU is shedding its roots as a pro-cop and pro-colonialism power fantasy, and evolving into an exploration of what it means to be a true hero.

[trashogram]

The inbox is open again!!! It's great to send asks again, but I'm most relieved that you didn't receive any troll asks ^^

So, let's kick off this new year with my re-write for;

Blitzø and Loona

Blitzø

Honestly, up until that Stolitz BS, I like Blitzø's character! He seems perfect for Hell, and although he's a murderous asshole, he has enough relatability(?) For the audience to engage with the protagonist outside of dark humor. So I don't think I would change Blitzø so much.

Well, one thing I'll change. Cut out all the dog piling he has gone through in Season 2. I mean, yeah, Blitzø needs to account for his actions and realize that he's only hurting himself in the long run. But he needs therapy and his found family coming together, not everyone in his life to call him a horrible person and not even offer him support or apologies when he needs it (I'm thinking of Fizzaroli specifically, not Stolas because I'm more than likely going to just erase the Stolitz. Yes, Fizz got hurt real bad in that fire, and he was led to believe Blitzø abandoned him. He needed that apology and the closure. But you know who else needed those two things? Blitzø, the guy who never meant to destroy everything. The guy who probably watched his mother die by that mistake, get kicked out by his father and be fed the same manipulation that Fizz was- all after he watched his own parent favor Fizzaroli because he made more money. Why does Fizz get a pass saying "I'm sorry" for never reaching out and assuming Blitzø wanted to hurt everyone?? Or even something like "If I had known..." or "It's not your fault"??? Maybe it's just me, but it's kinda bugging me that Blitzø is the one who has to apologize to everyone, but no one seems to see he needs some nurturing too.)

Oh! Knowing myself, I would have made Blitzø blind in his right eye, the one that got affected by the blast. Or at the very least, make it white to show it was affected. Can you imagine Blitzø with one red eye and one white eye, kinda like Sallie Mae's eye, and little hints to his partial blindness with him being more partial with his left side (like becoming ambidextrous or aiming a gun with his left side), or him bumping into things on his left side? Oh! Can you imagine how much cooler it'd be that with his blindness, he's able to become one of the top assasins in Hell?!

Those photos of Blitzø crossing himself out, I think I would change that. Cause like, everyone can see Blitzø's obvious self-hatred and they don't react at all to it?? Blitz would still hang pictures of his loved ones on the living room walls, but you'll notice that they all conveniently leave him out. It's all about Loona, Millie, Moxxie, even Barbie. But no Blitzø. It's a subtle detail that people in the show may miss. But if anyone goes to look through his room, you'll find photos of himself cut up, burnt, and shredded by his own hand. Some may even look like he cut himself out of some pictures in the living room.

One more thing that, knowing myself, I would have done is still keep Blitzø stalking his employees. But instead of it being him wanting to turn their OTP into an OT3, it stems more from how he was raised. Think about it, Blitzø, Barbie, Fizz, and any other kids who might have been part of the acts had the entire circus with them. Knowing myself, I would have made it that since Buckzo is such a deadbeat and only cared for Fizz, the other actors and clowns pitched in to help Tilla raise the twins. Especially as she grew sicker and sicker. So, to Blitzø, co-workers were also family. Him constantly prying into M&M's and Loona's lives is more him trying to recreate that big family he had. He'd constantly suggest they all might as well move in together. He'd refer Millie and Moxxie as Loona's aunt and uncle and proclaim himself as the uncle to their future kid ("Sir, we're not even mates!? We're just dating??" // "Not with that attitude you guys won't be!") etc. He feels like if they all aren't this huge family that work together, they'll all grow apart, and he'll be alone again. It'd still be Blitzø projecting his desire for love onto Millie and Moxxie, but in a more familial/platonic way, I guess?

But I also liked Blitzø just loving them and wanting to be part of their relationship/wanting a relationship like theirs. Poly love needs to be explored more in media imo and Blitzø definitely seems like the kind of guy to carry the polyamory flag at pride to me. So I want to keep this, but knowing myself if I was the one writing the show, I would have thought of the above route instead 😅 but I figured i should still share because why not? ^^

Loona

I saw some redesign of Loona that changed her to be 18, closer to age with Octavia and more like a kid. Honestly, I think I would have done that. Have Blitzø adopt Loona when she was 13, and by the time she can get her Hellbies shot, she's 18. It is important to show the fear and suffering kids that age out of the system are put through. But honestly, the show didn't do too good a job of that, I think. (And, this could just be me, but with all of the sexualized merch of Loona, it feels like Viv only made her 22 years old so they can have her smoke, drink and be furry bait for the show. Had this been any other creator, I wouldn't have thought this. But with Viv... yeah.) So yeah, in my re-write, Loona is younger. A legal adult (by our standards), but still a kid who is still figuring out herself and the world, if we're all being honest.

