#they're objectively poorly written

[redroom-rainbowguts]

I'm genuinely fascinated by the way my brain absorbs writing styles. Wish I could control it but ¯\_(ツ)_/¯

[llycaons]

most coffeeshop AU and generic rated e fanfic is bad BUT people who write it clearly enjoy it and there must be an audience for it...so that begs the question...is it really just a matter of personal taste...

[tin-can-iron-man]

I do think it's incredibly funny of both me and @the-faultofdaedalus after being in the marvel fandom for so long and seeing all the posts and arguments and discourse surrounding "is it ok to like Tony Stark as a character" to just fucking double down and be like "btw Doctor Doom is the Most Character 💞💕💞💕💞💕💞💕💞"

It's just so funny because LIKE 90% of the bastardizing stuff people claim as an argument for their dislike of Tony is ABSOLUTELY INARGUABLY OBJECTIVELY CORRECT ABOUT VICTOR and me and my wife just went 😍😍😍😍😍😍 anyway

[pinejay]

idk why ppl say finding books to read is hard as an adult compared to just reading fanfiction regurgitating the same tropes over and over. just sneak a peak at what someone on the subway is reading and google the words on the page to find the title and then read that book yourself and then read all the author's other books and then go on reddit to find similar authors and read all their books too

[thydungeongal]

D&D 5e being poorly designed issue #499:

Flesh to Stone requires three failed constitution saves to actually petrify anything, and even then requires ten rounds of concentration to make it last longer than a minute. Constitution is the most common save to have a bonus in in this system, and since it is a sixth level spell, this bonus tends to be quite high. As a result, this spell pretty much never actually does what it is billed as doing.

If the target does make their saves, this effectively translates into 3-5 rounds of a single target being restrained, at the cost of a sixth level spell slot and concentration.

The web spell, meanwhile, creates an area of effect in which any creatures that fail their dexterity saves are restrained. Dexterity saves are pretty common, but they have to keep making them as long as they're in the webs, and it's a strength check (rather than a save, so usually a lower bonus!) to escape. The spell requires concentration, but the maximum duration is an hour.

That's right. Web is objectively and unambiguously better than Flesh to Stone, despite being four spell levels lower. This is because the people making 5e wanted to get rid of save-or-suck effects, but didn't want to get rid of the spell names, and so nerfed them all to the point of uselessness. There is no use case for Flesh to Stone that would not be better served by Web or some other, notably lower than sixth level spell. You could cast Web with that sixth level slot, and it'd be a waste of resources, but it would still be less of a waste than Flesh to Stone, because it lasts longer, is slightly harder to resist, and can affect more than just one creature.

This is your game design on nostalgia and self-reference.

Yeah there's a lot of weird and conflicting ideas going on with spells in D&D 5e because they really lacked a coherent set of design goals: the designers seemed to have lacked a clear consensus on whether they wanted the game to be a balanced (albeit tipped in the player characters' favor) tactical combat game like 4e or an old-school experience with lots of nasty save or die effects. Part of the issue is that at an early point in the design process they decided not to take 4e's lead on monsters effectively having their own unique spells and spell-like abilities, and instead decided that the same spell lists should be available to both monsters and player characters.

And as anyone who's played 3e will tell you, when spells are as readily available and effortless to use as in Hasbro D&D and both sides have save or death spells available, it leads to rocket tag. And rocket tag is really not conducive to a fun tactical combat game that is supposed to be slightly tipped in the player characters' favor.

(Rocket tag is also the name of the game at higher levels in TSR editions of D&D and I feel it does harmonize better with the sheer amount of "fuck you" design in those editions. I think the assumptions written into the rules that combat isn't supposed to be fair or fun affects that very much.)

Anyway, so it's not just pure nostalgia, it's a combination of nostalgia while at the same time trying to copy D&D 4e's homework but not understanding the assignment. The biggest issue with D&D 5e in the context of all the various editions of D&D is that it had the benefit of more than thirty years of design and still ended up without a clear set of design goals besides "let's make the game that's the most D&D!" Like, ultimately as a dungeon game it's fine, but given the context of what's come before it should've been great.

[writingquestionsanswered]

Anonymous asked: Sorry if this is a stupid question, but is it okay if I just say fuck it and write something "poorly written" on purpose?

[Ask edited for length]

I'm going to try to tackle this question in parts, because it's actually a quite good question with a complex answer. So, bear with me...

The answer to "is it okay to write something 'poorly written' depends on two things: the chosen definition of "poorly written" and your intentions with the work.

Defining "Poorly Written" - What does and doesn't qualify as "poorly written" is largely subjective, meaning that it's different for everyone and every situation. There are certainly things that fall into a more objective category... like, if your work is riddled with typos and bad grammar, that will be broadly seen as "bad writing." But, just because a few people say something on the internet doesn't make it broadly true. When you see advice on the internet like "if your character holds important information back from the reader until the end, that's bad writing," don't just assume that's true. Dig into it. Research it. Verify it on multiple reliable sources. If you can find that same advice coming from multiple reliable sources (see below) it's probably broadly true and something you should strongly consider if you want your work to be broadly successful. You can break a "rule" here and there, but be mindful about it.

Some of my favorite reliable sources for writing advice: K.M. Weiland/Helping Writers Become Authors, Joanna Penn/The Creative Penn, Writers Helping Writers/Angela Ackerman/Becca Puglisi, Jane Friedman, Advanced Fiction Writing, Chuck Wendig/Terribleminds, Kristen Kieffer/Well-Storied, Mignon Fogarty/Grammar Girl, Nathan Bransford, Abbie Emmons/Make Your Story Matter, Bethany Atazadeh, Brittany Wang

Your Intentions with the work: obviously, if you're writing for yourself or a small group of friends, just for fun and entertainment, do what you want. If you're writing with the intention of publishing and you want your work to do well, you do need to mostly stick to the "rules" that are known to work on broad levels.

The reason you see advice like, "all dialogue should serve a purpose," is because it's understood that broadly-speaking, most readers don't enjoy dialogue that is obviously fluff and serves no purpose, for the same reason that your eyes glaze over when you're in a group of friends and someone starts telling a long and irrelevant story about some minor inconvenience they had the other day. People don't like their time being wasted, and if you force your reader to read two pages of your characters having a completely irrelevant conversation about fashion, you're going to lose the reader's interest.

I see a lot of advice like, "If your characters know important information that they don't tell the audience until the end, that's bad writing..."

Part of the problem with advice that you see from random people on the internet is that, quite often, they see a bit of broad and reliable advice, but when they repeat it, they strip it of a lot of the additional information that makes it true. This bit of "advice" is a great example of that, because there's a lot of detail missing. For example, having a character withhold information from the reader is fine to a degree (this is called an unreliable narrator), but there needs to be some indication early on that the reader isn't getting the whole story. There need to be other clues the reader can pick up on throughout the story that makes them question whether or not they're getting the whole truth from the reader. Otherwise it comes off like the writer dropped it into the story at the very end for convenience or drama's sake.

Others I've seen are "If your character has a backstory that's not 100% relevent to the plot, you need to cut it"

Stories can be plot-driven (more about the plot than the characters), character-driven (more about the characters than the plot), or a combination of both (where both have equal importance.)

If you're writing a story that is partially or fully character-driven, who your character is--and how they got to be that person--is one of the most important aspects of the story. Not only because it helps the reader understand why your character is where they are when the story starts and why things need to change, but it helps explain why they make the decisions they make, who and what's important to them, why it's important for them to reach their goal, and gives us a starting point for how they're going to change throughout the story. It's their backstory that is going to build all of that up for the reader.

Backstory explains your character's important life experiences up to the start of the story. So, there is no point in going into detail about the two years your character lived on a beach in New Zealand if that experience didn't play a role in who they are at the start of the story. It just becomes useless information that serves no purpose and clutters up the story for the reader.

Or "Here's why this trope is boring and overdone and why you should remove it"

Advice about tropes and cliches are often opinion-based, because for every person who says "love triangles are dumb and here's why you shouldn't do them" you'll find people who say "I only read books featuring love triangles."

The key thing to remember with tropes is that when you read they're tired and overdone (which makes them cliches), it's fine to use them, just find a way to put a new spin on them. Find out how the trope is typically used and do something different.

And now I just feel awful. I feel like the entire premise of my story is just complete trash and I need to scrap it and start over. I feel like I need to remove everything that I actually want in a story so that it's "correct".

