#this isn't actually aimed at anyone in particular

[suga4mycoffee]

Various 'writing assistant' programs, anyone who ever took a single creative writing class, and people who think all adverbs are words ending in -ly:

ALL ADVERBS ARE EVIL. USE NONE. IF YOU USE ADVERBS, YOUR WRITING IS WEAK AND AWFUL. ADVERBS ALWAYS = WEAK VERBS, BE MORE FORCEFUL. DIE IN A DITCH WITH YOUR PRECIOUS ADVERBS.

Me, using as many fucking adverbs as I damn well please:

You aren't the boss of me, ticking boxes off of a 'how to write words good' checklist is weak writing, and you can shove your linguistic snobbery up your ass. I DO WHAT I WANT.

[nocturnalnewsiestrash]

People are testing me with the amount of dislike of Crystal. Like I'm about to pull out my training from living in the Newsies fandom for years having to defend Kathrine because she dared to be a female character who Has Character Flaws. I can and will turn into a Crystal defender. Like I know this is just like, par for the course of fandom in general. But like god can we just like TRY to have some space for nuanced women characters? Especially Crystal?? She deserves it, we owe it to her to be extra extra aware of how we treat her. Because I personally believe she deserves the world and I'm ready to give it to her if no one else will

[bogunicorn]

It will never stop being funny to me that the DA fandom has been Discoursing about the games being "centrist" on the issue of mages and Templars, especially in the way it was written in Inquisition...

...but the friends I got into the games via DAI a couple years ago felt like the game so strongly sided with the mages that they avoided the Templars because they were playing good guys, and the Templars were portrayed as such cackling villains that they must be the evil option.

Like, nothing wrong with analyzing your favorite stuff, but seeing my friends experience DA for the first time and coming away with some pretty obvious conclusions that the fandom has been wanking over for a decade really puts things into perspective. Some of y'all are so lost in the sauce that you're debating about your memory of a memory of the games instead of what's actually in them.

[l0stw00d]

I saw a post that was like, "would by 14 year old self be proud of me? Why would I want to impress a mentally ill teenager." and like- maybe I am just a sensitive little guy. But some of y'all are so unapologetically cruel to your younger selves.

Yeah, 14 year old Lostwood was cringe and vulnerable and unwell. I'm very grateful that a lot of what I did never got much attention. But I was also 14. Have you seen a 14 year old recently? That is a while fucking child. I hated my teenage self while I was still a teenager, but I'm 25 now. And I mostly just wish someone had looked after me better.

Maybe my teenage self wouldn't be proud of me, but I've grown up to be someone who would take care of them. And I think maybe that's more important.

[sp0o0kylights]

"Valentines Day is a capitalistic scam made to sell chocolate and flowers!" Eddie Munson bellowed, leaping to the top of a cafeteria table not even ten minutes into lunch. 

"Do you think he was born like this, or just dropped on his head as a baby?" Heather asked, rolling her eyes as the super senior began waving his arms around, getting way too into  his annual “anti-valentines day” rant. 

Steve, who'd tuned out the dramatics in favor of trying to figure out how he could ditch school, only heard her because she’d begun running her foot up his leg.

Directly in front of Patrick.

As if half the school didn’t know he planned on asking her out after school. 

Long over being a part of these kinds of games, Steve kicked out, forcing Heather’s leg off his. 

He did it harder than he intended and immediately winced, as  if he hadn’t meant to do it at all. Aimed a sad little look at her, softening his eyes in the way he knew ladies loved while murmuring a quiet "sorry.” 

A pudding cup was offered as an additional apology--which Heather, thankfully, accepted. 

Crisis averted, Steve used the movement of handing the cup over to get his legs well out of Heather's range. He had other things to think about today, and getting drawn into whatever drama Heather was trying to brew wasn’t on the list. 

Particularly given the basketball team as a unit had started snubbing him out. 

"Newsflash ladies! Your man isn't taking you to some shitty restaurant because he loves you, he's doing it because he hopes you'll give it to him in your car!" Munson continued, voice growing impossibly louder. 

A crude gesture followed, involving hip thrusts and hand jabs.