Apologies for the ranting. That'll be the last one, I promise.

Another reason for that age difference. In Hell, since she's just a hellhound and not seen as an actual child or person, anyone who takes a hellhound in can return them anytime they want while they're still minors. Loona has had owners who always returned her when she fought back. She was punished for simply standing up for herself in a society that sees her as nothing more than muscle at the most. So when Blitzø adopted her and proclaimed her as his daughter, she was skeptical. She kept her guard up around him and never called him Dad for five years, even though she wanted to in the last few years (the times she almost did though, she caught herself on time or said it so quietly Blitzø didn't catch it)

I would want to make an episode of her 18'th birthday, the final day that Blitzø can return her or kick her out to the streets, she's terrified. She's panicking in her room, switching between hugging herself and packing her valuables while she can and trying not to cry. Even though he's been nothing but caring towards her and has never given her up as his daughter before, today is the day that'll show if he really means it and or if she was right to keep him, Millie and Moxxie, at a distance. She tenses up when she hears a knock on her door before Blitzø cheerfully tells her he's got a surprise for her in the kitchen and mentally prepares herself. But when she goes outside, she's greeted with the sight of a gift on the counter next to two full plates of breakfast food, and the imp happily greeting her with "Happy birthday, Loony!" Before slowly beginning to cry as it dawns on him that she's all grown up now.

And there, Loona can really see Blitzø never saw her as an animal he can just return. She has a family with Blitzø. Her dad. That's when she can finally open up to him and let him in. And I guarantee you, they both would have cried.

... I'm not sure if I should include my OC in this. But if I can, then another reason for Blitzø adopting Loona when she was younger, it contrasts how Bella aged out of the system while Loona got to be adopted before she was. They both were still put through a lot since that was where they grew up, but Bella is just grateful that Loona made it out before she had to go through the same fate she did.

Of course, I'm definitely changing Loona's attitude and treatment towards Blitzø. Yeah, she's been through so much in the pound, but that doesn't give her the excuse to abuse others. I would have put more emphasis on Loona being more awkward and trying to stay at a distance from the others rather than her insulting or hurting them. She does verbally bite back a few times, but here it's treated as a kid who learned that as a defense mechanism against something she thought was an attack on her rather than "haha the wolf made the possum cry"

Maybe- MAYBE I'd have one time where Loona actually hurt Blitzø or the others. Like if she threw something in their general direction and it hit them unintentionally, or she shoves them away in a playful or startled manner and it was a lot stronger than she intended. But afterward, she realizes what she has done and tries to make it better, apologizing while she picks them up or cleans up the mess, hands shaking because she's convinced that she's going to get it now. Either Blitzø is going to treat her like everyone else has, or he's going to return her back to the pound. But the point is that it wouldn't be played for laughs. It's treated as something serious.

I'm unsure if I would have Loona drink and smoke. It is Hell, so I doubt underage usage is uncommon. But it can also be difficult to broach. If I did, though, Blitzø wouldn't just let it happen. That's his daughter wrecking herself before she's even fully grown. As someone who also stole his dad's booze and the other performers' smokes, he knows it's not healthy. When Loona is old enough, she can drink and smoke all she wants. But not when it'll really hurt her. It's unfamiliar to her to have someone care about her health outside of making sure she doesn't spread diseases, but that's one of the first signs that Blitzø truly cares about her.

And the little things that Loona does to show her own care would be shown more often. Even if she's still unsure to call Blitzø her father until the birthday episode, it's been five years since he took her in as his own. She wants these people to be her family, but she can't let her guard down too much yet. She'll put labels on food she knows belongs to who if they forgot to instead of just taking it for herself. She texts M&M what Blitzø is up to, so they'll be prepared when he drops in. And she'll check up on Blitzø whenever he holes himself up in the bedroom or bathroom.

Basically, instead of writing Loona as a one-dimensional moody teenager-but-not-really, I want to give her actual growth. Show how she's changes from the scarred pup in the pound and her self-destructive habits... Just like her father. Blitzø and Loona would mirror each other in certain ways despite how differently they grew up. Once his mother died, Blitzø had nobody. And when he saw Loona in the pound that day, with the same hopeless and scared look in her eyes that she tried to hide behind a defensive snarl, he saw himself. And he couldn't let her slip through the cracks.