You definitely don't need to do that. Again, take random internet advice with a grain of salt. If it's something you're really concerned about, try to verify it on multiple reliable sites. If you can't, you're probably fine. If you can, those sites will probably also offer alternatives or ways you can fix the problem.

I'm self publishing, does it actually matter?

YES. FULL STOP.

If you are planning to self-publish but are not going to take the time to make sure you're putting the best book out there you can, you are only hurting legitimate self-published authors who do put in the effort to make sure they're putting out their best work.

Having said that...

Will people really read my story and go, "Oh dear, these characters didn't just pop into existence as soon as the plot started! They actually existed and did things before the story takes place!?

No, probably not, but that's because this is a really dramatic interpretation of the advice that backstory should be relevant.

Again, the reader doesn't give two shits that your character spent a year backpacking through the Alps unless that experience played a role in who they are when the story begins. If they had good or bad experiences during that trip, learned things, met people who matter later, etc., then that becomes plot relevant. But, if you can remove this bit of backstory from the story completely and it has no impact on who the character is or the reader's understanding of the character, then it doesn't belong there. Period. Again, the reader doesn't want to have their time wasted, so they don't want to read story after story of your character's time in the Alps if it doesn't matter.

Or "Look, and now they're having a silly conversation and talking to each to her about things unrelated to the plot! And that guy has a pet cat that's never used for anything! This is awful, poorly written trash!"

Again, this is an overly dramatic interpretation of the very solid advice that dialogue needs to matter.

That doesn't mean that every single word uttered needs to be blatantly plot-relevant, but truly, broadly-speaking, readers don't want to read an eight-paragraph argument about which pizza place has better pizza in your character's town unless this argument is in some way relevant to the story. You may be an exception to that rule... you may love to read stories that meander and have a lot of fluffy dialogue and pointless scenes, but you're in the minority, and in that case, you might be better off posting your work to someplace like your blog or Wattpad where you can use tags to find the small segment of other readers who like to read original fiction fluff.

But... the bottom line is that I don't think your story is in as bad of shape (broadly-speaking) as you think it is. Writing advice can feel very, very personal, especially when we see it from randos in internet threads who can't tell the difference between fact and opinion. So, don't take it to heart. Do some research on reliable sites, and if you can't find a bit of advice mentioned, it's probably nothing to worry about. If it is mentioned, they're probably going to tell you how to fix it without scrapping everything you've already written.

Truly, no worries! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[air--so--sweet]

TUA Season 4 Spoilers

I saw my friend today who, I wouldn't say she necessarily ships Lila and Five, but she said she's read them as romantic since last season since she felt they were following the archetypal enemies to lovers plot, and the cheating didn't bother her because she sees that as fitting with the whole idea of the characters being flawed (also she never like Lila and Diego together).

All that said, she is in theory one of the fans that this is written for, and she hated it. She said it's unsatisfying because there's no resolution or conclusion to it. Lila neither reconciles with Diego nor leaves him for Five, and the conflict between Five and Diego goes no where because they don't even really argue, just physically fight and then Lila breaks it up and then they all die.

And I think this brings up and important point, because, a lot of us were never going to be behind Five and Lila, but if fans who were primed to enjoy that storyline, still aren't satisfied, then you've fucked up and written it poorly.

Also, while she wanted Five and Lila to happen, she wanted it to happen because the writers were trying to tell a particular story or they though that was what the characters would do naturally. She didn't want it to happen because Steve Blackman randomly decided Five should have a romance and he's not someone who would date so the only option in the existing cast is Lila.

And I think this one of my biggest issues with this season as a whole, none of the characters have any clear motivations - Klaus relapses because he has his powers again when he doesn't want them, not because he has powers again and so it terrorised by ghosts and can't take it (I mean this would retcon last season but it at least makes sense).

Viktor keeps saying he's fighting for Ben because he's his brother but he's not his brother, they didn't grow up together and they don't really have a relationship. Elliot Page said Viktor will always be in Ben's corner because of what Brelly Ben did for him in Dallas and I love that, but we get no hint of that in the show.

Allison says to Claire she has to save Klaus because that's what she's always done - that's objectively not true. In fact we've seen her actively enable Klaus in the past.

Aidan Gallagher keeps saying Five is lost and adrift, but bar the opening scene where Five talks about this at the Keepers meeting, we see no evidence of that. Show don't tell is one of the most basic tenets of writing, but also they tell us literally once and then don't mention it again (to be clear not blaming the actors for the writing, just saying what they're saying isn't demonstrated on screen).

Ben does what he does because he's controlled by the durango attracting the marigolds, he has no agency.

[thecarnivorousmuffinmeta]

I’m not sure if you’ve ever said anything about this, but the first time I read new moon, the vote chapter, there was one bit that really stuck out:

(from Bella’s point of view) Edward grabbed my face in his hand, forcing me to look at him. His other hand was out, palm toward Carlisle. Carlisle ignored that.

Bella later went on to say it was hard to talk clearly with how Edward was holding her jaw. I don’t know if I’ve misunderstood what exactly was happening, but why did the entire family watch that and do nothing? I’ve read the metas where you’ve said it’d take a lot for Carlisle to realise what Edward really is, but surely that’s a pretty massive indicator and Carlisle actively ignored it?

Anon, you're hilarious.

An Aside in Which I Say "Look in the Mirror"

I've been running this blog for a few years now (a terrifying thought) and I'm both a) one of the most critical of Edward in this space (which is not a bad thing, mind, people are free to do what they like) b) often get asks in which I am asked by anons to justify why I think poorly of Edward.

This is on top of the thousands of metas I've written pointing out various things from canon, where I've presented many arguments, and anons still will ask me to make more arguments.

This is fandom, anon, relatively objective observers who are privy to information the characters in the story don't have. We know Bella's exact thoughts, we know how Edward has interacted with her in private, and we even know Edward's private thoughts for at least the duration of Twilight because of Midnight Sun.

AND YET, I AM HERE.

And you ask this as if it should be obvious to the most casual observer.

Back to Your Ask

I've discussed this at length in posts I'm too lazy to look up at the moment but the crux of it is that

a) Edward's a beloved family member and it's deeply hard to think ill of those we love and we want to justify their actions

b) the family doesn't see most of what goes on with Bella and are only told things by Alice and Edward with Alice being firmly on Edward's side

c) Due to his having previously had a redemption arc in which Edward came back unprompted to the diet even though it must have been not only humiliating but terrifying, Edward comes across as one of the Cullens who best understands that human life is worth protecting and just why they're all doing the diet.

This particular moment though, I'd also give Edward a pass if I was present. To touch Bella at all, to move her like this, Edward has to be extraordinarily gentle and careful. If he was at all rough with her, at all, Bella would be dead or seriously injured (with her jaw crushed between Edward's fingers, her neck snapped, etc.) Basically, for Edward to do this at all, he's being incredibly mindful and the Cullens as vampires are very aware of that.

Add onto that that Bella can speak, when this is a guy who's hand is made of stone, he has to be holding her incredibly gently from his perspective for her to be able to speak at all (and not have a broken jaw).

Also from the outside perspective, where Bella and Edward are in this romantic relationship (even though they just got out of being broken up) and they all know Edward's deeply in love with Bella, this looks like an intimate gesture than it does a "LOOK AT ME" gesture. It's not something any of them would do, or a normal person would, but they're also not dating Bella/convinced they're soulmates with her.

Add into that that they're in the middle of a very intense day, in which Edward had just tried to kill himself and is very emotionally fragile, Bella's now asking to be turned directly, the Volturi barely pardoned them, and Edward is coming unglued with the idea that Bella's going to be turned and the Cullens aren't at the top of their game.

They're just trying to get through the conversation where they tell Edward (and Rosalie) that, yes, they actually do have to turn Bella.

This doesn't register as physical violence to them, and I don't blame them for this one.

[butchsophiewalten]

Was waiting until ep 4 to ask but for the character opinion bingo thingymajiggy could you do bon (the spirit/evil murder robot ) if you haven't already

Oh my god, Bon. I love Bon so much. I'm so glad that I love Bon so much.

Bon, the animatronic rabbit, has over the course of the couple last years become one of my favorite characters. At this point, he's right up there with Jenny and Sophie. So when we first got that Findjackwalten "Bon" reveal, I was very... apprehensive? For me it was just really underwhelming. I honestly think my biggest complaint was just that, aesthetically, he was so much more boring than Bon, the animatronic rabbit. I love Bon. What I didn't love was this like, clip art character. He was just a guy? Like a human guy? He didn't even look fun. There was so little there to sell me on the idea of Bon as a character. It's funny, though, since I really think part of what frustrated me was that the part that made Bon an Evil Killer was divorced from him being a rabbit. Which is a really silly thing to say, but I just honestly hadn't expected there to be any 'form' of Bon that came aesthetically separate from the mystique of the rabbit animatronic. And I love rabbits, they're my favorite animals. (Well, hares are, really. But rabbits get to share the love.) So it was a very petty kind of upset.

