#there is something so special about storytelling. and reading. and writing. there is

[quincywillows]

maybe it’s just that kind of day but i’m getting emotional thinking about how my favorite book ever like the one most special to me that i never tire of and that has so many lines i adore to pieces was a book i came across by happenstance. it was a something something medal winning book when i picked it up in the school library in fifth grade, or maybe fourth grade -- who can remember now -- but i didn’t care about that. i just picked it up by chance, to try it, and somehow it never made its way back to the school library. it still has property of my school county inked on the top of the pages. and it’s my favorite book to this day, with a magic that has not faded.

when people ask me my favorite book and i say it, literally not one person has recognized the title. it’s not a new york times bestseller. the author isn’t one of the big-name writers of this generation. it doesn’t have people raving about it on tiktok or twitter, it didn’t have hype parades down the street and all over the internet when it was released. in fact, it wasn’t sold to me at all -- wasn’t shoved down my throat by too-good-to-be-true raving ARCs or algorithms that guarantee i’ll love the next overhyped, recycled, cookie-cutter product coming out of the publishing houses.

it’s just a story that i stumbled on. that i liked. that touched me, tickled my brain in just the right way, stuck with me for years in a way that a goodreads choice winner or new york bestseller literally never has.

that is what storytelling is to me. it isn’t about the money. it isn’t about the hype. it’s the idea that one day, without your knowledge and likely with no prompting or money exchanged, someone will stumble upon your story and it will never leave them. it will pique their interest, capture their imagination, touch them in just the right way to become theirs. and you will probably never know how much it meant to that one person. but it doesn’t matter. it exists with someone else, is shared with them, and it gives them the same warmth (or excitement, or inspiration, or comfort, or all the above) to read it. to keep it on their shelf, digital or tangible; to keep it in their heart.

maybe that’s romanticized, or naive, but it’s all i can think about these days. it’s what i think about when i finish reading yet another lackluster published novel and wonder what’s missing. it’s what i think about when i ruminate on what i want from my writing “career,” what really matters to me, why i spend all the time weaving narrative and writing words that i do.

it’s about sharing the story, to anyone who decides to read it. it’s not about the money; it’s not about the hype. we write because someone someday might read our words and they’ll be exactly what they wanted, what they needed, and it’s a joy to share it.

[seventh-district]

.

[foodiegoogie]

epiphanies over hotpot

james potter x gn!reader ✮ 1.6k summary: james comes to an illuminating realization when he sees you do something so unexpected for him. cw/tags: established relationship, james is SUPER whipped, mention of food, but the vibes are cozy and domestic :> also, we acknowledge the fact that james is a little diva !

note: inspired by smth i saw on twitter that went like, “yeah sex is good and all but will u clean my glasses for me when im wearing the wrong type of shirt” HAHA (...will u?) anyway, hope u enjoy reading this!! <3 i enjoyed writing it sm hehe

James has always been a chatterbox. In fact, it’s usually a cause for concern whenever he goes nonverbal. He’s almost animated with how often he talks with his hands, or how his face contorts into various expressions—each one of them successfully depicting his emotions well. 

You had always been a listener; always preferred to be silent, always preferred to just listen. In fact, you were a good listener; always supplying enough replies to keep the conversation going, asking questions so they could continue talking because you’re genuinely interested in what you were listening about. 

This makes James—the hopeless romantic that he is—convinced that you were both made for each other. But aside from that, he’s also a firm believer of the “opposites attract” phenomenon. He likes to think that’s what makes the two of you so special, too.

Presently, he’s in the middle of bringing you up to date on the latest gossip in his workplace that you’ve been waiting to hear an update from. James is, as usual, using everything he can get his hands on—chopsticks, the few empty dishes on your table, paper napkins, the table itself—to recount to you what he witnessed as best as he could. 

Slightly out of breath from all the enthusiastic talking, James pauses to take a sip of his water. Then, when he continues, he raises a bowl of the steaming hot soup up to his lips. But the hot steam causes his glasses to fog, and he cuts himself off in the middle of his storytelling. 

“—Oh. Well, dammit. Now, I’ve gone blind.” 

You chuckle into the glass of water you’re drinking, eyes trained on James’ fogged up glasses, and the massive, goofy grin on his face as he, too, laughs at his unfortunate situation.

But he’s nothing if not dramatic about it first.

James sighs, exaggerated on purpose, though the smile is still plastered onto his lips. “Ah, well there you have it. The light of my life, laughing at my own expense. How it pains me!” 

You roll your eyes affectionately at his little act, setting the glass of water down in front of you. “Oh, I’m so sorry for laughing at you, my love. Will you ever forgive me for my grave mistake of doing so?”

Your boyfriend, still sporting his foggy glasses, tilts his head slightly to the side as he rubs his chin in thought, feigning consideration. 

“Hmm, well, if you’re offering to compensate me in some way… I have a few suggestions,” James smirks.

You let out a snort of laughter. “Of course, you do.” He only chuckles in response, only deciding now to take his glasses off and get the fog out before he’d actually go blind. James was already bordering on the line of being legally blind, and he’ll be damned if he unintentionally made his eyesight worse by something so stupid as letting it get foggy, and refusing to clean it up after.

Most of all, though, he strives to maintain his eyesight as it is right now so he could keep seeing you in all of your loveliness. 

“Crap,” Your boyfriend frowns, stilling as he looks down at the white dress shirt he was currently wearing. Miraculously, it was still spotless. You supposed he was looking down at some spot where he’d finally managed to drop some food on when he continued. 

“I can’t clean my glasses with this,” James says, his frustration clearly evident with the adorable pout decorating his lips. You couldn’t help but smile fondly at the sight of it. 

“Technically, you’re not supposed to clean your glasses with your shirt, Jamie.” 

He grumbles under his breath. “I know that, duh.”

Then, he pauses briefly, and starts looking around the table for a clean paper napkin. “But I don’t really bring the case and the cloth with me anymore because I wear ‘em all the time anyway.” 

You sigh from exasperation. “Then it’s your own fault that you can’t clean your glasses right now,” You replied, reaching over the table to take his glasses from him.

James was already halfway through another defensive reply when he felt his glasses be taken away from his grasp. 

“Hey, what are you—“

Wordlessly, you start cleaning the lenses of his glasses up with a small, seemingly soft cloth you’d brought out from your handbag. It catches him off guard, and his heart pitter-patters with the feeling he always gets when he sees you for the first time after being apart for so long, or when you kiss him silly in your slightly bolder moments. 

As if it was just natural that you were doing this for him, you continued. “I mean, honestly, James. You’ve been wearing glasses for ages. You should know better by now.” 

He’s suddenly feeling a thousand different things, and thinking a thousand different thoughts, all at once. No, he wasn’t being dramatic this time. It was real. This was real. He was currently watching you, a literal angel sent from the heavens above and so lovingly bestowed upon him as his lover, clean his very own glasses for him. 

Just for him. Like, what?

So, maybe James was being a little dramatic. All you were doing was clean a pair of glasses anyway, there was nothing groundbreaking about it. You weren’t down on one knee and asking him to marry you. 

No, no. That wasn’t it. Actually, he may as well propose right then and there. This simple, yet so warm and thoughtful, gesture of yours had single-handedly made him fall deeper in love with you, so much so that he feels it strongly, he’s starting to think it’s not just the spice of the brothy soup you’ve both been sharing that’s making him feel a little woozy, and emboldened. 

“Marry me,” James blurts out with a breathless, almost dreamy sigh. 

“Sorry, what?” 

His heart kind of drops to his stomach at the nonchalant tone in your words, taking it in an entirely different context than yours. But James knows you really hadn’t heard him, of course. It was more like a murmur than anything that had come out of him. 

He suddenly falls over his words, increasingly getting flustered as you hand him back his glasses. He takes it with slightly trembling hands, prays that you don’t notice, and puts it back on in a rush. 

Once a much clearer sight of you finally comes into his view, James suddenly forgets how to function like a normal human being. Instead, he just stares at you in silent, but unabashed awe. 

“Er, James?” 

“Er.. yes, love?” 

“Are you alright?” 

“What? No. Yeah. M’fine.” He replies at once, mashing all the words in one quick breath. 

“O…kay,” You say, clearly suspicious of his suddenly odd behaviour. “What were you saying earlier? Couldn't catch it, really.” 

“Bury me," James answers, unblinking. "I said, ‘bury me.’” 

“‘Bury you?’” You clarify in a surprised huff of laughter. “Why would I do that?” 

Because I almost proposed to you and nearly put you in the hot seat. 

“Because this broth is just so good,” James punctuates his answer with a quick sip from his bowl of the aromatic, spicy beef broth that he’d been wanting to finish since a while ago. Before–well, before he suddenly felt like marrying you on the spot. 

A beat passes as you try to piece your boyfriend’s vague statements together. “You.. want me to bury you… in the soup?” 

“Yep,” He confirms. “I want you to bury me in the soup.” 

“James,” You chuckle. The corners of James’ lips twitch upward like a reflex reaction to the sound. “I am not burying you in hotpot. That’s ridiculous!” 

“I don’t care. I mean, since when am I not ridiculous?” 

You nod your head thoughtfully. “Okay, true.” 

James continues. “It’s just so good that I wanna take it with me to the afterlife. Heck, I think I’m even gonna ask for its hand in marriage right now.”

Way to go, Potter. Real subtle.

He foresees the teasing comment in your smirking lips. This time, he doesn’t know how to feel. On one end of the spectrum, he kind of wants to throw caution to the wind and kiss you until you forget about teasing him altogether. But on the other side, he’s resigned to his fate; and besides, it’s not like he doesn’t enjoy the added attention, anyway. 

“Oh, so you’re just gonna ask for its hand in marriage right now? Is that it?”

“Yes. That’s exactly what I just said.” 

“So what am I to you now?” 

“The love of my life,” James answers in a heartbeat, shrugging nonchalantly as if the answer was common sense. “Why are you asking this?” 

“Well, since you’re marrying this array of—“ You gesture around your table of various dishes of Chinese cuisine, emphasizing the boiling pot of soup in the middle. “—well, our dinner, I figured I must be out of the picture by then.” 

Your boyfriend’s jaw drops, gasping in mock-horror as he clutches his chest dramatically with his hand. You bite your lip to trap the giggles that threaten to erupt from your mouth. 

The two of you continue to tease and play along with each other for the rest of your time at the restaurant then. All the while, James becomes more aware of the little box sitting in his drawer back at home, containing the beautiful diamond ring that he’d bought on the very same day he’d seen it for the first time.

It made him think of you just as quickly as how you, who wordlessly cleaned his glasses for him, made him think of proposing on the spot. 

can i just say that this relationship is the kind that i want 4 myself ,,, fuck 😭 anywayyyyy thank u sm for reading! likes, reblogs, n comments are always appreciated <3

[philcon-programming]

Philcon 2024!