 Several of the cheerleaders shot him disgusted looks as he did it. 

"Definitely dropped on his head." Carol said, glaring at Munson as his little group of freaks and geeks cheered him. "More than once." 

Steve hummed an agreement, more on automatic than from actually listening. He knew how to look like he was paying attention, even if his head was deep in possible escape plans. 

If he dipped at the last minute to the bathroom on the way to fifth period, Tommy wouldn't have time to stop him and he could make a break for his car…

That just left making up a plausible enough excuse as to why thee Steve Harrington, whose single status was the current hot topic of the school, left school early on Valentines Day. 

("Candy, sex, the overwhelming affection of all the ladies." Tommy drawled out that morning, practically preening. "Valentine's Day is the best holiday man. Just look at all this!"  

He waved a hand at his locker, which was absolutely covered in paper hearts. 

"The rally squad put hearts on the lockers of everyone on the basketball team, Tommy." Carol argued, rolling her eyes. "Steve’s is practically buried in them.”

Tommy opened his mouth to respond, no doubt with something else teasing and rude, but Carol’s elbow caught him in the gut first. 

“If you keep acting like this you're not getting any sex." She warned. 

"Aww baby, don't be like that. You know you're the only one for me." Tommy teased, with a wink that prompted Carol to smack him on the shoulder.

Laughing, he added: "Besides we can't fight or we'll miss our favorite game. Which poor gal thinks this year is the year Steve will take her out on a date!"

Carol allowed Tommy to put an arm over her shoulder, the two of them turning knowing grins on their friend as a singular unit. 

Even if Steve hadn’t felt like their friend in a hot minute. 

Not in the way he used to. 

"I do love watching them stutter through their little confessions.” Carol admitted, like this wasn’t something they’d loved doing since middle school. “I wonder if anyone will ever top Cindy Komer." 

Steve almost wasn't fast enough to cover his wince--that particular incident had been painful for him and Cindy. 

Steve still had no idea what he'd said to make the then-freshman cry. 

He thought he'd been nice about turning her down, but judging by Carol constantly quoting what he'd said, Steve had a feeling he'd accidentally been an asshole again.

Not that anyone ever thought it was accidental. 

“Steve? Hel~lo? Are you listening?” Carol said, snapping to get his attention and God did Steve hate that.

Never realized just how much until Nancy but after she’d pointed out that Carol treated him and Tommy both like her dogs, well. 

It was hard not to notice--and be a bit resentful. 

“God you keep doing this, you’re turning into such a space case.” Carol continued, the edge back in her voice. The same one she’d been using for a while, like Steve was on her last nerve. “Please tell me you’re not still mooning over Nancy fucking Wheeler.” 

“No.” He snapped, only to know instantly that was the wrong move, and try to fix it before Carol blew up. “No--I’ve just already had to fend someone off today. Like first thing--I was barely out of my car.”

There, that should keep Carol and Tommy both off his back for being “angry” and it wasn’t even a lie. He really had been asked out earlier, though the girl had been gracious about his rejection.  

Of course, this kind of instant redirection came with a price--and in this case, it was being absolutely hounded for more information. 

“Oh shit who!? Was it that Buckley girl?” Carol perked up immediately, like a hunting dog scenting prey. “I swear she stares holes in your head, she’s so weird…” )  

"This isn't about romance! It's about showing who has the most cash, gets the most sex! It's a pathetic social ritual you're all falling for!” Munson yelled, jolting Steve back into the present.  “I bet none of you even enjoy it!” 

"Tell that to all the girls Steve’s dated!” One of the younger basketball guys hollered, prompting a wave of laughter from the rest of the cafeteria. “They seem to enjoy it plenty!”

Steve couldn’t see who had said it, and should have felt the normal wave of smug warmth that the team had his back.  

Except his team had already proven they didn’t. 

Were in fact, siding more and more with Hargrove, just as Tommy was. 

They were rapidly approaching a watershed moment. Steve could feel it, the same way he’d always been able to tell when a crowd was about to turn.

He was losing, but was still on top of Hawkins social spaces enough, had caught it early enough, that he could turn everyone’s favor--if he wanted. 

Emphasis on ‘if.’ 