But oh my god, seeing "Bon" in this episode has totally turned me around. Like wow, he is fun! He is aesthetically interesting! Which is why I've written that 'so relieved' point on top of the one that usually says 'wasted potential'. I'd had an idea in my mind of what "Bon" would be since we saw that "Bon" text on Findjackwalten in fucking January of 2022. That's a lot of time to stew in your thoughts. If "Bon" ended up being something I wasn't happy with, I was gonna be really disappointed. But I wasn't!

It's been really fun learning to attribute some of my favorite aspects of Bon, the killer animatronic, to "Bon", the white ghost, because they are effectively the same. I can't help but find him really cute, honestly? I love his girlish mannerisms. I love his penchant for.. Fashion? I say this remembering one of the old entries on the Martin's Secret Lair findjackwalten page. His love of music? Y'know, obviously he kills people and is evil and manipulative. But he does it cutely. Definitely the rabbit aspect is doing something to endear me.

Beyond that purely emotional endearment, I'm genuinely very interested in him as a character as well... It's a little hard to talk about, though, since my feelings are so new and so poorly thought-out, honestly. But something I've been thinking about for a while is his relationship with Rosemary... From how I see it, he seems to have a strange sort of infatuation with her. He calls her Rosie... he puts her in Sha... Less objectively, his little shrine to her in Souvenir seems very elaborate to me, at least relatively. And assuming the "Rose broken. Will fix you" dialogue is diegetic and we're meant to think that Bon spoke to Rose before killing her... Well, it's just very interesting to me that he seemed to try to explain to her what was going on. It's really fucked, honestly, and it's something I'd really like to know more about. His conversation with Susan in 4 makes me think his criteria for killing people has at least something to do with, like, whether or not he likes someone. Really really fucked and really, really interesting.

God there's really so much to say about Bon... But I'm nervous too, since I don't really know how well I can articulate what I feel. It feels a little like there's warring factions in me, between the Me that thinks the animatronic serial killer is so Silly Cutesy and Me that's really horrified by and invested in the Lore and Context behind everything that Bon, as a character and narrative force, is actually doing. Not that those feelings necessarily can't coexist. The way he talks to Susan is so unsettling to me... it's strangely tender, honestly. Like a genuine attempt for comfort, despite the context. I feel like I have a million little half-observations to make, but none of them amount to a full thought. Bon is really fucked! I'm so happy that I find him actually really cool and interesting! I want to take him clothes shopping and feed him Tchaikovsky records. Martin said he liked Classical music but I think that's. well not Wrong but inarticulate. I think he's a Romantic girl. He loves some Beethoven. Some Liszt. whjat am i even saying anymore

[n3felibata]

Have you seen how many people accuse Stolitz of being poorly written and/or one sided? Especially since the same people who hate it for being "toxic" turn around and ship Blitzker, Blitzika or Stolas x Stella? I've even seen a couple of Blitzika shippers on Deviantart, one of whom thinks that Blitzø has "more chemistry and sexual tension" with Verosika than he does with Stolas, and that Stella was only written the way she was to make Stolitz look better, and aother one who says Verosika cares about Blitzø while Stolas doesn't. I wonder if these people are watching the same show as I am or if they have any media literacy to speak of.

Seems like homophobia to me lmao

Like I find it so weird that the people insisting that stolitz is one sided are the same people who were insisting that Stolas and Stella were in love not too long ago. It's like people have never heard of tsundere character before

Most of the objections of the "stolitz is poorly written" crowd seems to be either be that they would be better off with women or that Stolas isn't held accountable for his actions, even though he is. The first one especially screams homophobia, the second one just screams media illiteracy

Anyone who thinks Stolas doesn't care about Blitz and even dares to say that Verosika cares more watched the show with their eyes closed. Or heteronormativity is just that deeply embedded into their brain. Guess we just forgot that time Stolas went ape shit in Truth Seekers to protect Blitz? One of my Twitter mutuals says that she's pretty sure stolitz antis just watched the pilot and some clips on TikTok and that's their whole source of information. I think she's onto something.

The whole Stella thing is a red flag. I think it has to do with poorly written mlm fanfiction causing people to believe that a woman being the villain in mlm fiction is inherently misogynistic.

I try hard to be kind, but Hellaverse antis just have really weird and borderline offensive arguments. Maybe they just have some personal biases they need to think over (whether they realize it or not), or maybe they're just trying so hard to find reasons to hate the show that they end up spewing shit that genuinely comes across as bigoted

[phantomrose96]

So I'm one of those people who had to take a break reading ABoT. Part way through reading I thought of that writing advice that goes something like "look at the current scenario and figure out how things can get worse" and decided ABoT was applying that advice with both fervor and finesse. It had me hooked through multiple all nighters and it wasn't until, ironically, the ending of chapter 37 where Reigen is standing in the remains of the Mogami house that I stared at the next chapter button and realized I would absolutely not be able to handle more, mentally or emotionally, if this fic kept following the previous advice. So I set it aside for a month to recover, tentatively poked into the next chapter tense and ready for things to continue spiraling, and gradually started to relax and unravel until...well, you know. I remember having to put my phone down and take a walk with the reveal of everything that Ritsu had incidentally caused (even if the blame can be pinned on basically everyone in some measure, but that's a whole other essay in my notes).

When I reached the current cliffhanger, I waited a scant day before starting all over, this time slower, more careful, and with a more analytical eye. Not for critique, but because I was confused. That writing advice from before, I'd seen it implemented both poorly and skillfully, and ABoT used it with a finesse I've yet to see anywhere else, and I had to figure out how. What made what can be boiled down to a high stakes wild goose chase so compelling? Why couldn't I put this story down until my emotional limit couldn't handle any more? How could I learn from this and make my own writing better? What did this have that I clearly lacked?

I don't think it was until after Teru's and Ritsu's first fight that it clicked for me. I stared at that scene, then my own characters, and realized I'd written two of my own meeting in a similar fight and had neglected any form of consequences. My characters became friends because of a mutual friend. Because that was the end goal I wanted. I had that omniscient knowledge; I knew I wanted them to end up as friends, so I wrote the most objectively logical decision to make.

Except. These characters aren't objectively logical. They make the decisions that look the best to them in the moment, even if those decisions are bad, or horrible. A character who's been soundly beaten into the ground by another won't so easily become their friend, even if their opponent is the nicest person ever. There's distrust and fear. They're going to make bad decisions. Things weren't getting worse for the sake of getting worse. They got worse because of the direct (bad) decisions of the characters.

Once I realized that, I was struck with such violent inspiration I wrote something like 11k words worth of scenes and revitalized my own love of writing in a day. I was so stuck on the end goals I forgot about the struggles in between. I had gotten so focused on grand, overarching conflict, I forgot how compelling it can be to just have two characters punch each other in the face. Too much of my writing had stuff happening around the characters instead of happening TO or BECAUSE of them. I had forgotten character conflict, and when I started writing those flaws, I couldn't stop. I was having too much fun!

Sorry for rambling about my own stuff, I just wanted to convey how much impact you and ABoT have had on my own creative endeavors. I've been inundated with too many stories, fics, movies that occur on such big planet-wide scales with dire, multiverse threatening levels of conflict, that when presented with a long form tale of a kid desperate for his missing brother, told from the perspectives of a small, well developed and spectacularly characterized cast, in a single city, told with stakes that made me care more than any threat to the world, it was like a breath of fresh air. So I guess this is a thank you for ABoT as a whole and a thank you for writing Ritsu the way you do.

Unfortunately for him, he's an inspiration.

AAAAAAAAAAAAAAAAAAAA YES YOU GET IT YOU GET IT YOU GET IT

ABoT, if nothing else, is a story about its characters. Everything that happens with consequence to the plot can be traced back to a character's own decisions. The characters' wants and needs and actions and faults all come first, and the plot follows accordingly.

(And maybe that sounds obvious.) Aren't stories about characters? But there are so many stories where the characters are just kinda... there. They're blank slates to receive the plot happening around them. Many things they try to do have no consequence. They'll try to take action and the plot will carry on exactly the same as though they'd never even tried, because the writer doesn't want to figure out how that character action might matter. Or a character will do something awful and the plot will just brush past and forget, no consequences or continuity, because the writer had their fun in the moments but now they care about getting the plot back on track, and that would be annoying to work around. They create stories where you can't put your excitement and investment in the characters cuz you just... can't trust they'll matter.