Do you love Science Fiction, Fantasy, or Horror? Are you a Writer, a Gamer, a Costumer, or a Filker? Are you looking for a weekend of distraction in your life? If you’re in the vicinity of Philadelphia- or more specifically, Cherry Hill, New Jersey- there’s an event coming up on November 22 – 24, 2024 that we’d love for you to come check out. If you aren’t already familiar with PHILCON, here’s what you should know: * We started out as a literary-centric SF convention in 1936, but have grown to embrace all mediums of storytelling (movies, television, comics, podcasts, etc) as well as expanding to cover the Fantasy and Horror genres. Most of our participants are authors, and there will be Readings by them and Autograph sessions all throughout the weekend, in addition to their participation on discussion panels. * While many of our Literary panels are about SF, Fantasy, or Horror topics in general, we also have an emphasis on panels discussing the craft side and business sides of writing, for those looking to develop as authors. * One of our content tracks for the weekend is dedicated to Science & Technology itself, not just how it is used in fiction. * We will be screening several movies over the weekend, and Anime will also be shown in our Anime & Animation room at certain times. * There will be Workshops and Demos for Costuming (including "Fabric Manipulation", "How to Make Foam Armor", "Make-up for The Stage", and "A Pox on Patterns!") and Art (including "Using Alcohol Inks", "Block Printing With Your Own Designs", "How to Make A Controlled Color Palette", and "Making Wire-Wrapped Jewelry"), and if you’ve got an outfit you made that you’d like to show off on stage, we’ve got a yearly Costume Contest. * If you are a Filker- or just enjoy listening to other people sing and play music- Philcon has a room dedicated Filk room, and this year’s Musical Guest of Honor is Cecilia Eng. As Cecilia is not often on the east coast, if you’d like to see her play in person, now is an excellent change to do so without flying to the other side of the country. Lynn Gold, another west-coast Filker, will also be joining us this year. There are also Concerts scheduled for Sirens & Liars, Half a Slime Devil, Brenda and Chuck Shaffer-Shiring, and Sara Henya. * Since the Gaming track moved from an upstairs suite to the “Gallery” room on the first floor, it’s had the literal room to expand the number of games it can run, and we’ve got a bevy of them on the schedule for 2024, as well as a bank of games for you to choose from during Open Gaming hours. There's also a LARP Workshop Series being run by Spectacle INK. * Our Artist Guests of Honor for 2024 are Gina Matarazzo and Matthew Stewart. Each will be giving a presentation on our Main Stage on Saturday afternoon, as well as having their art displayed in our Art Show. * Our Principal Speaker for 2024 is MAX GLADSTONE, and we also have Nghi Vo as our Special Guest. Both will be doing Readings, Autograph Sessions, panels, and a main stage Q&A session. An interactive version of our schedule can be found HERE. While a simplified, static overview, organized by track, can be found HERE. Our LinkTree can be found HERE. We would especially value your support this year, as Philcon’s Covid-19 policy in previous years (which required both mandatory masking and proof of vaccination in an attempt to avoid becoming a super-spreader event as several other conventions had) has led to a slow but noticeable decline in attendance. While masking in public spaces is still heavily encouraged, neither proof of vaccination nor masking are required to attend the convention in 2024. We’d love your help in making this year a success, so that we’re in a good position to bring you all something really fantastic for our upcoming 90th anniversary. We’d also love to give you a great weekend right now, for reasons I doubt we need to explain. Here’s to surviving the next few years! ~ Lynati Head of Programming, Philcon 2024

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Introduction

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

I want to start this essay by admitting I’m actually embarrassed by its length. Why did I spend so much time on something I dislike? The truth is, I did not begin this with the intention of creating such an extensive, formal study of the Tom Taylor and Bruno Redondo’s Nightwing run and how it reflects the wider problems with DC’s handling of one of their most iconic characters. I was just trying to organize the thoughts that came up during discussions with other Dick Grayson fans. Before I knew it, I had enough material, enough desire to challenge myself, and enough frustrations to vent to properly create this monstrosity.

I did not begin this Nightwing run determined to hate it. In fact, I was ready to love it. As Taylor promoted the run before the first issue was officially released, I was so excited for it. As I read short interviews where he discussed Heartless, I could not wait to have a new, incredible villain. Foolishly, I believed Taylor when he said he loved Dick Grayson. 

Needless to say, I was disappointed. Then frustrated. Then angry. The beginning of any story is a period where writer and reader form an indirect bond, and as the story progresses, so do the highs and the lows of said relationship. As such, a reader’s tolerance for negative factors will either increase or decrease depending on their experience up until that point.

In other words, if the writer fails to earn the reader’s trust and instead takes their attention for granted, even seemingly insignificant details become irritating in a way they would not be if presented in a better story. In such scenarios, the reader can no longer overlook those minor moments because there’s little good to balance them out with. It is a death by a thousand cuts. 

In the case of Taylor and Redondo’s run, along with those thousand cuts are also broken bones, internal bleeding, head trauma, and severed limbs. A weak plot, simplistic morality that undermines the story’s stated themes, and, most importantly, a careless disregard for Dick Grayson and everything he stands for utterly destroyed my enjoyment of this series. 

It is still too early to tell what sort of impact Taylor’s (as of time of writing, still unfinished) run will have on Dick Grayson’s future portrayals. But just because we cannot predict its long term significance, it does not mean we cannot critique it. Currently, we simply lack the benefit of hindsight. 

If this essay were to have a thesis, then it is this: Tom Taylor and Bruno Redondo’s Nightwing not only fails to tell a compelling Nightwing story, but it also exemplifies a cynical, self-serving, and shallow approach to storytelling that prioritizes creating hollow viral moments to boost the creators’ own online popularity over crafting a good story, honoring the character in their care, and respecting his fans – fans who have, historically, often been women, queer folk, and other individuals who felt othered by a cisheteronormative patriarchal society. Taylor and Redondo’s thoughtless and superficial narrative not only undermine the socially progressive ideals they supposedly care for by propagating a cisheteronormative patriarchal worldview, but they also demonstrate a lack of love and understanding for the character in their care. At best, Taylor and Redondo have no interest in getting to know Dick Grayson, nor any respect for their predecessor and their contributions to this character. At worst, they despise Dick so much that they wish to reinvent him into something completely different, tossing away everything that was special to his fans in order to appeal to a readership that never cared about Dick Grayson. 

I structured this essay so that, hopefully, each part will build on the ones that came prior. Naturally, because all aspects of a story are interlaced, there will be overlaps between each of the sections. As it may have become obvious from this introduction, I’ll be focusing primarily on the writing of this run. That is not to say that I will not address the art, but writing is the field I know most about, and so it feels only fair to focus my critique on that. 

I hope that by the end of this essay, I will have successfully proved that this run’s mishandling of different narrative elements betray a cynical appropriation of progressive ideology and a disregard and disinterest in what makes Dick Grayson so special to so many people. This is an attitude that is present within DC Comics’ current ethos as a whole.

Now, who is this essay for? Honestly, it’s probably not for Tom Taylor fans. I do not believe I’ll be persuading anyone with my writing, and, to be quite honest, neither would I say I wish to do so. Taylor and Redondo’s run has won numerous awards and has many dedicated fans who adore it for what it is. If that is you, then I’m glad. I wish I could be among your numbers. I wish more than anything that I could love this story. But I do not, and I know many others agree with me, and it is to them, I think, that I’m speaking to. As Taylor’s run is praised to heaven and back, I needed a safe space to voice my thoughts. This essay became this safe space. And to others who also feel unseen by the constant praise this run is getting, I think this could speak to you, as well. To be cliche and cringe, this will hopefully let you know that you are not alone. 

Finally, I want to acknowledge some people whose thoughts greatly contributed to the creation of this essay. For around three years now I’ve been having wonderful interactions with other Dick Grayson’s fans, and those discussions were not only incredibly fun and cathartic, but also provided great insight into what needed to be included in this essay. My best friend especially gave me a space to vent when I got frustrated, and my original outline borrowed a lot from the messages I sent her, as well as notes I took for our discussions.  

I’ll also be directly quoting four different Dick Grayson fans (identified as Dick Grayson Fans A, B, and C in order to allow them to keep their anonymity). Their analyses were so critical to the formation of my thesis and for a lot of what will be addressed in this essay that I actually feel like they deserve co-credit in this essay. Dick Grayson Fan B especially deserves a shoutout in helping me track down a couple of pages used as supporting evidence, as I knew what pages I was looking for but was having a hard time remembering in which issue they were located. I’m quoting them with permission, and crediting their ideas and contributions whenever relevant. 

Now, without any further ado, let’s get started. 

[tiredsmashbros]

and so we are gathered here today, to hear TSB's horrible 1k sobbing {LONG}

well guys, it's been officially a week later since the end of the "birthday party" event. crazy it already flew by fast but formerly something i really wanted to say from the very start: thank you.

quite frankly i know i could've just made a simple thank you text as a normal person does, but i wanted to really to show my gratitude by giving something nice. and that something nice was the discord server until... my chaotic brain decided to make a daily week event inspired by scott cawthon UIGHJDSXUKGJH but otherwise- i hope everyone enjoyed tuning in everyday and i've personally been having a blast talking and hanging out with everyone since.

now, i got my secret final card up my sleeve that i've been wanting to do. was to give back something to some specific folks. amazing folks. folks that one: were my introduction to this amazing smg4 community, and two: friends i've made that has genuinely changed my life for the better, and three: been the greatest support i could've ever asked. it's still insane to me that i knew my life would be changed the moment i clicked on a youtube video of someone yapping about a specific blue and purple character from a gmod meme show and if they would work canonical. following up with me just 3 hrs later my first fanart doodle for myself. with just recently that moment being so happy i reached 100 followers on here... if you would've told me four months later that it'll exceedingly grow 10x i would laugh at you and walked away... you guys are insane in the best way possible it has scared me to death, but never have i done better improving my skills and mental health.

and with that, i give to thy, my absolute wholeheartedly appreciation:

@theartistisme43 you were the, if not one of, my first exposure to the community on twitter when i was looking for fanart on day one. i remember vividly being so captivated by your smg4 au by implementing sign language to your smg4 rigs. especially cause despite i've been meaning to relearn sign language for years, it has a special place in my heart for personal reasons. i remember being so obsessed with your animations replaying it again and again and adoring your art style so much. i've been {and still am} really shy expressing my feelings but seriously man i genuinely love your work so, so, SO much. it's still insane to me how you get the unfortunate rope under your feet by some nasty ass fools on twitter, but ong, they're just so jealous our your gmod rigging talent and storytelling. seriously man keep going!! always excited to see what you cooking up next! 💛

@ominus-potato + @bluestrawberrybunny adding you both together because ong it will feel weird to me if i didn't. of course, i am a fanfic addict once i get into a new fixation... and you two have been feeding me graciously. ominus, i love and get inspired by your fics SO MUCH it's insane to me how i'm alive after reading a new piece you've made /pos. you were also my introduction to marware and i've stayed since even if it was started of as a joke UIGHJV. strawberry i remember discovering you on artfight but exploded when i found out you were the creator of the apprenticeship au fic. i was shy to read it but i've been wanting to give you something before artfight started i finally caved in to the lore and my only regret is not getting into it sooner. i love both of ya'lls writing styles so much it's inspired me to genuinely get back into writing fanfics. thank you both so much and please continue writting!!!! i get so excited every now and again going to bed reading them. 💛🌈

@aquaproductions and speaking about artfight... yoU! i remember discovering you actually from trap sanchez's smg4 map BECAUSE THE AMOUNT OF TIMES I WAS PAUSING TO SEE EVERY PEICE TO THEN EXPLODE WHEN YOU SHOWED THEM AT THE END HIUGJHFEDS i LOVE you style so much and god when i got the message from you on artfight i actually fucking screamed. even getting that attacked for you has never once failed to make me smile. i've overcome it by now,, but i genuinely was really shy because you are just so cool and i'm still going crazy the fact your a fan of the boys LIKE BROOOOOOOOOO IUGHJDSXYUJ. ahem- anyways... kEEP BEING SLAY AQUA!!!!! 💛💕💛

@coralalala64 + @cookiepopcat ah yes another duo bc im trying to shorten this but cause you both played a similar role for me. you two, i kid you not, are the first folks i followed while joining the smg4 community. i am in love with your traditional work sm corala i am just obsessed with comics and seeing someone was making 34 comics just made me jump in glee. additionally i love the c r e a t u r e gag sO MUCH T&*YGUIHJK. cookie in general i adore your artstyle so much and especially how you add those little sparks on the hair GUHH ITS SO CUTEEEE!!! i became more of a bigger fan from your shark au and now a fan of ur new au with 3! so excited to see what you guys got cooking up next!!! 🌿💛

@zurkton i know we don't get the opportunity to talk much more but i seriously wanted to feature you in as my appreciation from the insane support you've been giving me. seeing your comments make me smile in glee and even a bonus seeing something new you make. i adore your gmod style of these silly mario recolors BUT SRSLY MAN UR OWN STYLE IS SO GOOD AND SEEING U MADE AN OC FINALLY GUH ITS BEEN IN MY TO DO LIST FOR SOOOOOOO LONG. JUST GUH I LOVE UR WORK SO MUCH PLEASE CONTINUE BEING AWESOME AND I HOPE WE CAN GET MORE TIME TO BE ABLE TO YAP MORE!!! /GEN 💛🍳