Also, I'm considering giving her and Blitzø a sense of survivors guilt. She didn't seem to get along with many of the other hounds, but whether she did or not, she knows all too well how awful that place is. And how the hell could Blitzø not have survivors guilt after that fire?? Maybe one day, he could have talked to Loona and found out how she felt, and assured her how she shouldn't blame herself. It's not her fault that she got somewhere safe, and it's not her fault how the pound treats the hellhoubds inside. And maybe, as he's telling her all these things, he has a moment to himself when he realizes that that should apply to him as well.

This is all I've got so far, but I'm pretty sure I'm forgetting some things I wanted to add 😅 I'll just add it to the notes if I think of it. I hope you like these!

Next up is Barbie and Fizz, so stay tuned! I got big plans for them.

EEEEEEEEEE!!! I’m so happy to see more rewrites for HB from you! 💕 Your ideas are 🧑‍🍳 💋 top notch 😄

For Blitzø — I agree with you! I liked him initially bc he does fit as a protagonist in Hell. He should be an asshole, but with enough relate-ability or charm that the audience can hold onto throughout the series to remain invested. And I love the idea of Blitzø sustaining an injury beyond the scars, especially with you pitching ideas on how Blitzø adapts to partial blindness!

I am definitely in favor of taking out the dogpiling. It’s so painful to sit through, and I feel like it would be for any character whether they “deserve” it or not. It’s just not enjoyable to watch. I also like the idea of the Blitzø and Fizzarolli relationship getting a better rewrite where both characters are able to receive comfort and closure. I think it would take a full season at least to address how this rift happened and to come to a somewhat satisfying conclusion. I like the possibility of exploring Fizzarolli seeing Blitzø’s behavior in a new light — potentially Fizz realizing how Buckzo manipulated both him and his son, and how Blitzø and Barbie endured an insane level of abuse by the man while Fizz had no idea.

With M&M, I really love the idea of Blitzø’s stalking being more of him just wanting to be close to them in a familial way. It’s very sweet, although I’m also not averse to the idea of Moxxie/Millie/Blitzo (I in fact preferred that idea in S1 😄).

NOW LOONA

Your rework of her character makes me cry 😭 in a good way! But ahhh, she’s more than tolerable the way you write her. I actually feel so much sympathy for this poor pup, and understand her lashing out (but not in an intentionally malicious way that includes physical violence, at least not without recompense or consequence). And you show respect for her as a character, rather than as furry bait — which I agree is what Loona is in the show proper 😒

I don’t think I have anything to add because her rewrite is perfect (and I do adore the idea with your OC so much 🥰).

[spiderpussinc]

are the 2099 comics THAT bad in terms of racism plus other weird writing choices??? i'm starved for miguel content and would like to read the original comic run but i keep seeing the debate of the original comics being problematic and/or downright just BAD bad (not to mention miguel is supposed to have mexican heritage but he's straight up a white redhead lol)

Some people may disagree but speaking as a latinx writer; it's bad because it is racist, yes! On multiple fronts!! And beyond that, it's also bad as a complete failure of comics structure and compelling narrative.

Longpost, on readmore;

I say this as a long-time capeshit reader, as politely as possible: Miguel's comics are a *paycheck* book. As in; a series a writer does monthly to be paid for it, but with middling aspirations and downright negative characterization depending on where their mood is.

The first few issues of his 1992 run are relatively complete and well-balanced, may even trick you into thinking this story is going somewhere; but that's only because they're the /character pitch./ Ill skip to the end and tell you upfront. That 1992 series ends with the implosion of the whole "2099" line of comics (an universe that included other books, like ghost rider, doom, etc, by other writers) due to dwindling public interest and mass cancellations. The end of that run is basically meaningless, since the whole thing got retconned - and even before that a guest writer had came in and made mistaken character reveals pdavid wasnt happy with and wanted to erase before the finale. The event book that wrapped up that universe was unironically, literally called -- "2099: Manifest Destiny."

Now, I don't like Peter David's writing. I think he's obsessed with the idea of building harems out of his female characters (when he's not fridging them, or making them act ~crazy~ to further alienate them from the protagonist) and it is the kind of grueling, joyless reading experience I can only describe as making you feel Oily Inside. This goes as far as multiple stalking plotlines, the inclusion of a guest appearance from AU s/x slaver Hulk in later years, Miguel's mother being strongly implied to have been forced into conceiving him by his real dad who's the evil CEO of alchemax, general torture painporn. His broader supporting cast is so interchangeable and disposable that they were literally disposed of.