The most important thing about ABoT, to me, is that the characters are making it happen. The good, the bad, can all be traced back to decisions characters had the active choice in making.

I have plenty of fun joking that ABoT is one of those "oh my god it keeps getting worse!!!" stories, but I never ever do that by just dropping random terrible things from the sky. It's always the characters. It's them and it's their consequences of everything they've set in motion, or fought against, or allowed to happen. It's always a thread, thoroughly traceable, spawning from character actions which drives everything both good and terrible (and SUPREMELY terrible) that happens. It will always be the characters.

And I really, truly believe this is what I'm doing to make what is ultimately a wild goose chase featuring less than a dozen people worth reading. When Ritsu fucks up, it's worth caring about because you know this will impact the course of the story. When Reigen succeeds, it matters because he does have a grip on the reigns of the plot and has the chance to better this for everyone. When a character does anything, it matters because is about them, and what they're desperately trying to achieve.

And when a scene isn't about "an action with a consequence", it's still a scene with a point. For any scene I write I always make sure I can answer "what's the point of this scene?" Mob and Reigen reopening Spirits and Such isn't about to barrel the plot forward, but it's hearty and important character development for them. It's the "why should I care about this future being snatched from their grip" when everything goes wrong.

When everything went bad bad around chapter 32, and tumbled worse for many chapters to come, it was me finally tipping over the first domino in a chain of dominoes the characters themselves have been setting up since the start. It went bad not because I arbitrarily decided to fuck with them, but because everyone's actions carried consequences.

Even with ABoT's WORST possible outcome, where Mogami comes out the victor with everything he wants, all others crushed beneath him, this will mean the ruination or death of about... 10 people. A blip on the news. An "oh isn't that sad?" when a second kidnapped son never makes it home, when a conman goes missing (not noticed until a month later when the rent comes due), when a police officer kills his wife and himself, when an orphan kid vanishes off the map from Black Vinegar mid. And life would carry on. And the sun would still rise every day. And no part of this would end the world.

But if I'm doing this right, I want that outcome to feel like the end of the world. I want it to feel worse than that, given what a quiet and unsung tragedy it would be for all these personal efforts and struggles and desperate reaches for betterment are snuffed where they stand. Because they tried and it mattered and they failed anyway.

It IS just a wild goose chase centering around a kid who wants to have his kidnapped brother back, and it's 350k+ words to me.

dfjkdfnkjdf so anyway, I am very clearly super thrilled you were able to see this! It all ties back to character weaknesses and strengths, consequences of actions, irrational responses to situations fueled by character, and not by logic, and the audience knowing that what these characters do will matter. I love stories where humans are messy. I love stories where the tragedy happened because of them, where you can trace the thread back and find exactly how it all went wrong. I love clashing personalities. I love character spirals you can see a mile away and yet you know exactly why the character did that. I love yelling at the pages while knowing that realistically, this character wasn't going to do any better than that. I love knowing exactly how things could have been avoided, and knowing exactly why they happened anyway. I love seeing consequences stick. I love seeing characters matter. And I'm goddamn thrilled you feel that way too and that ABoT could make you find the way to do that in your own characters!!!

[longitudinalwaveme]

Best and Worst Comic Appearances of the Rogues

Note: Keep in mind that some of these choices are very subjective and based on personal taste. In particular, it's difficult for me to know if the storylines I list as the "best" for a given character are actually the best, or if they're just the ones that appeal the most to me personally. I feel like the "worst" choices are more objective (or at least more likely to be shared by a majority of the fanbase).

I'm also only judging stories that I've actually read for this list.

Captain Cold

Best Pre-Crisis Appearance: While I like his debut story from Showcase #8 a lot, I think my favorite Pre-Crisis Len story is Flash vol. 1 #150, "Captain Cold's Polar Perils". Ayesha, Len's stalkee-girlfriend du jour, is a fun character, and Len's powers are at peak Silver Age insanity, which is always fun. It's really the perfect encapsulation of what Pre-Crisis Captain Cold is like.

Best Post-Crisis Appearance: Flash vol. 2 #182. This is the famous Rogue Profile issue for Len, and it is legitimately really, really good (even if its treatment of Lisa is frustrating at times). It's a very solid examination of the character and the backstory provides a lot of depth that Len really needed. Basically, if you want to understand modern Captain Cold, this is one of the best issues you can read.

Worst Appearance: Flash: The Fastest Man Alive #10-13. Every character in F: TFMA is poorly written, and Len is no exception. From having a murder retconned into one of the periods where he was supposed to be reformed to letting a teenage speedster take over the Rogues for no good reason, this story just does not understand Cold.

I will also note here that I generally don't like Joshua Williamson's take on Len. I have trouble putting my finger on exactly why, but if I had to take a stab at explaining it, I think I would say that Williamson's Len is too ambitious and too hands-off. Having him take over first Central City's underworld, and then Central City, seems out-of-character for Len, who's usually smart enough to understand that escalating crimes to that level is a great way to attract a horde of superheroes, and having him sit back and organize crimes without going out into the field himself, which Williamson did more than once, likewise seems out-of-character for Cold. Johns' Len wasn't always the best leader in the world, but at least he was always in the field with the other Rogues. Williamson's Len seems a lot more willing to sit back and let other people do the work for him, and he comes across as a worse leader because of it. Effectively, then, I think my problem with Williamson's Len is that his Len seems younger, less experienced, less practical, and less likely to inspire loyalty than any previous version of the character (except the one that was being written around the time of F: TFMA.)

Captain Boomerang Sr.

Best Pre-Crisis Appearance: Flash vol. 1 #310-311, or Batman #322. The first story has Captain Boomerang getting double-crossed by Colonel Computron and sent back in time (on a giant time-traveling boomerang!), whereupon he has to team up with the Flash to fight pirates. It's delightful, and is made even more so by Digger's determination to save his ex-employer, W. W. Wiggins, from the vengeance of Colonel Computron. The second story features Captain Boomerang fighting---and nearly defeating!---Batman, who narrowly escapes death on Digger's "doomerang". Batman really needs to take Flash's villains more seriously....

Best Post-Crisis Appearance: Suicide Squad #44. This gives us Digger's modern backstory, establishes that he's actually W. W. Wiggins' biological son, and generally serves as an interesting character study of a generally unpleasant character. Flash vol. 3 #7 is a very similar retelling of the same basic backstory, this time by Geoff Johns, and would have been tied with Suicide Squad #44 if not for the gratuitous scene of Digger killing his assumed father (for my money, Geoff Johns is a bit too fond of gruesome deaths).

Worst Appearance: I don't read a lot of Suicide Squad, so I'm not familiar with the terrible Digger appearances that may have happened in the various Suicide Squad runs. Because of that, my nomination for the worst Digger story is Identity Crisis #2-5, the story that killed him (and poor Jack Drake and Sue Dibney) for the sake of earning grimdark edgelord points. What makes it even worse is that the story's scenes of him interacting with Owen are actually pretty good, so we got teased with a really interesting plot for him right before he was pointlessly axed.

Heat Wave

Best Pre-Crisis Story: Flash vol. 1 #266-267, or Flash vol. 1 #312. The first story gave us the first version of Heat Wave's backstory (specifically, it established his cryophobia due to having been locked in a meat freezer as a child), presented him as the main villain of a story basically for the first time (all his previous appearances had him teamed up with another villain), and was full of delightful Pre-Crisis pseudo-science, like heat-seeking fire. It also featured a panel of Mick totally freaking out at the sight of ice cubes. The second story was Mick's first reform, and it was a solid, if slightly goofy, tale of Mick proving that his parole officer was framing him for crimes. It also led to him and Barry becoming friends (and temporary roommates) a few issues later!

Best Post-Crisis Story: Flash vol. 2 #218. It's one of the few Post-Crisis issues that uses him as a lead character, and it establishes his now-iconic tragic backstory and pyromania. Even though it's a bit excessively grimdark (did he really need to burn down the circus where he worked as a fire-eater?), it's a solid story nevertheless.

Worst Story: The Flash: The Fastest Man Alive #11-13, or the "Three of a Kind" crossover (Green Arrow #96, Green Lantern #130, and Flash #135). Everyone was terribly written in F: TFMA, and Mick was no exception, as he was portrayed as an idiot and then killed Bart Allen.