@clownypillar oh yeah. you bet your buggy ass i added you on here. cause bRO i was surprised to find someone else who loves bugs it made my little me so happy. and i still have not gotten over that smg4 cult of the lamb au you made since, i love that game sm seeing that on my feed just made me immediately become a fan. doesn't help the fact blue/silas says really amazing and silly things about you in our talks i was so shy finding the right opportunity to try and talk to you qnq,, and when the opportunity did come up {bot issue} I GOT EVEN MORE NERVOUS IHKJFEGDSXUGJH /POS i love your humor sm man you are so fun and i apologize silas has gotten you under the theory trap sigh... but other than that i need to get back into my retired bug fixation and find more ways to make fun of you as we yap and appreciate dr pepper 💛🌈🥤🐛

@libbytwq i still remember the day i got that tsb piece from you on artfight and literally screaming and running around my room in glee seeing my silly man in a silly looney pose. seriously man, ever since i saw that i immediately became a fan of you. i just am a sucker for your style man /srs. hECK i remember struggling so hard to pICK someone to fight back bc i genuinely loved all your ocs and wanted to do everyone- i also find it sO funny and ig coincidental theres so many like coincidences with you??? ong i need to say this or im going to continue going crazy- like ong libby {oc} reminds me one of my trusted friends oc and brings me back to my 2016 nostalgia days, i actually have an oc name lore who has a similar hair style as smgl:e, AND THE FACT WITH OUR SMG4 OCS LORE SIMILARITIES LIKE BRO WE LIVE IN A MATRIX OR SOME SHIT THIS MAKES MY BRAIN EXPLODE AAAAAIOYUIGHJEFDSXZ /J but in all seriousness bro, i love talking with you and seeing your silly work so much. i know you're gonna be makin awesome things bro and you bETTER WIN THOSE MARCHING BAND COMPETITIONS IUGJHEDS 👑🍔🌈💛

@its-a-me-mango mango mango mango... YOU BRITISH FREAK- anyways. you seriously were one of my favorite artist when i joined and ngl i was absolutely terrified talking to you to the point i legit thought you hated me at some point IOKJEHFDWS heCk getting that attack from you on artfight blew my fucking mind bc i was screaming over the tari duck since af was the only place i dropped the tari love interest and i didnt realized it until i looked at your page that you were THE MANGO... bro i actually fucking exploded you have no fucking idea how happy i was 🌈. like you are one srsly one of my favorite inspirations man i love your artwork, your humor, and just everything man. i'm still going internally insane that im talking to you sm bro and the memes we mAKE BRO IM UYIGJHFDWSXZYUITJG THANK YOU FOR BEING SUCH A SILLY MANGO HORSE DOCTOR DUDE, YOU ARE SO COOL, INCREDIBLE, AND MAN WHERE IS THAT SNOWTRAPPED 1K YOU PROMISED /J i could go on a bit more but im literally exploding just writing this rn so now imma just lalalalalalalala ���💛🌈🥭🐴

@josiekatxd / josiekatxd jo. you are one insane creature /pos. LIKE DAMN MAN YOU DRAW SO FAST IT WAS WILD GETTING ALL THE AMAZING TSB GIFTS AND GETTING TO KNOW MORE OF UR OC 7 JUST BECAME A MORE JOYOUS RIDE!!!! i love your work so much man and the amount of support i've gotten from you makes me so so SOOSOSOSOS HAPPY ITS OVERWHELMING /POS. i enjoy talking with you man {even if i may be slow at timess..} pLEASE dont be afraid to send me smth, more yummy art or MEMEMSSSSS i appreciate anything and everything!!! this was honestly such a joy getting to draw 7 again she's been stuck in my head for so long hELPPP /SILLY 🌿⭐️💛

@rr3d2y AKO!!!!! YOU!!!!!!! YOU!!!!!!!!!!!!!! SERIOUSLY MAN EVER SINCE THAT ATTACK YOU MADE FOR ME FROM ARTFIGHT I HAVE BEEN A DIEHARD FAN SINCE. I WENT ABSOLUTELY INSANE OVER IT SO MUCH I HAD TO SHARE IT WITH MY IRL FRIENDS IT MADE ME SO HAPPY. EVEN MORE HOW YOU ACTUALLY IMPLEMENT MY INTERESTS EVERY TIME YOU ATTACKED??? LIKE HELLOOOO??????? AND DAWKO??????? AND JUST UR OC IN GENERAL I LOVE HER SO MUCH BROOOO IUYGJHEFWDCSXZUYHKJ EDWSHJDCS LIKE DUDE I HAD NO IDEA HOW MUCH I COULD WRITE A FULLBLOWN ESSAY UNTIL YOU BARGED IN WITH YUMMY ART EVERY. SINGLE. TIME. YOU SPOIL ME SO MUCH AKO YOU ARE INSANELY INCREDIBLE AND SUCH A JOY TO TALK TO AND BE SILLY WITH. IT MADE ME SO HAPPY TO FIND SOMEONE WHO SHARES MY INTERESTS FROM THE START AND I STILL GO CRAZY EVERY TIME ANY OF IT IS MENTIONED. WHETER ITS SMG4, DAWKO, CG5, FAIRYOFFPARENTS, SONIC, WOLVERINE UYIGJHEFDSCXUIGJH IT ALL MAKES ME JUMP UP AND DOWN KICKING MY FEET MAN. I MEAN IT WHEN I SAY IM A BIG FAN AKO. I APPRECIATE EVERY SINGLE 1 MILLION PERCENT AND ADORE YOUR SUPPORT SO MUCH. THANK YOU AKO THE GREAT!!!! LIFETIME SUPPLY OF CHOCOLATE MILK FOR YOU!!!!!!! 🍫🥛💛🌈🍔💕

@radiantrevolt i know your not in the smg4 community whatsoever let alone know anything but i srsly meant it that receiving your support was such a big deal to me man. i never expected you to join the server but it genuinely made me feel more secure knowing i got you right my side just like old times. your support means the world to me man even if i suck as explaining or expressing that. you genuinely mean a lot to me man and the fact your still sticking around if still mind boggling to me evermore. thank you ander for staying by my side and willing to do so even at a space your unfamiliar with. being able to talk to you again has been such a joyride 💛💛💛💛🌈🐈‍⬛

and lastly...

these two freaks...

@strange0-0storm + @bluesbox... honestly... i owe you two a lot. genuinely. storm i remember you specifically when i first started acknowledging the smg4 community bc of how recognizable smg8 was on tumblr and immediately finding you to be so cool. so cool in fact, I WAS TOO SHY TO INTERACT TYIGHJFEDS. i LOVE smg8 so much and getting to see your other ocs such as jessee, cold cash, spamton... 8YIUGFEDSU J ITS JUST SO COOL AND HOLY FUCK MAN I LOVE YOUR ART SO FUCKING MUCH. I AM STILL FUCKING OBSESSED WITH THE TSB PIECE FROM ARTFIGHT MAN VDCXZUYJHGF ITS JUST SO PERFECT I CAN GO FUKING GO OFF AGAIN IHUGFJEDS but in all seriousness man, thank you so much for having the courage to respond to my lipbite comic, to me having the courage to follow you back and interact with you more, to giving me the courage again to join ur server, and the courage to say yes to watching popee with you and silas. finn you have no idea how much your silly words have an impact on me you make me so nervous in the most positive silliest way you have no idea how genuine happy i was being in that call for the very first time. even tho i know how quiet and anxious i was from the start, it was cause i was so shy and nervous bc man it was you! YOU!!!! you're such a fucking awesome guy finn i want you to seriously never forget that!!!! silas, thank you for even talking to me. hell, even after finn left to sleep we stayed and yapped for few more hours. i was never expecting that outcome ever in my life due to past experiences, and im so glad to the earth and back that it did come out as it did. i love talking to you man, i love seeing your work so much, and adore and appreciate to the fullest all the gifts you made me. thank you even more for getting me into the great gatsby and returning my hidden sherlock fixation back to light. i appreciate it way more that i can ever express it man. whether it may us talking about our day, silly nonsense, or me bullying you /j, it makes me so happy. and so grateful i can call you and finn my friends. you guys seriously helped me get out of my darkest angst shell i've had caged inside myself for the past, i didnt think i would ever escape from let alone actually be able to heal from. i didn't think i could ever be the happy ever again. like guys, i look forward to every week getting to get on a call with you guys so much its honestly my favorite activity/event of the week. i know im just silly guy i don't ever show my sappy self ever to ya'll but i mean it wholeheartedly ya'll helped me out so much more than you guys could ever imagine. i love you both so much i just wanna pick you two up and throw you into a canon so we could all go to disney world together and be just be silly. thank you finn, thank you silas 💛🤍💙🍔🍟🥤

i could honestly continue yapping but i was not expecting this to take longer than i was originally expecting so imma just end it here for now. i do want to thank everyone in the smg4 community for your continuous support. the amount of appreciation and love i get is still insane for me to grasp and i adore every single piece of giftart i've ever received. never did i expect to grow this big let alone meet such incredible and talented people ever in my life. i genuinely love all of you guys. thank you so much and onwards to more silliness!!! 🍔🌈 ⛅️🌿

[mjbarrosart]

My Dragon Prince Boards season 6, episode 608

Hello, everyone!

Finally I have some time to write this! You can not imagine how demanding is to work making television shows, everything is for yesterday, haha!

Complains about work aside, it is time to talk about my last episode of season 6, episode 8. This one was... special.

I can say without a doubt that this was one of the most emotional episodes I have ever worked on. I cried every time I watched the animatic, and I cried again watching the final episode a few days ago.

I think is a lot of things together: a lot of important things happens, characters die, Katolis is destroyed, one of the quasars is fake! Aaravos!!! ... but also because I witnessed my team bring together their A game, telling this story in such a beautiful way.

I learned a lot from this episode, specially from my Unit Director, Mike Jones, who was in charge of boarding the "Hearts of Cinder" spell sequence; what a masterclass of emotion, storytelling and cinematography! I love Jason Simpson's performance during the show, but in particular in that sequence, and I think the boards took everything to a new level.

Now, let's go back to my sequences.

My first one was Soren going down to Viren to ask him to perform the spell. It was good to have this last interaction between both of them after all the work I did with the characters in 605.

There is a lot of subtle staging in this one. The way the light is hitting over their heads, how present in the screen the staff is; Viren's hesitance is something that I remember was important for me to portrait properly.

One of the things we talked a lot during this sequence was in how to use the light as narrative element. I was not interested in the classical reading of going into the light as "good" and shadows as "bad".

But light as hope, options, forgiveness, etc.

Viren walks away from the light when he gets offered the staff not because he is going "bad" but because he doesn't feel capable to do what he is being asked to do.

Soren is coming directly to him, removing his chains, giving him back his staff, asking him for help. But Viren hesitates.

And I think that that was a genius think for the script to call. Viren is not a man looking for the first chance to "redeem" himself. I am not even sure that he believes that he deserves that possibility.

But they are running out of time. The situation is dire, and as the light get blocked by the falling debris, the options are becoming clearer. Hope is dim, but there is something to do: Hearts of Cinder.

Viren, still full of doubts, explains to Soren why the spell is so hard to perform: the price is a human heart. A price that the Viren of the past would have pay with not second thought, but not the current one, no the one who understands the weight of dark magic.

But Soren has no doubts: "Take mine" I still have chills listening to the delivery of that line. And I think here is the moment Viren decided to sacrifice himself. While he is being consumed by doubt and fear, his son will is clear, Soren will do the right thing, even if that cost him his life.

And that is what Viren never had before. The willingness to sacrifice himself for the greater good. He looked at his reflection in Soren's golden heart and saw and answer, saw love, hope.

I just think is beautiful that Soren's conviction gave him the chance to do the right thing for once. Soren taught him the ultimate lesson.

I love this two so much.

My next sequence is a simple one, Terry and Claudia arriving to Katolis. I liked to draw Claudia's new hair. I wish I had more sequences with her in this season.

After this is Moon nexus time!

After all the drama with Viren and Soren the massage sequences felt a little silly, hahaha. but was fun to make.

I added the little detail of Rayla having issues landing, while Callum is just so good at it, haha. Fun to have their roles reversed for one, and Rayla being the clumsy one.