Munson spun to face his table, hair whipping to smack him in the face. The guy had clearly been trying to grow it out, but right now he looked like one of those poodles Carol's mom loved so much. 

So said Carol, anyway. 

"You sure about that?" Munson challenged, a crazed grin breaking across his face. "Rumor has it King Steve lost his groove ever since Wheeler dumped him!" 

Steve grimaced, though he was secretly thankful Munson went with "dumped" instead of "cheated on" (or any of the other vile words Billy had flung around, spreading across the school in the sick, crawling way rumors moved. 

Hargrove had been positively brutal about the whole Jonathan and Nancy thing, and the only reason he wasn't here now to spin this whole situation against Steve was because the guy always vanished at lunch.)

Tommy's face morphed into an affronted snarl, hands slapping down on the table. He turned expectantly to Steve, waiting for "The King" to get up and "handle" Munson.

Like Steve even cared about this dumb high school shit anymore. 

It took him a moment to realize Steve wasn’t planning on doing anything. Was in fact, going to remain perfectly quiet, other than an eyeroll and half-assed middle finger in Munson’s direction. 

Tommy let out a disgusted scoff in his direction and then decided to handle things himself. 

(Like that had ever been a good idea.)

“Shut up, Freak. The only game you have is in the prison showers.” He snapped, half rising from the table. “Isn’t that why you keep your hair long? So all the boys will actually fuck you?!” 

Whistles and yells lit the air, though Steve didn’t miss how the girls at the table looked taken aback at the sheer vitriol in Tommy’s voice. 

Even Carol looked startled, eyes sliding to meet Steve’s as if to confirm she hadn’t just imagined it. 

The three of them had always been good at this kind of mindless high school banter, but this over the top, crude shit? 

It wasn’t Tommy’s style.

It was Hargrove’s.

(That was its own growing issue. 

The way Tommy was gravitating towards Billy. 

How Carol kept expecting Steve to act like he used to. 

That she blamed his “outbursts” on Nancy, snidely mentioning that Steve had better have learned his lesson about “changing his personality for pussy.” 

Even now Steve knew they were only defending him because Munson was the one saying it.) 

“I didn’t realize Harrington still had his attack dog!” 

Munson put a hand against his heart as though injured, staggering dramatically backwards. 

“I thought you were too busy putting your tongue up Hargrove’s ass to bark at people!” 

Tommy immediately fired back, letting loose an uninspired string of curse words and something about Eddie being queer again. Steve didn’t hear the specifics--didn’t care to hear it, even as things started to spiral out of control. 

All he wanted to do was go home. 

Ideally before Billy got back from lunch and decided to make a spectacle himself, because Steve could feel that coming just as he could everything else. 

He was running out of time to come up with an excuse to get out of here without making a production out of it, and Munson wasn’t someone he wanted to piss off today, given he’d half hoped to buy weed off the guy before he ditched.

…Which was looking more and more unlikely given Tommy had just screeched some insult that had put Munson’s sights back on Steve. 

“You sure? Cause Harrington looks like he’s just gonna sit there and take it, just like he takes everything Hargrove and Wheeler and anyone else throws at him.”

He leered, leaning forward as if to see into Steve’s very soul. 

“I don’t know if anyone else has noticed, but our beloved King here hasn’t exactly been defending his crown. If anything, he’s abandoned it.” 

The world stopped. 

This was the first time someone actually called him out on the fact that he often let whatever crap Billy spewed go. That Nancy and him had a few awkward encounters publicly, with at least one of them starting a rumor that she’d told Steve to fuck off. 

(She hadn’t of course, but Carol had stopped running damage control, and Steve was feeling the effects of her ire.) 

Silence echoed, and Steve realized with a dawning sort of horror, that Munson was waiting for a response from him. 

Just as the entire cafeteria was. 

The catalyst was here, brought on early by one Edward Munson. 

With a startling amount of clarity, Steve realized he was done. 

With his so called friends, with  the girls who’d tried corning him all morning, with Hargrove and just--everything. 

He was over it. 

If Billy wanted the crown so bad he could fucking have it. 