In the crossover, Mick teamed up with two random villains that he had no prior connection to, for some reason decided to try to revive Dr. Polaris with them via hijacking a cruise ship, and ended up killing a bunch of people. It really felt like he just got shoved into the story because they needed a Flash villain in it, and they didn't think about which one would actually make sense in the plot. It makes even less sense when you remember that Mick would go back to being reformed directly after this.

Also, the New 52 introduced us to the Hothead McAngryman version of Mick, and it unfortunately took over five years for him to finally get back to normal. Having the character with fire powers be hot-headed and aggressive is probably the most boring choice they could have made, and it hurt Mick's overall character for quite some time.

Mirror Master I (Sam Scudder)

Best Appearance: Flash vol. 1 #126, or Flash vol. 1 #146, or Flash vol. 1 #306, or Batman #388 and Detective Comics v1. #555.

The first two stories are delightful Silver Age nonsense. Flash #126 features Sam traveling to a mirror world where the inhabitants essentially make him their king, but he quickly gets fed up with the fact that he's given whatever he wants means that he has no opportunities for dramatic theft, and he summons the Flash to help him escape from his boring life as king. Flash #146 is the story where the Mirror Master switches his legs with the Flash's legs. It also features Barry and Sam attending the same self-help class without knowing it!

Flash #306 has disco-dancing Sam, and, more importantly, it's one of the very few stories to try to give Sam an interesting motivation: specifically, he's fallen in love with a woman who's trapped in a mirror and is desperately trying to free her. The ending of the story is a sad one for Sam, but it's also surprisingly touching.

Finally, the Batman two-parter features Sam at his overconfident, flashy, hilarious best as he tries to prove that he's a better criminal than Captain Boomerang (incidentally, this is also a great Captain Boomerang story). It features such highlights as Sam freaking out at the sight of Batman, Sam getting freaked out by Gotham muggers, and Sam deciding to rob a bank because it's across the street and he doesn't have any better ideas. The first part of the story also features some of the best facial expressions he's ever made.

Worst Appearance: For a single story, it's either Flash Rebirth #2 or that issue from Joshua Williamson's run where Sam wore his socks and underwear in the hot tub. Weirdly, Flash Rebirth #2 featured Sam only briefly, and in a flashback, but it retconned a murder into his early past in a way that would darken all of his fun Silver and Bronze Age adventures. It's one thing to have the Rogues become more dangerous in the present, and another to retroactively make all of their early, light-hearted stories grim like this. (Geoff Johns was responsible for this retcon, and far too many others like it. I really wish he didn't like grimdark retcons so much.)

The Williamson issue had Sam who was Evan-in-all-but-name-and-accent. At that point, he might as well have not been Sam at all! That being said, this was basically just the culmination of all the problems Sam has had since he was brought back to life in the New 52. I don't know how you make a character as fun and dynamic as Pre-Crisis Sam was boring and confusing, but somehow they managed!

Weather Wizard

Best Pre-Crisis Appearance: Either Detective Comics vol. 1 #353, or Adventure Comics #466.

Watching Mark fight---and actually briefly outsmart!---Batman in Detective Comics #353 is a lot of fun, and this story is full of delightful Silver Age zaniness, including, but not limited to, Mark saving Gotham City from a drought by filling all of its reservoirs just so that he can make a big announcement in the sky about how he did it in thanks for getting to steal three priceless valuables, and in turn use that message to determine what in town is worth stealing.

Adventure Comics #466 is an entirely different brand of delightful insanity, and features the Weather Wizard briefly turning good, stopping a horde of locusts from destroying crops, and saving Blue Valley from a flood because sun spots were messing with his wand, which he somehow managed to telepathically link to his brain. No, really. Sunspots briefly make the Weather Wizard turn good. Reading this is worth it just to see Barry's reaction to friendly happy Weather Wizard.

Best Post-Crisis Appearance: Rogues Revenge #1-3. By far the most in-depth look we've ever gotten at Mark's past, his relationship with his brother Clyde, and his boatload of issues. Despite being one of the more frequently-used Rogues in the Geoff Johns era, it was rare for Mark to get a lot of attention outside of his role as a big threat, and this miniseries was a nice change of pace for him. I just wish it hadn't ended with the pointless death of his baby son, Josh, because seeing Mark develop a relationship with Josh would have been far more interesting (and less grimdark).

Worst Appearance: The Flash: The Fastest Man Alive #11-13. The story where the writers replaced the Rogues' brains with rocks, and hoped we wouldn't notice. We did.

Trickster I (James Jesse)

Best Pre-Crisis Appearance: Flash vol. 1 #142. In which the Trickster steals a little kid's toy detective set, and proceeds to screw around with the entire city, and the Flash, just because he can. It's a great display of the Trickster's inventiveness and creativity, and the story goes out of its way to state that Trickster is more interested in attention and having fun than in getting money.

Best Post-Crisis Appearance: Catwoman vol. 2 #69-71, or New Year's Evil : The Rogues.

The Catwoman story features some of the funniest James moments ever, and it's so much fun watching the two con artists try to outsmart and outplay one another. Catwoman and James have a great dynamic, and it's a shame they've never really teamed up again.

New Year's Evil: The Rogues features James at his most heroic, teaming up with the Pied Piper (and, thanks to some manipulation on his part, some of the other Rogues as well) to save his ex-girlfriend Mindy's son, Billy, from a group of mercenaries who are attempting to overthrow the government of Zhutan. The story also eventually reveals that Billy is James' son, which sadly never went anywhere since for some reason no one wanted to follow up on this awesome plot point.

Worst Appearance: Countdown! Not only does he forget all of his Post-Crisis character development, but he also acts really stupidly for no reason, is a humongous jerk to the Pied Piper (his close friend!) for no reason, and then is pointlessly killed for no reason.

It's also worth noting that his most recent big appearance, the one written by Joshua Williamson, was very frustrating to me. It's not as objectively bad as Countdown, or James' appearances in F: TFMA, but it takes James in an unpleasant, dark direction, and I didn't care for it at all.

Pied Piper

Best Pre-Crisis Appearance: Flash vol. 1 #307. This story is very important for the Pied Piper, because it not only gave him his full backstory but also gave him an actual name after over twenty years of him not having one! It's also just a fun read in general, full of delightful Pre-Crisis "science" and featuring some great character work for both Hartley and his parents, who are so desperate to preserve their family name that they have a reporter who uncovered the secret kidnapped so they can bribe her to keep quiet!

Best Post-Crisis Appearance: Flash vol. 2 #19, or Flash vol. 2 #32.

William Messner-Loebs' run on the Flash is underrated, and his work on Piper is a stand-out example of why more people should read it. Even though Hartley doesn't appear a lot in Flash #19 (his first ever Post-Crisis Flash appearance, by the way), but when he does show up, it pretty much single-handedly establishes what he's going to be like going forward; establishing him as an at least mostly reformed Rogue who cares about protecting the homeless and disadvantaged. It's just really sweet.

Flash vol. 2 #32 features Hartley teaming up with Wally to save his parents and his adorable little sister Geraldine from the henchmen of the Turtle and the Turtle Man. It's adorable seeing Hartley interact with his little sister, and it's also nice to see him finally make peace with his parents, even if they'll never be close. I really wish Geraldine had gotten to show up again, because I want to see more of Hartley's little sister. Also, this story features a line that I've always found hilarious for some inexplicable reason:

Thug (in response to Joan Garrick showing up at the Rathaways' mansion): An old woman? Seize her!

A close runner-up is Flash vol. 2 #190, which is a retelling of the origin story from Flash vol. 1 #307, but with more details and from Hartley's POV (the original tale had his parents telling the story).

Worst Appearance: F: TFMA and Countdown (since one led into the other, I kind of count them as one story). In which Hartley totally forgets that he reformed, is involved in the death of Bart Allen, loses about 100 IQ points, gets chased all around the DCU, gets insulted almost non-stop by the Trickster in spite of the fact that they're supposed to be friends, watches Trickster get shot in front of him, and almost goes crazy and dies.

The fact that he gets to blow up Apocalypse with Queen music is awesome, but not nearly enough to salvage this otherwise terrible storyline.

The Top

Best Pre-Crisis Appearance: Flash vol. 1 #297-303. Roscoe comes back from the dead, possesses Barry's father, spends what appears to be several months living with Barry and pretending to be Henry Allen (while slipping off to visit Lisa on the side), and then attempts to kill Barry Allen and steal his body for his own. It's weird and creepy and unique and perfect for Roscoe, and it features lots of top puns, as all good Roscoe stories should. Also, even though he's generally a huge jerk in this story, his relationship with Lisa is adorable, affectionate, and shockingly healthy.