I like the moment when Lujanne ask them if they are a couple again and they exchange this nice look. I know that Rayllum is a huge thing in the fandom, and while they are not my type of ship (I am into the sapphics, you know) I think that they are pretty cute together, and Is always fun to make moments between them.

I just wanted to share with you this silly face, lol. Sometimes you draw things in boards that don't translate that well into the final show, but It is fun anyway, you want to inspire the animators to push the performance as much as they can.

Back to serious business. I love the shift when our heroes realized that there is only 2 quasars and 3 coins. Callums turn into Raylla knowing that this will destroy her. I really enjoy how the use of the lens to blur Lujanne in the Background creates this efect of hyperfocus on Callum and Rayla.

She is facing a terrible decision, who to save. So we move the camera to focus only on them. Is an intimate moment.

I like this framing, Rayla is in pain, crying, Callum is listening, but by the framing we can se that he is holding her. Callum is there for her, always.

And that is how I finished my last sequences of season 6, with Rayla crying.

Working on this season was one of the honors of my life. And I can wait to share with you how was making season 7, because was... A LOT, for sure! hahahaha.

Hope you like this! And feel free to ask if you have questions about the storyboard process!

And thanks for all the notes, comments and support! It is truly appreciated!

A little bonus:

Look a the cool crew jacket that Bardel gave us when we wrapped seasons 4 to 7! (Finally I can show it without making it an spoiler of the name of season 7!!)

[yourpenpaldee]

·˚ ༘₊· ͟͟͞͞꒰➳ WRITEBLR INTRODUCTION.

I don't usually put myself out there as it makes me nervous. But I've been a lurker for way too long, and it's about time I step out of my comfort zone. So, hello! I'm Dee (she/her), twenty-two, and have found my voice with storytelling.

Writing has always been a passion of mine, and continues to be the tool I turn to when I need an outlet to freely express myself. I have, unfortunately, hit a rough patch with consistency, and I'm here to bring all of that motivation and inspiration back. Especially since there are one too many WIPs sitting on the backburner, and they're all calling my name.

As someone who loves to dip their toes into every genre of fiction, I will read anything that peaks my interest. However, when it comes to creating, my works usually fall under romance and mystery. With practice, I intend on branching out into other genres I don't write often. There's a lot to explore in the world of writing, and I don't want to limit myself to only two categories.

Creating this blog provides me the space I need to accomplish the many goals I often dream of achieving. I acknowledge that it all starts with the ability to hold myself accountable. To show up for myself. To become comfortable with the uncomfortable. Putting myself and my projects out into the world is only the first of many steps, and it feels quite liberating.

I aim to use the voice I've found to not only contribute to the progression of POC representation, but to touch on several topics that remain heavily stigmatized in today's media. There’s a joy that runs through my veins every time I see someone like me on my screen or in a book. I feel seen, heard, and proud. I feel important. But as a creator, there’s that itch that can only be scratched when I create. When I make something that lets the next person know that they’re not invisible. That they're valued, loved, and appreciated. That's what I hope for when someone reads a project of mine. For them to feel the same rush of joy flowing through them as it does me.

Wow, I’m a yapper. I'd like to close this intro off with some fun facts, so here are some of my top five favorites with sidenotes because I still want to yap a bit more about the things I adore.

SOLO ARTISTS:

ARI LENNOX ✧ ˚ · . CHOCOLATE POMEGRANATE — GET CLOSE — GOAT — POF — UP LATE

HALSEY ✧ ˚ · . 100 LETTERS — I HATE EVERYBODY — NIGHTMARE — ROMAN HOLIDAY — THE LIGHTHOUSE

HOPE TALA ✧ ˚ · . CHERRIES — EDEN — I CAN'T EVEN CRY — LEAVE IT ON THE DANCEFLOOR — SUNBURN

MELANIE MARTINEZ ✧ ˚ · . ALPHABET BOY — DEAD TO ME — EVIL — NOTEBOOK — STRAWBERRY SHORTCAKE

HALIMA ✧ ˚ · . DOWNTOWN — FORD CARDINAL — IF LOVE WAS GREEN — SAMANTHA — TALK

BANDS:

5 SECONDS OF SUMMER ✧ ˚ · . AIRPLANES — BETTER MAN — KILL MY TIME — LONG WAY HOME — TEARS!

FALL OUT BOY ✧ ˚ · . BANG THE DOLDRUMS — CHICAGO IS SO TWO YEARS AGO — HEADFIRST SLIDE INTO COOPERSTOWN ON A BAD BET — NOBODY PUTS BABY IN THE CORNER — WHERE DID THE PARTY GO

FLO ✧ ˚ · . CARDBOARD BOX — FLY GIRL — IMMATURE — SUITE LIFE (FAMILIAR) — WALK LIKE THIS

PARAMORE ✧ ˚ · . BIG MAN, LITTLE DIGNITY — CAUGHT IN THE MIDDLE — FRANKLIN — MISGUIDED GHOST — PART II

THE INTERNET ✧ ˚ · . DONTCHA — HOLD ON — LOOK WHAT U STARTED — SOMTHING'S MISSING — SPECIAL AFFAIR

GAMES:

CORAL ISLAND ✧ ˚ · . IF I START LISTING NAMES, I'M GOING TO MENTION EVERYONE. BUT I'M A LOYAL MARK GIRL. AND NOAH... AND MILLIE, EVA, BEN, Y—

DISNEY DREAMLIGHT VALLEY ✧ ˚ · . THIS IS SUCH A COMFORT GAME THAT SOOTHES MY INNER CHILD.

DON'T STARVE [TOGETHER] ✧ ˚ · . I MAY OR MAY NOT STILL SUCK AT THIS GAME AFTER A SOLID THREE YEARS, BUT I'M A WIGFRID MAIN.

STARDEW VALLEY ✧ ˚ · . I LOVE SEBASTIAN AND LEAH, AND I WILL DIE ON THIS HILL IF I HAVE TO.

THE SIMS 4 ✧ ˚ · . WHERE I SPEND A LOT MORE TIME IN CREATE-A-SIM AND BUILD MODE COMPARED TO PLAYING THE ACTUAL GAME.

TROPES:

FAKE RELATIONSHIP ✧ ˚ · . MHM... JUST SAY YOU LIKE EACH OTHER ALREADY.

FATED MATE ✧ ˚ · . I'M A BIT PICKY ABOUT THIS TROPE THOUGH. THINGS TEND TO MOVE VERY QUICKLY BUT I ENJOY IT NONETHELESS.

FRIENDS TO LOVERS ✧ ˚ · . A CLASSIC THAT DOESN'T NEED AN EXPLANATION.

REUNION ✧ ˚ · . ESPECIALLY IF THEY WERE CHILDHOOD FRIENDS AND THEY REMINISCE OLD MEMORIES, OH MY GOODNESS. I EAT THIS TROPE UP EVERY TIME.

SLOWBURN ✧ ˚ · . NO DOUBT THIS IS MY MOST FAVORITE TROPE. THE BUILDUP TO EVEN THE TINIEST PIVOTAL MOMENT ALWAYS MAKES MY HEART THUMP.

TV SHOWS:

CRIMINAL MINDS ✧ ˚ · . YES, I’LL WATCH ALL 16 SEASONS FOR THE MILLIONTH TIME AND FALL IN LOVE WITH PRENTISS EACH TIME. WE WERE ALSO ROBBED OF BEARDED HOTCH CONTENT.

BRIDGERTON ✧ ˚ · . DO I CRY EVERY TIME I WATCH GEORGE AND CHARLOTTE'S STORY? YES. WILL I CONTINUE TO REWATCH IT AND RECITE THE LINES EVERY TIME SOMETHING REMINDS ME OF IT? ASOLUTELY.

THE BEAR ✧ ˚ · . I WISH I KNEW OF AYO EDEBIRI BEFORE THIS SHOW BECAUSE THAT WOMAN IS AMAZING??? LIKE, HELLO???

THE EQUALIZER ✧ ˚ · . *mini spoiler* STILL CAN'T STOP THINKING OF DANTE'S GRIN WHEN HE GOT TO SEE MEL, ROB, AND HARRY'S LITTLE WORK SPOT FOUR SEASONS LATER.

SWEET MAGNOLIAS ✧ ˚ · . HELEN, MADDIE, AND DANA SUE IS HOW I PICTURE MY FRIENDS AND I IN THE FUTURE. MARGARITA NIGHTS, BEING AUNTIES TO EACH OTHER'S CHILDREN, UGH. I LOVE THEM WHOLEHEARTEDLY.

And that concludes this introduction on me and this blog. I would love to connect and befriend other authors, so please don't hesitate to reach out as my DMs will always be open! I'd love to support and read your works, so don't be hesitant to share them with me if you'd like.

I hope you all will enjoy reading my works as much as I enjoy the process of bringing my ideas to life.

divider creds to strangergraphics ♡

[zahri-melitor]

What's the Williamson thing? I don't think I've read much of his work

This is not exclusive to Williamson in any way, but he's part of it.

There are a bunch of DC writers who have a decided tendency to place more emphasis on biological relationships than adoptive ones. Williamson's a known example.

This affects variously families differently. Flashfam are less affected because they're almost all actual interrelated family members, however it's particularly noticeable in the writing of Bat, Super and Arrow titles.

(Aquafam is its own special case because 'biological v adoptive v foster' dramas extend back to the Bronze Age. Fortunately nobody seems to have let these writers near the Marvelfam/Shazamily much)

But essentially, it shows up as a tendency to define Damian Wayne, Jon Kent, Connor Hawke and Emiko Queen specifically by their biological relationships to Bruce, Clark and Ollie, and minimising the importance of adoptive bonds.

This is where you'll see things like Dick Grayson referred to as "Bruce's ward" in a title published in the 2020s, or Dick mention Bruce to Damian as "your father" (not ours), or have Ollie thinking about "my son Connor and my former sidekick Roy", or describing Roy as "like a son", or suggestions that there wasn't a Super Family before Jon arrived and that obviously the only possible Superman replacement for Clark is Jon, and so on.

It's this insidious "adoptive relationships and foster relationships are great but this here is your own flesh and blood, your biological child, and that is something that has its own special importance above and beyond any child you have chosen to look after". Which is something that some people do think and struggle with in blended families! But which gets really noticeable when it's prioritised in properties that were originally about families of choice.

Because we're talking about Joshua Williamson, and I was referring to his writing of Damian in particular:

It's having Alfred say to Damian “Bruce would have wanted you to be Robin” and claiming that is a scene that happened during Batman R.I.P., even though Tim was very much still Bruce's Robin at the time, had been promised by Bruce that he could be Robin as long as he wanted to be, and was literally in costume as Robin trying to hold the city together and track down and imprison Hush with Dick.

It's the attitude that Damian was entitled to be Robin because he was Bruce's son, and being Robin is a marker of being Bruce's Blood Son, whether or not Damian is actually doing the job of Robin.

It's scenes of Bruce and Damian going "Father and son. Batman and Robin. We don't need anyone else" even as Tim is currently also Robin and a very important thread of Bat family storytelling for the last 30 years is that yes, actually Bruce does need his family, he does need more than one single connection, the network is important at keeping him grounded and sane and able to do the job.

It's just...sigh. Joshua Williamson at it again.

[monstersandgirls-webcomic]

My partner's a christian but while he's not a fan of your work like I am he doesn'thate it. His main thing is "why is the angel dating a demon" and him pointing out small details bc one of his special interests is demonology and the version for angels (angelology?) but aside from that he just goes "well then" especially when I showed him your confession booth comic (he laughed!!)

I'm glad he laughed! I actually saw that criticism as well (the one about angels and demons), which is actually a fair point. I just assumed people could accept "well its a fantasy setting and not meant to be entirely accurate to the bible, otherwise the princes wouldnt exist at all". And considering the massive emphasis on the fact that the angels do treat Sera's relationship with Lili as blasphemous, it's not just something i casually ignore.

With angel and demon lore though, i'm not really as strict about it as demons have had various depictions in folklore and in religious text, so I kind of do my own thing without going completely far off from common depictions. like if I wanted to make my succubi more "accurate", they would basically be more human-looking rapists that give people nightmares, and with the story i want to tell, i personally don't want to do that.