(If Tommy wanted to pretend he was tougher than he was by mimicking the dick, then he could have that too.) 

“This is stupid.” Steve announced, dropping the masks he so carefully wore. The ones he kept having to fix, because the Upside Down and its related demons (human and non) kept taking chunks out of it. 

He stood, feeling the weight of the room press down on him as he faced them all down. 

“Yeah--!” Tommy started to pile on, seeming to think Steve was about to unleash hell, and got the surprise of a lifetime when Steve turned and jammed a finger in his face.

“Shut up.” He snapped. 

Knew instantly he only got away with it by the fact that he’d caught everyone off guard.  

King Steve did a lot of things, but he rarely blew up. 

“This is stupid.” He reiterated, voice booming across the lunch room, “ You wanna fight? Fine, but leave me out of it.”  

“The King doesn’t want to play? Why I never thought we’d see the day!” Munson clucked his tongue, and without missing a beat Steve turned to him. 

 “For someone who is always screaming about nonconformity, you sure are happy to attack anyone who doesn’t do what you want.”

Steve’s voice was loud, but he wasn’t screaming. Wasn’t yelling or throwing his arms around.

He didn’t need to. Had never needed to. 

“I heard you going off on that guy whose lunch you're standing on yesterday, because he wanted to watch the Colts play.” Steve continued, voice cold. “Half of your friends are terrified of you, because you’ll scream at them just like you accuse us of doing--and let’s be real here, Munson, you do it more.”

In a dramatic move that absolutely, 100% came from Dustin and his theatrics, Steve shrugged his letterman jacket off and bunched it into a ball. 

“You might as well crown yourself King, because you’re the exact same as the rest of us. Here--you can start with this.”  

Cocking back an arm, Steve let the jacket fly. Watched with everyone else as it  landed neatly right at Eddie’s feet. 

Shell shocked, Munson’s eyes drifted from Steve down to the letterman jacket and back. They were massive, those stupid eyes of his, but at least it meant Steve could see the realization wash over the guy in real time. 

Steve should have felt smug about it. His past self would have.

Presently? 

He just felt tired. 

“You’re welcome to jam it up your ass.” He finished, before giving his own sarcastic half bow to the room.  

The cafeteria was dead silent. Not a fork was scraped, or a loud piece of chip chewed. All eyes were on Steve, some waiting to see if Eddie would let him have the last word, others just  shocked to see Steve lose his shit in front of them. 

Idiot he was, he tried to rally anyway. 

Even Tommy, who’d partly stood up, hands pressed against the lunch table looked shocked.

“What the fuck Steve!?” He sputtered, and it wasn’t long before half the basketball team was muttering similar remarks. 

They were ignored. 

Whispers ripped across the room when Steve turned on his heel, striding towards the exit and making it clear things were over, but Tommy didn’t give up. 

“Fuck you Harrington!” He hurled at his back, Carol now standing and placing a restraining hand on his arm.  “You’re not fucking better than any of us!” 

Steve didn’t even look back. 

"That's my point Tommy." Steve said, loud enough to be heard. "No one is better than anyone else. You lot are all just buying into your own bullshit.” 

Then he was slamming through the doors, and out into the sunlight. 

xXx

He didn’t want to go home.

Not anymore, which was ironic in a way that made Steve’s face screw up in a grimace.  

Here he’d been dying to go to his stupid house all day, and now, after losing his shit and undoubtedly, the last of his social standing, he just didn’t feel like being by himself.

All alone, in a house too big for him, full of nothing but dark corners and a phone that never rang. 

So instead, he wandered, reminiscing on how Valentine's Day used to be his favorite day of the year. 

Steve loved the gesture of it all--the romance, the wooing. The butterflies floating in one's stomach, mixing with fear of rejection and a burning kind of hope towards starting something new. 

Of course, Steve also had always had a girl in mind, when he celebrated. Now, after Nancy…

He did not.

It felt weird to go to Skull Rock--the place he himself had made into Hawkins hottest makeout spots. Likewise all the local restaurants were off limits--too many adults knew how much he loved the holiday. 