The most hilarious thing about this story is the fact that at one point in it, Barry thinks to himself that his relationship with his father is the best it's ever been....in response to the interactions he's had with Roscoe posing as his dad. That's right, Barry apparently gets along better with Roscoe-pretending-to-be-his-dad than he does with his actual dad.

Best Post-Crisis Appearance: This is hard. Most of Roscoe's Post-Crisis appearances are pretty bad. The writers of Hawk and Dove didn't do an especially good job with him, Mark Waid's one story with him was a decent Pied Piper story but a terrible Roscoe story, and Geoff Johns seemed to hate the character, so that always affected his Roscoe stories. If I had to pick one, I guess I'd go with @gorogues' suggestion and pick Flash vol. 2 #215-216, since he's really intimidating and cool in those issues. Unfortunately, even those issues are not immune from the curse of bad post-crisis Roscoe stories, as they include the stupid Identity Crisis tie-in retcons that negated a whole bunch of the Rogues' character development.

I seriously don't know what the problem is with the Top's post-crisis stories. All of his Pre-Crisis stories were good, solid fun, and his best story shows that he can be really effective and creepy as a main villain. Why is it so hard for modern writers to write good Top stories? He isn't inherently any weirder or goofier than the Trickster.

Worst Story: Hawk and Dove vol. 3 annual #1, or Flash vol. 2 #120-121. The Hawk and Dove annual features some truly hideous art (I'm sure @gorogues has some scans to prove just how bad it is), and features a badly out-of-character Roscoe, who just seems out-of-place fighting Hawk and Dove.

Flash vol. 2 #120-121 takes the solid idea of Roscoe trying to become president by possessing the body of a senator, and then kind of ruins it by having 99% of the cast treat Roscoe as a total joke (the same Roscoe who once tried to blow up half the world with an atomic grenade!) and by having Roscoe act like an unparalleled jerkwad towards the Pied Piper for no real reason. Before his death, Roscoe generally got along pretty well with the other Rogues, so there was no reason for him to act so nastily here. Worse, I think this depiction went on to influence Geoff Johns' portrayal of Roscoe as the most unfriendly and cruel of the Rogues, which is kind of frustrating as he wasn't always like that.

Golden Glider

Best Pre-Crisis Appearance: Flash vol. 1 #257. Golden Glider is terrifying and awesome, and this story shows you exactly why. Within this issue alone, she discovers Barry's secret identity (making her the first Rogue to pull off this hat trick), almost kills both of Barry's parents and Iris (as revenge for Roscoe's death, which she blames on Barry), puts up a very solid fight against the Flash, doesn't even flinch when the Flash threatens to kill her as a bluff (saying that she has nothing left to live for now that Roscoe is dead), and, although Barry manages to save Iris and his parents, she escapes without being captured. Pre-Crisis Golden Glider is the best, and it's a shame she never gets written like this anymore.

Best Post-Crisis Appearance: Flash vol. 2 #19. Her interactions with Wally in this story are great fun, and I like seeing her be chummy with her older brother and her fellow Rogues at the party they're throwing. Her interactions with Connie Noleski (Wally's one-time girlfriend) are also pretty funny. This issue is also notable for being one of the last stories that doesn't portray Lisa as a total lunatic, as for some reason, her character got shifted into that direction not long after COIE.

Worst Appearance: As I thankfully haven't read Teen Titans vol. 6 #22, I'm nominating Flash vol. 2 Annual 5. It's a great story for Captain Boomerang, Weather Wizard, and Trickster, but it's a pretty bad story for Lisa, as it portrays her as being completely insane and serves as Exhibit A of how Mark Waid didn't know how to write the character. Golden Glider was scary because she was smart, calculating, and surprisingly composed (given how full of rage she was). Making her violently comic-book crazy undercuts how scary she was back in the Bronze Age.

You know, it really says something that Carey Bates, Lisa's creator, is probably still the best writer she's ever had. And he was writing in the late 70s and early 80s!

Mirror Master II (Evan McCulloch)

Best Story: Animal Man #8, 17, and 21, or Flash vol. 2 #133.

Nobody writes Evan McCulloch better than his creator, Grant Morrison, and these issues put that on full display.

The Animal Man stories introduce McCulloch, establish his weird personality, his freaky powerset, and his strict refusal to kill women or children, and are generally a delight to read. McCulloch has a very distinct voice throughout and is the funniest part of all three stories. Basically, everything you need to know about the character was established in these three issues.

Flash #133 is McCulloch's best appearance in an issue of Flash. He maintains his weirdness, his distinctive voice, and his insane powerset, and he takes the Flash and the reader on a trippy, colorful adventure around the world and through the looking glass. He maintains his generally cheerful and friendly attitude towards superheroes, and he is, once again, the funniest character in the story. Grant Morrison's Evan is a delight.

A close runner-up was Flash vol. 2 #212, the story that gave Evan his backstory (grimdark though it is, it somehow kind of works for him) and established what has become arguably his second-most famous characteristic (after his Scottish accent): his addiction to cocaine. It is a very good story, and I like that we get to learn more about Evan's history, but I will say that Geoff Johns' Evan isn't nearly as cheerful and weird as Morrison's, and I think that the story would have been even better with Morrison's cheerful nutty Evan than with Johns' creepy, sullen version.

Worst Appearance: Flash: TFMA. You know the drill by this point. Stupid Rogues. Pointless death of Bart. Bad writing all around.

Trickster II (Axel Walker)

Best Appearance: Flash vol. 2 #183. There are actually surprisingly few issues that focus on Axel as a lead character, but I've always enjoyed his introductory issue. It establishes some backstory for him and effectively tells you who he is (an annoying brat who might be in over his head) and what he can do (use a lot of crazy trick gadgets and work computers better than the older Rogues). I also like the bit towards the end of the issue where Mark is thoroughly unimpressed by Axel and asks if he's supposed to be their mascot. It always gets a giggle out of me.

I also thought the arc in Joshua Williamson's run where Axel briefly got super-strength was a pretty good story for Axel. It's one of the few times he's been played sympathetically and I thought that it worked really well.

Worst Appearance: Helmet of Fate: Detective Chimp. Okay, I haven't actually read this one, but I know enough about it to know that Axel murders 4 teenagers for no real reason, and that's enough for me to list it as his worst appearance.

Also, I can't really think of any Axel issue that I have read where Axel is portrayed really terribly. Writers usually seem to have a decent grasp on his character.

Captain Boomerang Jr.

Best Appearance: The best appearance of his that I've read is in Flash vol. 2 #220-225 (the Rogue War storyline). It's one of the few stories to feature him with the Rogues, and his grief over the death of his father and his relationship with Captain Cold are both very interesting. The story also finally tells us who his mother is (Meloni Thawne) and how she had a kid with Digger (well, sort of. We know time travel shenanigans were involved, at least). That being said, @gorogues says that his appearance in Manhunter v. 3 were really good, and I've heard that the story where he teamed up with Tim Drake was a good one as well.

Worst Appearance: Blackest Night: Flash #3. The story where he was turned into a idiotic child murderer and then was pointlessly killed off!

A close runner up was the Rebirth (I think) issue of Suicide Squad where he suddenly showed up and was inexplicably a snobby criminal mastermind who really hated Digger.

[noxinkwell]

Let's Talk About: The Bizarre Relationship Between Readers and Writers/Authors and Book Reviews/Fanfiction Comments

So this is gonna be a rambly one and I'll put a TL;DR somewhere, I promise, but I've been on BookTok and I wanna talk about the weird relationship between authors/writers (published and non published) and readers. Let's create a discourse on the types of conversation we see online about books/literature and fanfiction. TL;DR: A book is not bad because you hate it. A character is not bad or poorly written because you hate it. And it is so freaking important to remember to think about what authors are intending to do with their writing before you make very strong claims about it. Writing is such a personal experience because of most of us (if not all of us) write from a personal place in our hearts. Getting negative feedback is not at all helpful from randoms on the internet so maybe don't share it where the author can easily see it (i.e. don't tag them, don't comment on their fanfictions).

Disclaimer:

We are all entitled to share our opinions.

The BUT to that is: We are entitled to share out opinions kindly, respectfully, and we should keep in mind keep the thoughts of those who are on the receiving end of those opinions.

Initially, I thought it was a cognitive dissonance but I'm not sure the definition quite matches up. But maybe it does, so let's go with it.