It's pretty much like how I view Dungeon Meshi. If you read the series and expect a perfect 1 to 1 rendition of existing fantasy lore, you're going to be disappointed and annoyed. But if you appreciate how the author recontextualizing the lore in her own worldbuilding and storytelling, you'll have a lot more fun.

But this isn't me ragging on your partner, there are stories i've flat out refused to read because i didn't like its depiction of demons or bugs (especially bugs, if you write about an ant/bee colony and a majority of the workers arent women im gonna be pissed). And hell, I'm the guy who got so annoyed with Helluva Boss's Beelzebub design that he redesigned her to make her look more bug-like. So I do get that feeling of "i wish this was more accurate"

[herecirmsims]

Questions For Storytellers

I have (I think) finally caught up on my list of poses to make, so I wanted to do something a little fun (for me, not for anyone else LMAO) and entirely self-indulgent. I read stories and tell my own over on Instagram, but of course it's harder to post long-form text like this over there.

Special thanks to @freezerbnuuy as I'm copying their post. ❤️

What’s the last screenshot you’ve taken for your story?

This is from the middle of my last post, but it's the last screenshot I took because I went back and added this scene in after finally caving and making my own stupid poses for it hahah.

2. Describe your story in three words or less: Needlessly long tbh

3. Describe (insert character here) in three words or less: Uhhh I'll pick Saxen since he's my MC... wet cat energy (which I think is something @nefaricussims said actually??). Or "90s cocaine chic" as @southernsimmin so beautifully described him. 🤣

4. How did you choose the name of your story? It's called The Cottage because it's... based in and around a cottage. 🥲 I have a very imaginative mind!! 🤣 But also, the cottage plays an important role throughout the whole story and especially in the upcoming finale.

5. How do you choose your characters’ names? My Sim story is based on a novel I never had the confidence to finish - in that version, Sax is an ælf based on Anglo-Saxon belief. I made him a vampire in Sims because that was the only pack I owned at the time, besides base game, and for gameplay purposes I thought vamp put him close to how I imagined him. I now realise I could have easily used CC and my own damn imagination to make him an ælf but I didn't know much about CC at the time, either. 🤣 Because of this, the original story leant into fae lore and the stuff about never revealing your true name. Saxen isn't his real name anyway, but for an added layer it also isn't spelt how you might imagine if you heard it spoken. The same for Thom and Jac who are also characters who came over from the 'original'.

6. How long have you been working on your story for? A little over three years! I have learned soooo much in that time.

7. Whats the biggest risk you’ve taken with your story? Did it pay off? I dunno that I've taken any risks, other than putting it out there in the first place.

8. What about your story are you proud of? I think the fact it exists at all. I've been writing stories since I was a kid, but at some point I lost confidence in myself and have never finished anything/wanted to share it with people because I end up overthinking and deleting it. So I am proud of myself for having maintained a continuous story for three years, and for having other people read it. I think because there was no pressure with a Sims story - with a novel I kept thinking, this has to be perfect and polished so that I can publish it someday. With a Sims story, I'm free to just write the silly tropes I enjoy and allow myself to suck and learn and get better at it.

9. What about your story are you looking to improve on? I read a fantastic article about ma - including pauses in your visual storytelling, space for the characters to sit and breath and reflect. It's ma that makes Ghibli movies so wonderfully distinctive. Being able to make my own poses means that I can show a character's expression or body language in response to a situation, without the need for overlaying text. I'm trying really hard to move away from the "talking heads" style that reads more like a script, and letting the visuals tell the story for me instead. I'm not very good at it because I enjoy my blah blah, but it's fun to try!!

10. Is your story fully planned or are you still working things out? Is there a definitive end? I'm approaching the end of it now, which has been planned for the last three years, so yes - I know pretty much everything that's going to happen. Sometimes the characters still throw a little surprise for me though.

11. Why have you decided to tell this story? Are there any messages or meanings within it? When I got the Sims almost 4 years ago, I had absolutely no idea that there was a) a whole community around it or b) that people used it for storytelling. I'd already made Sax, Thom, and Jac in the game, because I'd wanted to see them come to life during gameplay. Then I discovered poses and started sharing random staged screenshots on Instagram, and became friends with the exceptionally talented TheSimmerKay (now making machinimas!) who showed interest in my silly little characters and suggested that I try telling a story too. I owe her a lot!! As for messages and meaning... I'm very interested in what makes people do the things they do, and how the hero of a story often depends on whose POV we're hearing the story from. There's a fine line between hero and villain sometimes, and a hero acting out of love can cross from protectiveness into control.

12. Do you actually play the game or do you just use it as a storytelling medium? Yep - I have a designated story save, which is the one I take all my screenshots in and which never has gameplay. Then I have a Happy Ever After save for Sax and Fen and another save for for my Globetrotter Challenge Sim, both of which are gameplay only. I think it's important to have that outlet; I can work on my story, make poses, or just play the game, depending on what I fancy.

13. From basic planning to a finished post, how long does that take you? 2-3 evenings. I tend to get everything laid out and text added, then let it sit for a day because I inevitably think of a way to do something better if I give it chance to breath. 🤣

14. Do you have any regrets about your story so far? If you could go back in time, how would you fix these? Not regrets, really, but there are some threads that I put in - fully intending to complete them later in the story - but never did, due to them just not fitting with the story or wanting to try and bring things to an end sooner. But similarly, there are times when I was going to put in a little hint or foreshadowing in and didn't, and then later in my story have wished I had! The tricky part of serialised storytelling is you have to just live with what you have (or don't have), you can't go back and remove or add scenes like you would with a drafted novel.

15. What have been the highlights of creating your story? I've met so many incredible people due to it, oh my goodness. Truly extraordinary Simmers who've shared their time and knowledge with me. We have a little mutual reading group on Insta where we all read and geek out over each other's stories and it's just wonderful. I was honestly shocked when i went to other platforms and realised how much drama there can be in the Sims community. 🤣

16. What about the process do you enjoy? Not that I don't enjoy the process... but I mostly love it when it's finished and I can share it, hahaha.

17. What about the process do you hate? I don't hate any of it... it's a hobby and I do it because I enjoy it. That being said, it does fuck me off when I have multiple Sims in a scene, everyone is in place and has poses queued, and then MCCC Dresser FREEZES MY GAME NOOOOOOOO WHY

18. Choose a song that reminds you of your story:

This is the unofficial theme... specifically this version in Old English, which is Saxen's first language. "It's our destiny then to find love again / Where we failed once before now we'll win"

19. Choose a song that reminds you of (insert character here):

Another one for Sax I guess because he's special. 😌🤣 "But you, a cinder of the fire that's yet to come / Will you just sit and mourn this fragile thing that you've become / Or instead will you consume the very things you can't outrun / Until you finally see all of the strength that you draw from?"

20. Choose your favourite shot from your story so far: Hmmm I think this one, which was me being lazy and reusing a screenshot from an older scene during a flashback-style narration. 🤣 I was trying to achieve something else with the editing but did this by accident and liked it.

21. Choose your least favourite shot so far: Too many to pick from LMAO

22. Choose a favourite character from your story so far: Sax, obviously, he's my lil chew toy/punching bag. But then there's also Idris, for whom I only wish the best. She's going through some trouble right now and I don't enjoy it. It's much more fun to bully Sax.

23. Choose your least favourite character so far: I don't have one! Although Vlad makes me deeply uncomfortable tbh. I find him to be a really creepy villain, and unlike any of my other villains, he's not in any way misrepresented or redeemable. I'm using a makeover version of him by WistfulCastle (I would link, but I don't think he's available anymore?)!

24. Are there any characters who remind you of yourself? No... well. Whenever baby El randomly info-dumps on a niche subject, that's mostly me taking advantage of a captive audience to tell them about karkadanns or medieval torture items or dead bodies on Everest. 🥲

25. What inspirations have you drawn on for your story? I honestly don't know - I can't name anything that I've consciously drawn on, though I know for sure I must have. Funnily enough people have told me things like "oh that's like in Vampire Diaries" or "that's like that part in the Harry Potter films" and I haven't watched either of those, so I think what's happening is we're all drawing from the same well of folklore and mythology and trope. There is occasional story drama about being copied and the thing is... unpopular opinion alert... many of us aren't as unique as we think we are. 😅 What we are unique at is taking a trope and telling it in our own distinctive way. No one else can tell your story quite like you can.

26. Have other sim stories inspired you? I have soooo many talented friends who inspire me to do better when it comes to visuals and storytelling!! @callmedomino is the queen of silent storytelling and a huge inspiration on my journey to discover ma. I really love how well she can tell a story with no words.

27. What genres would you describe your story as? I call it rural fantasy lmao

28. If you could reproduce your story in another medium (movie, novel, comic, etc.) what would you choose and why? I mean obviously I'd say movie because HOW COOL would that be?! Especially an animated one!

29. What would your story’s rating be? (G, PG, M etc.) Ummm probably M because there is the occasional spicy scene. Sometimes three a year LMAO.

30. If you were leaving simblr Simsta and had to choose another creator to continue the story for you, who would you ask? Well tbh I've given Sax and Fen to several good friends already; some of them have them in ongoing cameos in their own stories. I wouldn't ask anyone to continue mine, but I like to think that Sax and Fen could live on in my friend's stories and games if anything were to ever happen to me.

31. Drop some random trivia about your story: When I started I only meant to do short, random vignettes about daily life at the cottage. Somehow it snowballed into a three year epic. 🤣

32. Give a light spoiler: "This is who I am. If I was any other way, I would not be myself."

[basilone]

Folks, I hope whichever writing you’re working on today creates joy for you!

Just this past week, I wrote a good 3k worth of words that were born from an idea 2AM me had. 2AM me is a different animal, you know. 😉 2AM me does not really care about what I’m “supposed to be working on”. 2AM me sees my prompt-filled inbox and shrugs at it. 2AM me has never met an outline she can’t ruin, has never encountered writer’s block once she gets going, and has most certainly never given a hoot about if there are going to be people willing to read the thing. 2AM me cares about one thing and one thing only: does writing this vague idea fill me with complete and utter joy?

So. Here I am. 3k words into a mafia AU that will likely not see publication beyond a groupchat with friends. 3k words into a story that features no canon characters from the shows we love, but features several of my original characters instead. 3k words into a story that is, in no particular order, doing the following: feeding my love for particular tropes, allowing me to explore my OCs in a different setting, giving me a better handle on how my OCs express certain emotions and ideas, fueling and clarifying certain aspects of the main fic these OCs inhabit, and taking away all my self-imposed pressures about needing to have a finished and publishable story as “proof” that I have spent my precious free time well by being productive.

And, friends, I’m having a blast. I’ve talked some of my friends to death about this already because I’m so excited. I’ve spent more time working on the outline for my actual fic in this past week than I have in all the weeks of this year so far because writing this silly AU gave me the confidence boost to sit down and figure that out. (That pesky outline that's been eluding me for months? Pretty much complete at the time I write this.) I’ve gained a truckload of stuff to use as special tools that will help other writing later on. And it’s all made possible because 2AM me had an idea and morning me went “well okay why not try it on for size just once”.

So, I’m writing you a permission slip. Work on what sparks joy. Work on something that inspires love in you for an aspect of your storytelling, for your characters, for the world you’re creating in. Forget about your inbox and comments and requests. Forget about your WIPs you’re either rotating in your head or threatening to smack like a piñata until the complete fic rolls out. Forget about prompts, polls, and whatever you think people’s expectations of your writing are. Work on the little idea you can’t shake, the OC that’s bugging you, the ship that won’t let go, the AU that can fit soooooo many tropes in it, and I promise you that all your other writing is going to fall into place too.

Give yourself the opportunity to love and be joyful about your creativity! I’m allowing it! 💙

[jello-library]

The Roommate Program (PT 2/?)

Finally part 2!! This one focus more on the reader/self insert!

Also I want to try writing the letters so you can get a feel of what being written instead of just getting vague descriptions!