In terms of the racism; I have mentioned how he uses cultures as tokens and does 0 research whatsoever. The way it feels and the way it is deployed is through a lens of Exoticism - tourism. Miguels suit is allegedly "a dia de los muertos costume" b/c pdavid seems to think that holiday is mexican halloween. In the orig book, you'll see plenty of broken japanese and stereotypical orientalist caricatures - after killing his first love interest, pdavid introduces a japanese girl who is unironically, literally named "Xina" (that pretends to be chinese on occasion) to fill in the vacant role. Miguel himself falls right into all the usual latino stereotypes — short tempered, drug addict, sex magnet "latin lover" (this last one also applied to his brother Gabriel, who for the longest time is characterized by just Going Through A Lot Of Girlfriends). And it's kind of insane bc he's still being drawn as a deeply deeply white man, but not even that takes off the burden of the racial microagressions!!! They're the only times pdavid seems to remember that heritage! Then there's the commemorative hanging page. Since you mention the redheadedness; thats another insane thing to me. He has 0% of irish in him. His dad is Blond. Who is this man?

Most of the info in the 2099 run is either revealed to be a lie midway thru (miguel is not mr o'hara's son, nor addicted to rapture) or completely retconned away to be rewritten in new runs. Different writers have tried to come in and do miguel in other team/event books but frankly nothing stands out and most of them get marked as alternate-miguels. Unfortunately, every time marvel decided to give another shot at spider-man 2099 they also brought pdavid back. The newer books were never a success, and theyre just as filled w/ the garbage i mentioned earlier (wow! Steampunk spider-woman is given to pdavid for *ONE* issue and instantly tonguekisses gabriel before leaving, so novel. More fridging ensues. Stalking. Etc.) 2099 as an *universe* has been retconned so many times Nothing is consistent and Nothing is set on stone and frankly i think they should make it an AU separate from main canon and build a whole new world already.

The art in the 2015 + runs consists mostly of tracing, and more of that oily weird feeling applied to fem chars. Perhaps you have noticed in this entire hate review have never once spoken about Miguel's heroic plots and memorable villains --- he has none. At least nothing I can remember or distinguish. (Interchangeable, disposable, etc) There is a vague inkling of "this is an anti-stabilishment spiderman, he fights against The Public Eye, the Corporation Cops!" at the start but much like his cultural illiteracy pdavid has no real insightful politics commentary, so that dissolves into the background in time. Its all buzzwords. All of his plotlines are solved in circuitous or soap operaish extradrama ways; and while some of this is present in other superhero comics, what stands out to me MOST is how utterly fucking joyless Miguel's comics are. It's like going through a slog on obligation. They genuinely gave me a headache every time.

ATSV does a great job of reinventing Miguel and rebuilding the parts of him that showed real promise. Being a different tone-swapped spiderman, futuristic, being more on the tech-science side of crime fighting. Him being a single dad with a daughter is also new. (And he is single! There is no singular mention of marriage or a wife anywhere, he's a geneticist, multiple spider-men we see in this movie were literal clones made in tubes - i am fond of the idea he's a transmasc dad but even if you think he's cis he could have made that baby himself. Adoption is also always there.) I think its very clear ATSV didn't want to bring any of pdavids major weird shit w fem chars to the big screen on the hopes that miguel gets rebooted eventually. I think he's gay. Nobody can prove me wrong.

On that note, Steve Orlando (queer writer, also wrote for DC's midnighter/apollo) did some of the latest 2022/2023 Miguel miniseries. Another reboot! Those were "2099: Exodus" and "Spider-man 2099: Dark Genesis" - i think its campier/trying to tackle superhero plots more head on and trying to do something wide wacky cast focused at Marvel's personal request, but Miguel's future is very up in the air rn. I do really hope they reboot him into something closer to ATSV with latines at the center soon.

What I always reccomend for people curious abt miguel: read his first 3ish 1992 issues, get a general feel and close the book as soon as you feel annoyed. It won't get better. Remember none of it is canon nor has been relevant in over two decades. If you want to know the wider context of his messy chronology, check out some of the 2099 "all comics" type of youtube videos, theres some pretty easy to digest summarizations if u dont wanna waste ur time reading stuff that just got retconned again lol. Most writers now are operating on vibes and that is a freedom you should also allow yourself in your own fanwork.