If anyone is curious though:

Cognitive dissonance occurs when a person's behavior and beliefs do not complement each other or when they hold two contradictory beliefs. 

Typical examples:

"I want to get healthy, but I'm not going to make the changes to do it."

"I could have done more work, but I watched TV."

"I really want to help the planet, but I'm not going to recycle."

To me, it occurs with readers like this: "I want to help make the writer better by giving some random concrit/constructive criticism to an author when I have zero idea on what their intentions are as a writer."

Or: "I'm going to leave a negative review for a book and it will impact other people to read the book or make the author change how they write."

I am mostly talking about this as a fanfiction writer and someone who reads more published writing than I do fanfiction (these days).

My first thing is: Goodreads. Or just comments/reviews in general on fanfiction and other literature/books.

Some of the Goodreads reviews are. fucking. bizarre. And by bizarre I mean, they are so aggressive. And they bring zero productive conversation to books. They're just inflammatory. They're not at all constructive and quite frankly, they're not helpful for readers either.

And let me just say, that is entirely fine. Y'know, I think book reviews are for READERS and not the WRITER/AUTHOR, but still... I'm not even sure what I gain as a reader reading this type of review:

*yawn* I'm really sad I wasted my time on this romance that was completely overhyped, in my opinion.

or

at any given time, i feel like i'm reading romance as a cry for help.

And when I see these types of reviews, I feel like people fail to remember this very simple thing: Not. all. books. are. made. for. you.

Not. all. fanfiction. is. made. for. you.

You. are. not. always. the. target. audience.

So why do you read it? Stop reading it—especially if you can't share that opinion in a kind way. It's not productive.

When I get feedback on my writing (as a fanfiction writer) I will always, always, always ask for specific feedback. Is this line okay? Are my characters coming across in this way? Is the pacing okay? Does this make sense? How's my SPaG? How's my prose as a whole? Am I varying my sentence structure enough? Is my character development going okay?

And sometimes, with my most trusted writing friends I will say: "Hey, give me whatever feedback you think I should hear. Give me what you feel is going to help strengthen my writing."

Because YES—in my opinion, some parts of writing is purely objectively good or bad.

So when I see reviews or comments about someone saying a character is objectively annoying or that they don't relate to them I get sad. When I see that someone says a book is bad because of xyz reason... I sometimes want to shake them because it's just not how that works.

A book is not bad just because you hate it. A character is not bad because you inherently dislike her/him/them.

A fanfiction is not bad because a character did not do something you didn't like. A fanfiction is ALSO not bad if the character was out of character from canon and you didn't like the choices they made (this one irks me the most as a beta reader and a writer).

Why am I saying all this?

Because sometimes, readers forget what the author or the writer is intending to do with their writing. Sometimes the writer intentionally makes the characters annoying. Sometimes the writer intentionally adds angst and hurt and pain and jealousy. Sometimes the writer intentionally adds TOXIC traits to a character because they thought it would be fun or because it serves the moral they're attempting to tell. Sometimes they're toxic because it's DRIVES THE PLOT.

If a character cheats or kills someone it does not at all mean 1.) the author is condoning it and 2.) it doesn't mean the character is a bad character or a poorly written character either.

It just means it didn't resonate with you.

So I want to ask you all: Do you ask yourself why you dislike something before you decide 'yes, I hate it'? Do you think about what the writers intentions are when you're reading? And hey, perhaps, this type of reading may take the fun out of it for you. And I get that. What I don't get though, is disparaging authors and writers who are trying to make a living or trying to write for fun because you feel the need to give criticism on something that you actually may not know enough about.

To top it all off, we don’t know the authors. We don’t know the writers. So an author/writing receiving “advice” or “constructive criticism” from a random “schmuck” in their writing is just not gonna over well. Writers take a lot of time practicing their craft. While we’re all entitled to an opinion, it doesn’t always need to be shared in the face of the creator. I say this kindly, sometimes, you’re reading a fanfiction or a novel and you don’t like it, but that doesn’t necessarily mean you know why and it doesn’t mean that your opinion on it aligns with the goal of the person telling the story.

Constructive criticism is a WHOLE other post probably, but I'll just say this here: If you don't know how to give it, then don't give it. If they didn't ask for it then DEFINITELY don't give it. If you REALLY have to give it, think about what you’re saying before you say it. And if someone is upset with you giving concrit and they never asked for it, maybe look within and ask why you felt this was helpful for the person on the receiving end of that concrit.

Also, if you're gonna post something negative: Do not tag the author. And if you're gonna comment negatively: Don't post it on the fanfiction either.

Why? Because reviews are. for. readers. You saying that you didn't like something on a fanfiction does not do anything for the writer except discourages them. Fanfiction writing =/= Published writing.

If the author wants it, they'll ask. (And I will post something this later). Did you make it this far? If you did, damn. Thank you for coming to my TED Talk. Authors and writers are humans. We write from a personal place in our hearts. Sometimes we write about the things in our lives that hurt us the most. Sometimes we write about other extremely personal experiences. So getting feedback on it is scary and forcing negative feedback for them to see is not kind. Writing takes hours, days, weeks, months, and even years to do. Reading takes...a fraction of that. So before you go and destroy someone’s work with your words online, maybe think about it first.

I, too, am an avid reader and sometimes we just want validation for our opinions (good or bad). But sometimes it's important to remember how we share them.

[hello-nichya-here]

Let’s be real. The only reason toxic Zutarians and delusional Zukkas became so rampant is for the same reason.

Zutararians and Zukkas are two generations of the same issue.

Maiko is written so incoherently and Mai gets no development of her own. Zuko and her are a terrible match and treat each other poorly (I know the fandom can’t agree which one is at fault but I don’t think it matters).

Fans searching for a more satisfying conclusion of the fandom fav Zuko stumble into the waiting clutches of Zutarians or Zukkas who bombard them with their terrible takes, OOC writing, and admittedly beautiful fan art. Before you know it, they lose touch with actual canon.

This is all Bryke’s fault for writing Maiko terribly.

And yet people blame Zucest… nonsense!

Anon, I don't mean to be rude, but you're just wrong all around. Not only do I not think Maiko is terrible (might not be my OTP, but I am fond of it), but even if it WAS and fans had to rely on fanon for good romance, that does NOT explain or justify the way Zutarians and Zukkas not only act like their personal preference is objectively better than everyone else's but also actively lie to themselves and others about their ships totally being secretly canon but screwed over at the last second.

They do that for one reason alone: Entitlement. They're entitled, spoiled cry babies who screetch at anyone with a different preference because they take it as a personal attack.

Bryke writting Maiko any differently would not have made these people less insufferable. Hell, their ships hapenning in the exact way they wanted them to would also not do the trick, if anything it'd make them worse.

It doesn't matter what you think about Bryke as writers and people, or how you feel about the canon ships: The bad behavior of Zutara and Zukka fans is the responsibility of Zutara and Zukka fans, nobody else.

I don't like Legend Of Korra or the comics. Never sent a death threat to the people who made them. Never harassed fans of it or had them doxxed. I love Zucest to unhealthy degrees, but you won't see me claiming "There was totally a deleted scene of them kissing in the finale instead of fighting, but evil Bryke ruined it all, and if you don't believe my obvious bullshit I'll scream at you until I'm blue in the face!"

I LOATHE the ending of How I Met Your Mother with all my being, and resent the showrunners for being such dicks to fans and complaining we didn't praise their terrible writting. I would NEVER accuse them of abusing their authority over the actors and being predators just because I disagree with awful messages the finale sent - something zutarians do Kataang and Maiko fans ALL THE TIME.

It's really, really, really, really easy to not do that kind of stuff.

Be critical of Bryke and their writting, have whatever opinion you wanna have on Maiko, but let's not pretend writers/showrunners are to blame for FANS attacking people.

It'd be like going "Oh, this actress and her fans got death threats because audiences didn't like her character, clearly this is the writers fault for mishandling said character" NOPE, the blame of that kind of awful behavior ALWAYS lies solely with the people who choose to act like that.

[zerothejackal]

This post contains textual TMOSTH spoilers! so if you haven't played for whatever reason... don't look!

This is still a crazy theory that mostly feels like a headcanon or whatever the fuck matpat does and calls "theories." But, hey, it still deserves to be updated!

After all, y'all seemed to like the crazy theory in its raw poorly-written state! :D

the final argument is still... not the best, and feels even MORE headcanony than everything else... but i think it's neat!

here's my hypothesis again, for those joining in late, and because that's how theorizing works:

Barry the quokka, our avatar, is a chaos user.