I hope you enjoy it! 💛

Your first letter from your pen pal was…something else…to say the least. Paired with a prickly friendship bracelet. You felt like you opened Pandora's box with that first letter.

You sigh as you sit down in your office chair looking down at the blank sheet of paper nervously. What in the world do you write back? I mean, writing a letter about yourself is easy but continuing conversations is harder than it looks. What do you say now “Hey I heard you went to solitary confinement was it fun?” Like how you continue talking with him?!

Twirling the pen in your hands your wings twitch and flutter nervously. You joined the program because being a past patient at the Theraprism who managed to opt out of the recarnation ceremony praise the axolotl for that one. You thought it was nice to try to give back to them you know to show that redemption is worth the effort! You felt like you had a pleasant experience there or maybe because you were more cooperative than your peers.

But after the copious amount of interviews and several months of being on the waiting list.

You finally were met with a small envelope congratulating you on your approval into the program and your pen pal. You thought things were finally going well for a chance.

Until…you were brought to have a one-on-one conversation with THE Axolotl themselves you felt like maybe this wasn’t a good idea anymore…They wanted to talk about your pen pal, Bill Cipher. You were somewhat familiar with the name mostly being associated with the chaos he left in his wake.

He was a force to be reckoned with.

Was…

“He is someone who is quite..um…complex..” Look up from your teacup to glance at the other being across the table. The word “Complex” still feels like an understatement to you. The axolotl smiled down at your eyes laced with slight concern before continuing.

“I’ve read your file..” Shit. ”You seem to have been the star patient during your stay. Self-admitted leading to 500,000 years stay before you were released. The top storyteller during puppet hour.“

You can feel yourself getting hot with embarrassment as you sink into your seat. “Yeah, Dr.Oswald says he misses my shows…” You swirl around the remaining tea left within the cup. You don’t know what to say or why they brought you here to begin with. Did all the other participants go through this conversation as well?

“I already know why he joined the program. But I hope for a better outcome than another trip to Wellness Void and I think you can help me with that.”

Looking back down at the blank sheet of paper the pen feels more lighter in your hand now. Just breathe and relax if you mess up you can fix it later.

Dear Bill,

Sorry for my first letter being so plain I can honestly admit I’m a bit nervous about messing this up. I never knew how to talk to someone without it feeling awkward so this is a new step for me. As someone who used to be in the same position you’re in I feel like I can you some advice on how to make your stay less boring! Like, if you want to get out of group therapy it’s time to start taking advantage of art time!

Start doing big projects that take up time with this when art time is over you can ask to stay. But it’s important to say it so can present your piece to the next time group therapy session! Use this advice sparingly those counselors in there are nice but they ain’t dumb! Also if the vending machine is still in the cafeteria hold down on the C button it should give you an extra snack but it’s sadly randomized.

Well, I hope this letter finds you well and also thank you for the bracelet I hope to make you something special when I write to you again!

Sincerely,

██████

[nana-b0b]

Horse racing

The name Ran means "orchid" (蘭) and is the name of this short graphic novel.

Ran's name is inspired more exactly by the black orchids, which are the most exotic within their kind, moreover, there is some symbolism with The Garden of Earthly Delights (Bosch's painting) and all its hidden meanings, in part and summarized: the most beautiful orchids in the hands of man.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>●

|| We have more around here and we have her name! "She" is Aurora Imagawa, a special grade sorceress with a very very scandalous past but who is currently in Sukuna's hands... we'll find out why.

So who is Guido? An ancestor of Aurora's who had her same curse, who we know here as "the Meiji era girl" but now has a temporary name and will have a story to tell us about her... and her favorite son, Choso.

The story of Guido and Aurora can be interspersed, sometimes there will be drawings of Aurora, and others of Guido, I'm not doing things in chronological order because I would have to explain a lot of things and sometimes I like to keep the mystery.

Some notes:

♡Guido was born with a very out of the ordinary beauty, she has a sleepy and tired look most of the time but is a very astute young lady.

♡Her mother was very annoyed with her horse because it was not straight like her sisters and not black like hers, she has a very dark auburn warmth in her hair, also, her eyebrows are a bit thick breaking with the beauty standards of the time.

♡Her eyes are light blue, her mother says she is "too much water" bad omen, she should have been born with brown eyes like her sisters, rooted to the earth like the cherry tree.

♡Aurora has one of Guido's moles, the one next to her lip.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>●

Nana's notes:

Thanks to everyone who is supporting these drawings, I really appreciate it very much and I hope to continue working with this story because I would like to show you more things and make it your afternoon novella! something to read for a while and think during the day.

I saw a lot of people excited to write inspired by this story and I just want to say one thing: take your pen and do it!

And remember: if you publish it don't hesitate to tag me so I can see it, I would love to be able to read it and even be able to continue to be inspired for storytelling.

I'm very excited to inspire more artists with my graphic pieces, in a way it's my goal to take care of the details, the scenes, the gestures of each drawing, because I want you to feel it as much as I do (this is also closely related to why Aurora's face is so little seen or always covered, keeping her face gives that air of mystery and gives way to the possibility of imagining that she could be your OC or... you).

[layanomaly]

Okay- so I feel like im a bit calm (definitely real) after yesterdays finale to properly make a statement about it

And I really want to put a few of these points out there while the tags are still trending and while I still have time cuz now that AAA I finally over I really need to focus on my studies which is gonna be hard…..but yeah it is what it is

And honestly 

Look idc what anyone says anymore

Yes there were some loose ends and a whole lot of questions

And I get that a lot of people were upset…..believe me I was too and still am

But I wanna be a voice of positivity

cuz I feel like whatever plot wholes they left 

Like jac said were there for US to interpret

Or as my delusional ass is telling me maybe theyre setting up for another season???

And yes for those of you whore saying that we shouldn’t be the ones to figure theyre story out YOURE RIGHT, I AGREE WE SHOULDNT

But at the end of the day it still was a marvel show

And Whatever it was 

It was an amazing experience

Yes we had our highs and lows 

And Looking back on Agatha’s story, yes I do feel a mix of admiration and frustration. There was so much potential in exploring her relationship with Rio and the complex layers of her own journey, which felt overshadowed in the end. At times, the focus on Agatha's role as a mother felt like it could have been handled differently and Instead of fully delving into Agatha’s growth, her story was ultimately used to elevate Billy’s arc, leaving her character, her grief, and her love for Rio without the closure they deserved.

That being said 

Again while it's fair to wish for a bit more closure for characters like Agatha, Rio, Jen, and Alice,

I truly do think jac schaeffer is a genius

like for a really long time i used to think that we were reading too deep into scenes and that they arent actually that deep and we’re just being delusional

But watching, reading interviews of her 

Finding out that as a matter of fact it actually IS that deep

And that everything means something and nothing is unintensional

just hearing her talk about the characters she writes is such a fulfilling feeling you have no idea

its the way she understands those characters and portrays their trauma….She really cares for themm 

she does her research and makes sure she understand her characters and the lore

unlike *cough michael waldron cough* 

Who couldnt even be bothered enough to watch a show which was an indefinitely important arc for one of the characters he was assigned to write for a movie 

Its just-

Look all im tryna say is

Shes a master in her craft and no one does it like her 

despite everything she provided us with two of MARVELs best shows up to date and no one can tell me other wise

Cuz While the narrative pivot left parts of Agatha’s story untold, Schaeffer's dedication to character depth shows her commitment to storytelling which you can really see in the way she talks about those characters

again while I wasnt satisfied with the finale its her dedication to understanding these characters, down to the smallest detail means so much to me. 

Cuz it’s not just about the story—she collaborates with her actors to bring out the arcs they envision which makes it even more special

And It’s truly disappointing that Marvel didn’t fully capitalize on the opportunity to explore Agatha’s own arc in its entirety, especially with such a capable writer at the helm. 

Still, I’m hopeful that future stories will revisit and give the characters like Agatha and Rio the focus they deserve

And i reallyyy hope they sign jac up as a writer for future projects

Cuz ultimately, I think her approach to these characters makes her one of the standout storytellers in Marvel right now, and I’m excited to see what she does next with all the new responses from the fandom 

I hope you guys get what im trying to say

Anyways to conclude my thoughts

Whatever it was

I truly did love this show

And ill really miss coming back home on Thursdays to watch the new episodes drop

[dnp-pet-rectangle]

WAD reflection from the perspective of a theatre director

Inspired by @/calvinahobbes who did an amazing job breaking down the show’s metaphors & using her English degree in this post, I wanted to share my perspective on it (even a month later) & get use out of my theatre degree lol. Also, warning, this will be very much a long, long essay with run-ons. I have ADHD & I love when my frequent hyperfixations intersect 🤪 There are major spoilers.

My Background:

I am a semi-professional theatre director, but more broadly, a theatremaker. I have a theatre degree from New York University’s Tisch School on the Arts (NYU Tisch), where I did a conservatory program with one of their studios which focused basically on those who wanted to do a little bit of everything and create new works & was the only studio training directors & playwrights. I originally went into the program as a performer. I did not mean to end up concentrating on being mainly a producer & a director, but that’s a whole other story. I also through that program had to take theatre/performance studies courses, which I loved for the most part & is an interesting interdisciplinary field. But I will try to define terms just in case since anybody reading this may not know any or all the specific terminology I might use. In short, I have a fancy degree that apparently should cost $300k 🤡 & I’m gonna actually use it with doing this lol

--

Setting the Tone:

While Dan might call this a comedy special or comedy show, and thereby comparing it to other comedians, I actually think he is doing himself and We’re All Doomed (WAD) a disservice. I saw folks compare him a lot to Bo Burnham in the chat (who was actually was accepted and almost went to NYU Tisch for a different studio that focused on solely experimental work), which makes sense considering the theatrical nature of both of them. However, Dan actually goes further into the realm of theatre because of how he utilizes his crowd work (I’ll go into that later). I recognize traditional comedy specials/standup as having jokes or stories, when doing you know like late night talk show interviews, that can be made outside of the context of the show & slip into a conversation. Or with Burnham’s Inside Out, the songs & other parts can be done or understood mainly out of context, as seen through Bo uploading them to his YouTube channel. Comedy specials have the sections of their comedy stand-up thread together, but what Dan has done is weave his sections together. The length along with the intermission/interval being a part of WAD, adds to my point that he is not treating this as different material he tested out at different comedy clubs, but as something cohesive storytelling pieces. I think in terms of testing, Phil was the main sufferer audience member of the initial materials being created.

Anyway, you cannot as easily remove it from the context at certain points, because the transitions & the order of these different sections are treated as equally important, rather than a means to move on to the next section, with some possible space for improv.

Basically, I’m bi. Sorry, my brain started thinking about BIG when I started writing “basically” at the start of that sentence. Actually, what I am trying to say is that I would classify We’re All Doomed as a one-man performance piece/show, so I will be treating it as such in my review/reflection/breakdown. The comedy of it is important and there, but I don’t think it captures what WAD entirely is.

Also, unfortunately due to where I was at mentally at the time & the location it was being performed at, I never saw this live. To be honest, how it got framed marketing-wise did not help me feel connected with the actual purpose of the show, with hope being a key element. So while this was filmed, I am as much as possible trying to remove the cinematography as an element of my analysis. However, some things might be clearer on film, as with theatrical directing, you cannot add a zoom or crop & instead are trying to ensure moments are clear to an audience by what they see and hear through drawing their attention to it. With theatre being mainly about the live output by performers and intake by the audience, at the end of the day, what my job as a director is is to direct not only how the performers share the story, but also direct the audience on what is important to catch for understanding.