Putting his panels out of context can be very funny though. (For further curiosity or tangents, there's always my meta tag)

[effy-writes]

Fizz x Male! Reader Smut: Horny

requested from wattpad

i SUCK at writing male reader smut oh my god

also people who are requesting i WILL get to yours within a day or two :) so dont worry. thank yall for requesting!!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

It was Fizz's day off in a while, so he spent the entire day watching movies with you. It ranged from corny, to drama, to action, and finally romance.

Since Fizz works with Ozzie he had access to watch movies from Earth. The one Earth movie he wanted to watch was 50 Shades of Gray.

He refilled the popcorn bucket and laid down beside of you.

"Fizz, whats this movie about?"

"Some BDSM movie." He replied, grabbing a handful of popcorn.

"Interesting." You rested your head on his shoulder and wrapped your leg around his.

The movie was slow at first, just the two characters meeting and getting to know each other, but things have definitely escalated.

Fizz felt his pants tighten up once the first sex scene came across. He tried to adjust himself so you wouldn't feel uncomfortable, but the sex scene became more intense.

You felt him moving in the bed, like there was something crawling on him. "You okay?"

"Huh? Oh right, yeah I'm fine." He grabbed another handful of the popcorn due to nerves.

He looked over at you who was nose deep in the movie. The room was dark, but he could see the TV light shining on your face and it turned him on even more. He wanted to fuck you like how the male protagonist was, but he knows you're a virgin and doesn't know if you'll be into that since it'll be your first.

You looked over at Fizz who was staring at you with lust in his eyes, and you want to reciprocate.

"I want to fuck you." You blurted.

Fizz blinked, "Really? You sure?"

You smiled, "Really. I can tell you want to by the way you were moving around."

He sat up, "You don't have to because I'm horny, just letting you know that."

"Fizz," You placed your hand on his, "I want to. Just talk me through it, and don't do the shit that that dude is doing, I'm not ready for that just yet." You snickered.

Fizz moved and got on top of you, straddling your hips. You used his collar to bring him down to kiss you. Breaking the session he took off his shirt as well as yours.

He placed his hands on the bridge of your pants and slid them off, leaving a trail of kisses from your stomach all the way to your genitalia.

He took off his pj bottoms and threw them aside. You swallowed your nerves, seeing his erect cock dying to get out of his boxers.

"I'll be gentle, don't worry." He reassured as he opened the lube bottle and lathered up his robotic fingers and your entrance.

He slowly slid two fingers in to open you up a bit. Your back arched as his fingers pumped in and out, picking up the speed.

"Tell me when it gets too much." He whispered.

"I..will." You said in between breathy moans.

Fizz pulled his fingers out and desperately took off his underwear, his red cock with white scars sprung up. Since the room is not completely dark you saw precum leaking out.

"I want you so bad." You whined, spreading your legs further apart.

Fizz let out a pleased hum as he rubbed lube all over his dick, getting it nice and wet so it'll slide in easier.

Fizz leaned down and nibbled at your neck while he lined his cock to the entrance of your ass.

"Please." You bucked your hips.

"You're so needy." He teased as he pushed himself in.

"Fffuck!" You gasped, digging your nails into his back.

"You're in control of me, tell me what you want me to do." Fizz let out a pleasing sigh, "You feel so fucking good."

"I want..you to fuck me." You wrapped your legs around his hips.

Fizz slowly pumped himself in and out to get you acclimated to the size of his dick. Once you begged him to pick up the pace he did as you wished.

He pinned your hands as he picked up the pace, hips striking your ass as your loud moans echoed the room. Fizz leaned down and planted his lips onto yours so you could moan in his mouth.

Your body twitched as you felt yourself reaching your climax. "Fuck..Fizz." You whimpered, your head throwing back.

Fizz let your hands free and gripped your thighs so he could plunge into you deeper. His moans increasingly got louder with each thrust.

“I’m gonna..” He panted.

Your scream of pleasure interrupted him, body compulsing as you came.

Fizz rolled his hips, riding out your orgasm as he came inside your wet, tight asshole.

The two of you panted as he pulled out. He rested his head on your knee so he could catch his breath. “I’m usually the one bottoming so I barely have the stamina to top.” He laughed.

“Next time I’ll top you.” You cooed.

Fizz laughed in amusement and laid down beside of you, pulling you into his arms. “Did you enjoy it? Was it too painful?”