Now, I know what you're thinking...

"There's no proof of that bestie, bro's onto nothing 💀🔥🔥!"

well, normally I'd say:

"It's just my own silly headcanon without any support ^_^ just for fun!"

EXCEPT, there may be some evidence, in the behavior of the THINK minigames.

So what if these minigames are more real that what we're led to believe, I mean Barry is clearly not carrying his DreamGear with them, as no character ever brings it up.

my theory here is that Barry has a weakened/dormant ESP ability. Let's go through my evidence, shall we?

(and some extra stuff i noticed after writing the original post, and that other users brought up)

Evidence No.1 — The nature of the interrogation sections.

Every Interrogation section unfolds as follows:

We have Barry collect the clues (although Tails gives his own insight, Barry is always the one to notice them.)

Tails mentions that he and Barry have formed a case/hypothesis, or Tails goes directly to make an accusation or argument.

(Barry themselves progressively wonders why they are added onto the accusation with Tails)

We have to select the exact correct clue/object from Barry's inventory to support Tails' argument.

We then go through the THINK minigame so that Barry can order their thoughts.

Tails explains his argument with Barry's proof flawlessly, although Barry often lags behind during this part.

"But this isn't proof of anything--"

SILENCE! TO THE DUNGEON WITH THIS FOOL!

I believe that these "game features" can be explained in-universe through some sort of telepathy.

"But, what is it there to explain? All of that seems normal to me?"

then, my good friend, you may need to re-read!

(especially the italicized and bolded bits)

Barry is always the one to find clues and stuff—but we will go over this later. So, remember it.

And even though Barry is not often fully aware of what Tails is thinking, he always adds them to the accusation, it's always "we," and never "I."

(correct me if I'm wrong here but I don't think Tails ever excludes us once we have gathered enough clues)

And while yes, Tails is really friendly and Barry is basically playing to be the detective's assistant, maybe its because Tails notices something we don't

The game doesn't actually show Barry telling their thoughts to Tails, yet both Tails and them manage to form a flawless argument from some object or trash that was lying around.

SURE, MANY TIMES THEY HAVE DIALOGUE DURING THE INTERROGATION, RIGHT AFTER A MINIGAME, BUT NOT ALWAYS

He comments on them first to give the player insight on what we should be looking for, but Barry never really tells Tails directly what they're thinking on.

And their dialogues often evolves from a small argument being immediately supported by Tails with a stronger argument.

And look, Tails is a smart kid, we know this. But intelligence is tied to specifics. One cannot be intelligent on basically everything.

But even if, for the sake of the argument, Tails were to be smart at everything... he's still a kid. He's going to be prone to making mistakes, many times before him being a kid has overcome his high intelligence.

terrible example but, look at Forces.

But somehow Tails always has something to say during an interrogation, and almost always includes Barry even if the quokka is not adding much to the conversation.

Now, going back to "all of this can be explained with telepathy": What if Barry has been giving information to Tails with this unknown power.

And Tails, being always surrounded by chaos users, doesn't point it out because, well, he's simply used to odd shenanigans when it comes to chaos powers.

Though the part of "Barry always finds the clues" feels less of telepathy and more of something else, but the theory isn't over!

After all, my hypothesis was that Barry had an ESP ability power, but I never specified which one. So let's continue.

Evidence No.2 — Barry is somehow aware of what they should be looking for, always.

Barry is the one to always inherently notice something relevant, even if Tails is the one to point out its importance, this is shown through the game outlining with green certain objects.

While Barry probably doesn't see this outline that helps the player, they probably do notice the objects over other things—but hey, maybe they do see it, but they... think it's normal.

something like that is probably something they've never questioned before.

They are the one to also find which specific clues or people can aid to Tails' argument, this is especially noticeable on the final interrogation, where Barry has their time to shine.

this specific section, originally, was part of evidence No.1, but I think it deserved to be pointed out individually.

something, something, some sort of clairvoyance or greater awareness acting here.

But that is not all, Barry is also somehow aware of "Chaos Control," and while it could be argued that they SHOULD be aware of it, because this technique has been used to save the world several times.

What they shouldn't be fully aware of, probably, is what the technique is specifically called, for all the public knew, chaos control was just another power of Shadow and Sonic.

But given that in-universe this surprises everyone, let's assume that Barry shouldn't know of it in general. And yet they still know of it.

And talking about supernatural awareness...

That time in which Barry pointed out Espio talked on italics? Sure, its treated as a joke but... what if it wasn't entirely one?

Evidence No.3 — Barry's physical actions during THINK minigames.

there's at least one (and two debatable one) occasions on which Barry performs a seemingly physical action during a THINK minigame.

First, when barry has to distract Knuckles so that Tails can fix the machine.

Knuckles seems to be going in for the kill, and prevent Tails and Barry from seeing the score of the arcade machine, Tails tells Barry to distract Knuckles while he fixes the machine.

But then we get a THINK minigame, instead of ... anything else, which is odd, Barry should be actively preventing knuckles from advancing, not thinking.

This implies barry was doing something while thinking, and while they could've tried to hold knuckles or something, we know by previous dialogue that Barry both is weak physically and that Knux wouldn't hesistate to hurt them!

The second time, which is highly debatable, is when Sonic is breaking the doors to advance.

Sonic mentions how he's gonna need a few hits to break through the doors, but instead of just seeing a small cinematic (like the one we're shown after the minigame)

We go through another THINK minigame, and after it, Sonic breaks the door with a single spin dash, it's odd that we see this.

Not much from a gameplay perspective, sure, but still overall strange in several levels, But personally, I choose to believe Barry is somehow unconsciously giving power to Sonic!

whether it is an ESP ability or just poeer of friendship is up to debate though...

The third time is during the boss fight against the Mirage Express itself.

Not only we do not get to really see how sonic and his friends are fighting the train, but what we do see... doesn't add up, especially so with the THINK minigame we have to play.

We see the flicky which should probably be inside the train, yet we see Amy hitting the train from the outside, and the minigame itself puts us in Sonic's place outside the train?

But like the previous point, what if this was explained thanks to Barry and what they could be doing. The last fight is a THINK minigame because Barry was helping.

Do you think after being inspired by Sonic himself, Barry would just stay there cowering?

Especially seeing, seemingly, everyone fighting along? Such a strong bond between the different friends of Sonic, from Vector to Tails.

He, without probably realizing, could've helped with some power, giving Sonic the information needed to hit the train.

Or perhaps even using some psychokinesis to attack too, we really don't see what's happening, and technically we only see Amy somehow delivering a hit to a train actively moving.

So anything goes, I suppose

this point is the weakest of the whole theory, but I think it still holds some weight, especially since no one seems to point anything up.

But I like to think that Barry did something, and based on previous time's they've done odd stuff... well, I just connected two dots.

Conclusion: Barry is a psychic chaos user, and they probably don't know.

[randomthefox]

Saying Cosmo the Seedrian is better than much of the idw fancharacter sonic cast is a very bad choice. Cosmo barely did anything other than to exist and give the third season a plot story. She exists under 4kids Entertainments DEI comission to add a poorly written sonic character who exists solely to be Tails love interest and only related to the big bads role. She is a wannabe Princess Leia a faux action girl one at that the daughter of a Darth Vader knockoff Dark Oak is who sexist space hitler that has no problem killing all the Seedrian women save for Cosmo to spy on anyone and destroying all life out of spite when it goes against his objective to revive the Seedrian race elsewhere and create a new empire from many conquered worlds out of it.

The DEI wokeness example with Super Sonic and Super Shadow getting sidelined so Cosmo would be the one to do anything relevant like passing through a crushing ginormous blackhole like gravity field unharmed without the use of Chaos Emeralds just to keep Dark Oak paralyzed by merging with him based off of a copied taken anime scene from the Yugioh Big Five Arc with filler character Noah Kaiba paralyzing his father Gozaburo Kaiba by merging with him. Funny thing about Noah Kaiba and Cosmo the Seedrian they are both contrived mary sue characters made to due anything as the creators pet of their story arcs favor them at any given time.

Cosmo is better than the comic characters by virtue of the fact that she died so now nobody has to put up with her stupid existence anymore.

To me it's really a zero sum game to rank or compare the Sonic spin off OCs against each other. I don't care for any of them for all the same one reason: they're not from the video games.

As far as I'm concerned all these spin off OC characters are all the same thing. Some dumbass made up losers who aren't from the video games. There's no difference between them from where I'm sitting. The cartoon OCs. The comic OCs. The movie OCs. If any of them were worth anything, they'd have been in the games.