--

Breakdown of Thoughts

Originally, I wanted to rewatch the show again, and started to, but considering I ended up writing about a whole page worth of things for each minute of the show & I was sleepy by the time I was like 5-10 minutes in, I decided to be nice to myself & stay up all night in my comfortable bed instead of staying up all night at my desk trying to take in-depth notes 🙃

I’m gonna breakdown this analysis/reflection into further sections, just to give myself some anchors & break up the blocks of text. Also as a way to just be that pretentious, maybe with an academic flair, as is fitting to be for something about Dan Howell (said affectionately 💕)

The Script/Writing

When considering the text of the show itself, two things came to mind for me:

(1) This is definitely what I would call intertext. Intertext is a piece of writing that relates to another or more other writings through allusions. WAD is an intertext which alludes mainly to other works of Dan’s on his YouTube channel. The ability to get the true impact of the show relies on you knowing Dan (as his internet persona) on some level. And as a theatre maker & longtime fan, I love that it is, it’s what the piece needed to be. As a theatre producer, the hiatus from engaging with his audience and the limited runway given to reactivate interest in him and his creative work I think made it difficult to get that audience in some venues, along with some other funkiness (mainly with promo) I am less knowledgeable on. But I think Dan has already learned/continues to learn from that, which I think may have been valuable for him. (sidenote: I need the tea on all that because I love knowing how presenting venues work with performers, as well as the lack of understanding they have of internet culture as it relates to venue leadership.)

(2) This was a work he made for himself. He mentions this both in the show & in reference to WAD multiple times. But I think what truly came to mind for me was that it is still powerful for him to write for himself. He is writing for what he needs to be hearing or wants to be processing creatively.

I think why it is powerful is that Dan has discussed before how much stress he put on himself regarding danisnotonfire, and later Daniel Howell, videos, focusing on the audience, and how he was presenting a specific style/quality of video to them. Add in the layer of being closeted & actively fighting internalized homophobia, and the anxiety he built up makes sense. And I might personally attribute that more to his need to pass as straight & catering I believe at one point to an audience of cishet men, whether actual or perceived by him. Not all videos, especially the most impactful ones in my opinion, rely on this, but it was a key piece of what he made during his rise in popularity on the platform. This catering slowly decreased with the amount of uploads he was doing, along with a more tangible understanding of his audience thanks to the tours he did with Phil. Basically I’m Gay I think was the true shift where he gave himself permission to write work that had a main audience of himself. That’s where his best work has come from, and I think since then, he’s been able to have the space to process things creatively through his writing.

--

The Relationship Between Performer & Audience

When I was in theatre school, my directing teacher would constantly talk about not just considering the relationship of the performers on “stage” (I did a lot of more immersive work & we only had black box theatres, which is literally a room that is floor to ceiling black) but also the relationship of the performers & the story with the audience. By Dan knowing mainly who his audience would be, the show can now play with that understanding in mind.

This leads to my point that, overall, Dan does not use the fourth wall, and I think that is what makes We’re All Doomed work. It may also be why he called it a comedy show, idk.

For those who don’t know what the fourth wall is, it is a term from theatre originally that is about the way in which a traditional theatre stage (called a proscenium) has three physical walls around it, while there is no 4th physical wall, so the audience can see the performance. If does exist physically, it is only the curtain that acts as the 4th “wall”. So, in order to keep it as a separation between the performers and the audience, the actors treat the side where the audience is as a fourth wall. When someone breaks the 4th wall, this is when they speak to audience directly, rather than to another character. Examples from English-speaking pop culture would be the asides from Hamlet or Ferris Bueller in Ferris Bueller’s Day Off. But when you are the only person on stage, the only way to have a fourth wall is when you don’t reference that you know there’s an audience there. Hence, a monologue where the character is talking to themselves or an entity that is not the audience directly (or assigned to be the audience by the director), it is the closest you can have a fourth wall when alone.

Dan in his videos and in his previous tours with Phil never were without direct engagement of the audience (obvious with the naming of Interactive Introverts). It was never not a variation on him speaking with the audience in any type of dialogue, even if done parasocially.

Some of that is not new to theatre, but I would say is that it has become more of a trend within new theatre starting in the early 2010s to have more interactivity and a more authentic, explicit message that no performance will be the exact same. I definitely saw that in the shows I saw both Off-Broadway (which sidenote, all that means is that there’s fewer seats in that theatre, not about quality of the work or how worth it is to engage with) and larger settings like Broadway and the West End. That’s what I love about theatre, and why my own work is more about immersion and direct audience engagement.

Now Dan’s creative works have never been skit only or interested in telling a story outside of the realm of connecting with an audience as a variation of himself, so again, him not using the fourth wall overall is appropriate and fits in with what I mentioned about intertext. The piece does however start with a fourth wall for the music number, which I will walk through fully sharing why I am saying that about the song & dance opening after establishing some other concepts to help build understanding.

--

Design Can Work With You or Against You

I just want to say out the gate that the design was done really well, and I immediately felt a need to emphasize it after watching the first 10 minutes again.

First, let’s talk about the orange & black aesthetic of the show. Dan may have simply said that the orange just looked cool, but I think I would attribute more meaning to that color. Orange brings to my mind at first instance both a bright happiness/warmth and a sense of caution and warning, like road signs (at least those in America). The themes of the show reflect these two ideas and plays with the tension between them. I don’t know if he or the team meant to have that be a conscious choice, but there’s a joke I’ve had with other directors of when they get complimented on something unexpected, they just nod and say “yes, that was a choice”, even though it was just a random thing that happened or was something that you just thought would be cool to do. Orange runs through the show’s designs and it becomes clear that it is a tool for contrast and emphasis for the points Dan & the director want to make.

Now with the design team of costumes, lights, sound, and media, I can see a clear cohesion. Good theatrical design has the designs act as a character or highlighter in the story. Bad theatrical design can take away/distract from the core intensions of the show. It was so clear to me that the design was a character. And seeing that there were two media designers make complete sense considering the labor lift of both creating the projections displayed, but also creating/filming pieces of the media itself. The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. For costumes, I think Calvina did well in her post at articulating the elements of the costume and the progression it goes throughout the show. I’d rather not take up space to say the same thing truthfully.

With all the design elements, I think three characters could be defined (not including the audience), two as main characters, and one as a supporting character. I would name the main characters as “the Circle” (the looming set piece throughout hosting the projections used throughout) and “Dan On Stage/Dan performing” (the one in the physical space) with the “voiceover Dan/inner voice Dan” as a supporting character. The voiceover only exists in the beginning, and it is only shared with us to demonstrate the way in which the Dan On Stage singing is not really that aggressively optimistic and wholeheartedly believes the words he is singing. He is not the Dan we know from the Internet, so we can cathartically laugh at the attempt to pretend everything is fine. The voiceover only has one role, and it is to force Dan to confront this breakdown has an audience.

--

Staging an Opening Sequence: Our First Stage Character is the Circle

In directing classes, often what you focus on is called stage pictures, which is meant to help you consider what the actual imagery you want to ensure the audience absorbs for their understanding of the piece. The first and last stage moment of each act should tell a basic story of what happened, and therefore, are heavily emphasized as important for directors. The Circle (capitalized for reference purposes) being lit up before the show starts and then again in conjunction with the light flashes and sound establishes the importance of the Circle to the show. When the projection comes into play, showing the speech of a 15-year-old Greta Thunberg before beginning to add more, we are then introduced to the purpose of the Circle to be an output/portal for the overstimulation of messages, in this case, I would claim it being what comes from the Internet.

The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. The Circle also through some of the lighting moments, mimic that of a clock, which again adds to the doomsday, the "end is near" type energy. To have the end of the opening sequence build to an explosion which then shows solid orange at the end while Dan is in silhouette begins the introduction to the orange emphasis & proposes a sort of prophet-like version of him after the apocalyptic imagery disappears as he rises to be seen. What we have opened with is setting the tone to how we should view these two characters of the Circle & the Dan on Stage.

--

Song Time!

Dan is such a theatre kid & I love that for him. His dramatic side shows through the moment he used a rise to start his show at the top of the stairs, first in a place of seriousness with the sharp lighting and smoke to then bring in a very happy music number. The contrast & switching of expectations is a key of comedic works, and shows through most of the phandom who did not know WAD started with that, as it is indeed funnier if it comes as a shock. The movement & music mimic what folks attribute to as musical theatre, which is campy, happy singing. Knowing he was the one who suggested the song for TATINOF, I am loving Dan clearly wanting to have that opening number of a musical moment, even if it is dripping in irony. The Circle & the lights in this acts as a supporter to the message of it being sunshine and rainbows, with literal rainbow lights included. (Sidenote: I am 99% sure the pigeon coo is Phil, so if anything, I’m disappointed he was not credited as Pigeon sound effect AND remote crisis manager. Idk why I could tell, but both times now, it’s what I immediately thought when hearing that part)

I think of the musical number as the only place where he does have a fourth wall, because the number does not directly reference the audience at the start. It’s a one-man moment and it is about the performance not the audience engagement. It starts falling away when he starts pointing out the “and you”s, but the voiceover is the real break in our understanding of the world. It is emphasized by the color inversion of the sun & sky media of the Circle. The director is saying, this is important to how you now interpret what you’ve seen & will see, this is another shift from what was established of this world.

I should mention “world” is the terminology used to name what the environment the story is being told in with consideration, especially in theatre, of how much of a need there is for suspension of disbelief. I believe this term is also referenced a lot when discussing the fantasy and sci-fi genres, since those also requires some distancing from reality for the audience. This ties into a phrase I will probably end up using a lot of “rules of the space”. When establishing this world for the show you are presenting to an audience, there is a type of logic that must be established in order to understand what is the baseline for what the audience will be engaging with over the span of the show. But the voiceover immediately changes the rules of the space, because it messes with the Dan on stage, and messes with the messaging of the Circle. It adds a new context to the Dan On Stage, as while a fan will know that this song is not in alignment of our knowledge of Dan Howell, we get confirmation that this indeed ironic and outside of the branding that Dan has boxed himself into over his time on YouTube.

But the voiceover is also not in alignment with that “branding”. It expresses concerns related to the Dan On Stage’s mental wellbeing. There is no irony or subtext in that voice, it is the most direct in speaking to Dan On Stage, because it is being said by a variation of Dan in voiceover to himself. These could be seen as questions he knows to ask himself, but as someone who advocates for mental health & shares now about being openly gay, I interpret that he may feel he cannot express that outside of his mind for fear of undermining his advocacy points. The discussion of the “wonders” of the Internet also continue building in the tension that exists throughout WAD of how Dan feels about that space. The voiceover then proposes at first a type of equal extreme, which only sees the Doom, and as someone with clinical Depression myself, I think is only a furtherance of the breakdown, rather than the reality check it started off being. Not that what is listed is wrong by any means, but the barrage of it is meant to expand the drowning feeling, not act as call to action or consideration of the intricacies for engaging in the world. With the Circle’s sun imagery & the music having been inverted and shifted to something more sinister, Dan’s movement up the stairs fits a type of circular moment from the first entry of him, where the image of the prophetic figure is questioned on how he alone will solve the climate emergency. The slap & break of character for the Dan on Stage serves to confirm our understanding of the voiceover as the voice in Dan’s head & indeed there are not two Dans.

Also, the sparklers 🎇 showing up really make the key change for the song, but my producer brain is going, “girl, of course you lost money on this show, was that so VERY NECESSARY?” But the dramatic Gemini theatre bitch in me would 100% want this too. I just don’t have a capita£ester working to get sponsorship money in my life, so I have to be reasonable 😔 Also, the confetti with the high note is peak theatre gay so I again, love that for him. And of course, the confetti is orange.

--

Hints of Orange

When the song reaches its end & the Circle starts showing squares of orange, rather than a full background, this acts as a seed for the breakdown and waterfall of cubes, which Calvina speaks to the orange cube hint at the beginning in her post. The sudden cut-out with Dan simply lit replicates a moment the Circle is not present. The Internet is not present. To crawl to a microphone, the message is not “hey this guy needs two mics”, because we see one on his face, but that the wired mic (which I will now label as “The Microphone”) is a metaphor. It’s a crawl towards sharing out, not suppression. Only when the voiceover of himself points out the audience does he does a full fourth wall break. The suppression did not work, and neither he nor the audience can believe that it was the Truth.

The wire of the Microphone being orange showcases that it was meant to be seen. I don’t think it even in play in terms of the sound, like it might not even be on, considering the feedback nightmare it would likely cause. And no standard microphone used on stages has orange wires, because that would pull the audience’s eyes to it. But that’s the point here.