“A little, but nothing I can’t handle.”

Fizz kissed your forehead repeatedly, “Can’t wait for you to fucked me ruthlessly.”

“Tomorrow morning?”

“FUCK yes.”

[alrightbuckaroo]

#obviously i have thots about a show who's crux is inclusion just to make a straight conventionally attractive white man the protagonist

This has always been my issue as well! The show's premise is at its core kinda white savior-ish, i.e. if it weren't for this white guy, these people wouldn't have gotten a chance, or wouldn't be part of this team And the show does often put Owen in more literal white savior scenarios, like 3x03.

Oh my gosh I forgot about 3x03, that instance was especially painful. I think my brain straight up removed it because yeah, what was that entire plot-line??

I've said it before and I know that Owen's desire to be a hero is, I would say canonically, a flaw (the episode where he quite literally sacrifices himself while TK is on the other end of the phone line comes to mind) but there's a difference between a hero and a white savior.

As much as I adore the show, I really, really wish they had a more diverse writers room because sometimes it shows that they don't.

Brian once said in an interview that whenever they write something for a trans based story line, they ask him how to go about writing it. Don't get me wrong, I'm glad they're even doing that, but Brian's an actor, hire a trans writer.

I remember watching an interview with Rider Strong who played Shawn on Boy Meets World and it always stuck with me. Shawn ends up dating a girl named Angela, who is Black. Boy Meets World then hired a Black woman writer.

I've got qualms with Boy Meets World, sure, but that kind of opened my eyes to the fact that if a network wanted to, they could.

Then again, this is the same studio who just let a mainstay leave after four seasons because they don't want to pay her enough so maybe it's just wishful thinking LOL

[bloopitynoot]

Reading SVSSS: Bonus- Chapter 31

For those who don't know, I am reading SVSSS for the first time and sharing my thoughts!

If you have not read it, there will be spoilers! Consider this a warning.

Also- if you want to follow along, I am aiming to post updates daily. You can find all the posts in the tag bloopitynoot reads SVSSS. You can also check out the intro post for context on my read.

I am in a food coma right now, I am not going to lie. I went on a double date today that was a donut crawl part 1/2. We went to two local donut shops and sampled donuts- it was so tasty but also, SO MUCH SUGAR.

(I did read the chapter pre donut meal though with some white tea).

Left side Lady Glaze: we rated these 3/5. They were fine. But honestly not as good as they were when they opened the shop! Right side Debrodniks, much better but so sweet 4/5.

We have two more places to check out, but that will be another weekend LOL.

let's gooo chapter 31

I'm three sentences in and already intrigued by the chapter. Although, I am terrified for the nature of the survey questions. p339

unrelated to this chapter- this is such a random thing to include in this book. What I would give to have a glimpse into the brain of MXTX. Like I 100% want to know how this book came together and why certain things were included or not. So good

starting this interview with sass from Binghe AND unanswered age questions that even airplane has 0 idea about. pp339-340

Also airplane with this survey: yeah, let's just not answer these next 30 questions....p340

Airplane: describe each other. SQQ with 0 chill: (not actually but my interpretation of this literature) LBH cries so much, is a little bitch, and is also a big simp. LBH: Shizun is so kind. p340

Wait, this went from kind of awful for the duo to really soft. "What do you hate about one another?" LBH & SQQ: Nothing. p341.

Baby Binghe wants to husband this man so badly. p342

oh god. The fact that LBH thinks the Water Prison was their first date is WILD. p343

"A helpless masochist; beyond cure" not wrong about LBH. p345

My personal headcanon during this interview is that airplane is listening to these two and watching them interact and simultaneously questioning two things; 1. his own relationship dynamic with Mobei-jun and how the two in front of him are a disaster 2. his entire writing of LBH in PIDW and what has become of his beloved protagonist. p347

LOL WAIT. The next page he does indeed reflect on the second thought I wrote and PIDW. p348

"Best way to please your partner during sex" LBH: <confidently> not crying. Pls help this man, the standards LOL. p350

These two are so weird, but they work

I honestly don't know how they work, I don't even know how to describe this couple to other people, but like good for them. What two absolute weirdos. One is trying to actively gaslight themselves into being straight (while actively caring about the other) and the other is just smitten. So damn weird.

ONE MORE CHAPTER TO GO! I hope to read it tomorrow morning (honestly mostly because Monday I want to start on the massive pile of fanfic yall have been so kind to share with me).