The rules of the space are now this: the Circle is not always active, the Microphone has significance, the Dan On Stage knows there is an audience. None of these were true before, even the Circle was on before the start. This draws the audience to know there has been a shift & to have the first words said into the Microphone be “We’re All Doomed” solidifies the song moment was a blip, that this is really where we start at. As an example, in the social media section, Dan does a deliberate wrapping of the wire on his hand at the same time the Circle scrolls to the social media icon. It is how the director & Dan are ensuring that we understand “what he is saying and what is been shown on the screen are in tandem”, so if you’re paying attention to that wire, it signals you should look up too.

Every other prop, except I believe the gavel and wig, is also orange. The bubble gun is mainly what comes to mind for me, since the cubes are not as activated as props necessarily. But if an item is to enter the stage, what I interpret it as is that it must be orange, there must be high contrast, nothing in the physical world on the stage can become blurred, only screens have that privilege(?) to have things blend together.

--

The Power Struggle Between Dan & the Circle

Once Dan has begun directly conversing with the audience, the rules of the space are:

(1) Dan On Stage acts, the design elements react (not including the Circle)

(2) The Circle and Dan have a symbiotic relationship, as neither have complete control over the other & react to what each other are doing

(3) The icons are our guides in understanding the sectioning done throughout the show

(4) Having “One Good Night” is the goal to reach at the end of the piece

As a person, as well as discussed throughout the show, we know that Dan has a contentious relationship with the Internet. It is what has given him his living but has also caused some of his worst moments mentally (2012? I don’t know her). It is the space in which lets him have an audience who have mainly showed him support, but also the space that has fed the cynicism that fuels his clinical depression. There lies in the way in which the Circle exists on the stage & looms over Dan in the background. It’s a necessary evil of what appears on the screen.

Why do I then say that the design elements are reacting? Well, if we remove the Circle from the equation, the lights, sounds effects, and props are all cued off of something Dan does like the clown honk. However, the Circle sometimes cues off what Dan does, but sometimes instigates what Dan speaks to. That especially is evident when video clips play that invoke what media Dan has been contending with on the Internet and the consequences of those things.

The Circle exists throughout both Act One & Act Two, but only becomes passive to the piece when Dan directly shows vulnerability & the removal of protective irony. Calvina spoke to this when discussing the costume choice of him opening the jumpsuit in Act Two to show the orange tank underneath.

--

Cubes as Articulators

Oh Creator did I have to dig deep into my brain for this term of articulators. So my directing instructor had some key terms that I think I don’t think are universally used, even by American theatre directors or at least in academic settings. She defined articulators to basically be elements that helped give almost like checkpoints for the progression of a throughline in a show. For WAD, that is easily those orange cubes.

When static is displayed on the Circle’s screen each time we transition to a new section, it is not the typical emulation of TV static, it is that sea of orange squares. It is an articulation of those fear, issues, concerns, all those pinpoints Dan speaks to why he says “We’re All Doomed”.

That’s why there is the culmination of the orange cubes falling on him, when he reaches the top of the stairs at the end of Act One. When he circles back to the same stage picture of him at the top, it can been considered a repetition of the prophetic imagery I pointed out from the opening sequence. What changes is that the orange squares enter the physical world, falling onto Dan. He can no longer say they live in his head. They are here and stay in the space until the end of the show. In Act One, they are the looming issues that signal the Apocalypse. In Act Two, they are the rubble that must be sorted through.

Calvina was the one who named it rubble and the cubes as representations of Dan’s problems. To have the audience actually able to take a cube home, she argued, would be symbolic of the audience helping carry that weight. While I’d love that, I mentioned in my tags on her post that I think mentally, that rubble would still be at his feet, even with taking home that visual metaphor. This is Dan we’re talking about, and with personal responsibility being a topic of the show, while it’s not his burden to bear alone, he does have to recognize it exists.

I think the repetition of the prophetic imagery comes to its climax when in the aftermath found in Act 2, voting who to fire into space can and does end up with him being sent by the audience. It represents an understanding of where he exists now from where he did at 18 in terms of social, political, and economic access and the possibilities of his influence. There is a responsibility there that ties to how he can move in the world now publicly, so why wouldn’t he have an existential crisis?

--

It is a Comedy Though, Right?

This is hundred percent comedy, and obvious dark humor at that. As a director, I love comedy, especially this type, because when an audience gets to laugh, the armor gets stripped away. They have no built-up resistance that let’s any uncomfortable point be heard effectively. It’s why the end’s vulnerability is effective, because we have already joked and laughed about our pains and our desire for escapism. Now we are able to move on into a place of reflection.

To underline why I say this is not stand-up comedy is that Dan has made it a stage show, just one that has comedy as a vehicle for telling this “story”. His interactions with his audience, through both quips based on audience reactions or “heckling” as well as explicitly asking for input into who to shot to space or what to add as a mad lib (generic brand for law purposes), are about being blended into the loose narrative constructed already, not actually to be reactionary like most crowd work I associate with stand-up comedy.

If anything, I could argue that it could be considered a comedy special that “Dan On Stage” is trying to make, but there is actually conflict being introduced that disrupts his set (both the comedy one and the physical one). There is clearly a showing of meta, as Dan makes sure to share thoughts on the creation of the show, the reactions from his overall show branding & imagery, the use of the lift because it was expensive to have. Dan’s comedy style can never be told without reference to behind the scenes, because if this is a creative means to process feelings, there are things about the show & its making that impact what needs to be processed too. It is also related to how his work is strengthened by acknowledging the two-way street of being in a parasocial relationship with his audience.

--

Can We Have One Good Night?

Another term central to what my directing teacher spoke of was the “Core”, usually a question, though not always, that motivated what was being explored over the course of a theatre piece. At the top, as Dan on Stage exaggerates that love doesn’t exist (which Dan refutes as being an actual belief of his during the afterparty) and other sardonic phrases, he also states he wants to give his audience one good night, because he recognizes the escapism his audience finds in his solo and joint content. We’re All Doomed’s Core is “can we just have one good night, even in the midst of the horrors we have outside of these theatre doors?”. But I would also say that in terms of where his writing was at the time of WAD’s inception and the naming of his mental health book as You Will Get Through This Night, it feels more like Dan himself has been grappling with a Core of “can I have one good night? Or a full 24 hours where I feel mainly happy when all I am bombarded with about the world is suffering?” I think night can be both literal, since we know he has had sleep issues, and metaphorical, as the night can represent this depressive episode he was writing himself out of.

When the mood tracker gets discussed in the last portion of WAD, to see a sea of neutral or uninterested emojis demonstrates when he took the time to do it, the answer that night was “no, not really” 😕. The main one mentioned is the ritual of “Fry Day” he has with Phil (sidenote: why are these British men not calling it “Chip Day”, since this ritual falls on a Saturday?), which is a rare smiley face. The question he likely has then is “can I ever have a good night again?”

So for him to then turn to his own videos during one of those nights, to a video where he states his famous “embrace the void and have the courage to exist,” that showcases what I mentioned of his best work being written for himself, in this case, a future version of himself.

--

Ending Sequence: Where Do We Land?

When the Circle does not display any media, it again shows the orange square motif, but after mentioning his own video, he turns to his audience for glimpses of what joy exists even in the face of Doom. The Circle changes into a display of different submitted clips showcasing this joy and hope that Dan was clearly looking for throughout this piece. He walks towards the top of the stairs to witness these clips. I cannot for my life at this point having now been separate from it for about a month, but I believe before the submitted media sequence, he states the famous line again of “Embrace the Void and Have the Courage to Exist”. With this last thing spoken, it gives that emphasis needed to take in the message emotionally and then witness what the Void (in this case the Circle) can offer.

--

A Good Director Should Go Unnoticed

When someone is not versed in theatrical directing, if the audience cannot tell what was a choice by the director or even consider the director themselves, this is weirdly a good sign. It means that it feels natural to what they are witnessing and to the messages that are meant to be communicated to the audience. As someone who also works in government, it feels very similar, as only bad work is evident to the general public. Obviously that is not true for everyone, but is an overall trait I think impacts both an understanding of public service and directing.

I am not familiar with any of the work of Ed Stambollouian, who through research, looks like he has done work with comedians like Joe Lycett (who I am also not familiar with) and directed TATINOF, but also more stripped down, exploratory theatre. Through a quick review of his portfolio, one, I am not shocked that Dan tapped him to assist with directing since there is a familiarity and two, his background tells me he knows how to direct for writer-performers, which is what comedians really are at the end of the day.

To direct for those who are doing one-person shows that they both wrote and performed, it is especially tricky to have the artist hand the reins over to the director. The director in this case acts as the artist’s eyes, because an artist cannot clone themselves. It is impossible for them to wear multiple hats at once, where they can give quality, objective feedback to themselves while also doing a full out performance. For Ed to be someone Dan has worked with before, there is already an established understanding of each other’s work styles, and a trust that otherwise would have to be built up before the work can truly begin to finalize the piece.

In short, Ed Stambollouian and the creative team on We’re All Doomed did an incredible job bringing what I understand Dan intended when he started writing this down in isolation. And @danielhowell you whole-heartedly deserve to call this your magnum opus. What can I say (sorry I can't help lovingly poking fun at you), your artistry shines throughout the show. I hope this too can be something your future self can turn back to.

🧡

(bonus) Thoughts on Orange Carpet & the Phil element

I didn’t fully rewatch the orange carpet, just to keep myself on task & not bring Phil too much into the main reflection without explicit reference in the show, but hearing Dan go “I’m alive in 3, 2…” made me laugh both times. He understands that we just want to know he has a pulse, ya know? Also them pretending it totally was live, when those fools (affectionate) cannot run a real live broadcast from their home for their lives. It just ran too smoothly, esp. in the transitions, for it to be anything but some very, very light editing on one improvised take they did. But I always support them in their acting, no matter how bad, like with DITL Australia’s opener or pretending there were not two apartments or that Google Feud being back was unplanned or Dil being pregnant with a statistically rare alien child or Phil living in a tiled, cramped bedroom or...

Also, Dan’s little laugh at the end of Phil’s sign-off is so fond it hurts. It also hurt that the VOD was hard to scrub through, so another deduction for the Kiswe platform.

Anyway, I’m glad that Dan was able to find space outside of the Dan & Phil branding of the 2010s as well as the image he was forced to manufacture for his YouTube presence, but also realize that with having a core audience that wants him to simply be happy, he can recognize that Phil is part of the things that make him happy. And can do so openly.

He is his own person, but it has been clearly emphasized now that Dan has no interest in not acknowledging that Phil always is and will be part of his present and future. He has made work like WAD & "Gay and Not Proud" to explore his way of thinking without the support of Phil present in the filmed/performed aspect. Dan acknowledges this intention, which is evident with him shooing away Phil at the beginning of “Gay and Not Proud” to process it alone.

It is also evident with the ending of “Daniel & Depression” and the WAD end credit of remote crisis manager showcasing the caretaking role Phil often plays in Dan’s life. But we know that caretaking is reciprocal, considering Phil's tactics with glue as well as his continuing health issues and anxieties. Dan has seen who he is without Phil by his side everyday in the public eye & has no interest in maintaining that Phil is absent for public projections.

I obviously do not know Dan Howell, or anything about him outside what exists on the internet. But in performance studies, there is a foundational understanding that there is no way to not be performing in some way during your day-to-day. Performing is not inherently a bad thing, as there are different roles you take on in your life, where how I engage at work is different from how I am hanging out with friends. This also has basis in gender studies, such as ideas that you can perform your gender "wrong". What has been so interesting to me in this phandom renaissance is the way Dan and Phil each perform as themselves in front of the camera now. What they share out and the layers they include--or choose to not remove--have been stated by them explicitly to be the most authentic they have ever been, without obviously removing their right to privacy. During the height of the glass closet that was their 2018 content, I remember thinking that it was going to be the most they would show us in the vain of "if you know, you know, and we know who will know". After the coming out videos of 2019, obviously that's not true, but the return of dapg has signaled a message of "we know you know, if you've been in the know" while veiled in a way that is not immediately perceivable by those who are casually engaging with their content. It is an authentic portrayal of themselves without filter, while also providing themselves space to not have to announce everything to the world. When you are in the know, it definitely targeted and causes psychic damage, but I am ready for anything and everything they throw our way.