Steve didn’t want to face that. The expectations, the knowing winks that would slide into uncomfortable frowns. Any possible advice given wouldn’t be appreciated, and the last thing Steve wanted was to get the “everyone has an off season, son” speech. 

So he’d stayed away from his usual haunts. Explored some storefronts instead, the Beamer parked in front of Family Video as he wandered. 

Had an entirely too peaceful two hours, which of course, meant he had to bump into someone.

At least, Steve thought dully, whole body tensing in preparation, it was Munson. 

Not Hargrove, or Tommy, or hell--the children, demanding he help them fight some other fucked up creature the government had accidentally summoned. 

“Hey Harrington.” Munson said, and it took a moment for Steve to realize the guy was embarrassed. “I uh, I need to talk to you.” 

Steve just stared at him.

“If you couldn’t tell from earlier,” He warned, “I’m a little done talking for today.” 

Or any day, for the foreseeable future. 

“Yeah no--I, I got that.  I--okay.” Eddie stopped rocking on his heels, before giving his entire body a shake, like the guys sometimes did while prepping for a game. “Hear me out, and then you can deck me or leave or whatever makes you feel better.” 

“I’m not going to deck you.” Steve said, exasperated and frazzled and not wanting to do this whole song and dance a second time. 

Not that it mattered, because Munson had already launched right into whatever it was he needed to say. 

“There’s this book right? My Uncle got it for me. It’s a fantasy book all about this big battle and there’s these wizards in it, and--” He stopped himself, shaking out his hands.

Like he realized he was rambling and needed the movement to get himself back on track. 

“I always--I guess I saw myself as a Gandalf kinda guy? Like I was this shepherd herding these lost sheep. A person who intimately knew all the dark forces of the world and could be a shield for them. Do not pass and all that.” 

He chuckled, but it was weak, and he killed it almost immediately. 

“...Okay?” Steve said, knowing he was supposed to say something here, even if he had no idea what. 

Maybe something about how Gandalf the Grey wasn’t exactly a shepard given he’d led the hobbits straight into Mordor, but saying that meant admitting Steve knew what Lord of the Rings was, which wasn’t a conversation he felt like getting into. 

Particularly not because he’d only read the damn things after losing a bet to Dustin and Mike both. 

Munson nodded, as if acknowledgement was all he needed. 

 “I thought that’s what I was doing. I wasn’t and I didn’t realize I wasn’t until you pointed it out. You shouldn’t have had to point it out. You shouldn’t have had to say any of what you did.” He rushed to add, oddly sincere. 

"Is this…" Steve might be confused but catching on, an uptick at the corners of his mouth as the tiniest spark of amusement leaked through. "an apology? Are you trying to apologize right now?"

Eddie groaned, flinging his head back. "No!” 

Then immediately; 

“Actually yes, but--”  

Which caught Steve off guard enough that he laughed, and had to hide it with a cough. 

“I am sorry, man. I shouldn’t have said that shit about you, especially not about you and Wheeler. It's more than that though.” Munson swallowed, before squaring his shoulders. “It’s that you were right." 

“I was right?” Steve repeated dumbly, because fuck, he couldn’t believe it either. 

Not that Munson heard him. Eddie always had been hard to stop once he started, and Steve had been in enough classes with the guy to know the train had left the station. 

"I did yell at Jeff because he wanted to watch that stupid football game.” He began, and Steve got a front row seat to watch as one Eddie Munson word vomited his way through a myriad of emotions. 

“I fuckin’ lost it on Grant because he missed band practice to drive his sister to some thing. Gareth looked like I was going to hit him when I asked if I had really been that bad--same exact look he gave Hagan and those other assholes that cornered him in the bathroom two weeks ago!” 

“Tommy did what?” 

Steve was promptly ignored. 

(Or more likely, Eddie simply didn’t hear him, too lost in his own voice to realize Steve had said something.) 

There were a lot of mentions of the Gandalf guy. Where Eddie thought he’d gone wrong, and even something about a glowing eye thing that had Steve a little concerned until he realized Munson was talking about Sauron (and also made Steve realize that he’d been pronouncing Sauron in his head wrong, oops.) 

“I called up this friend of mine who graduated. She’s always been no nonsense, so I asked her for her advice.” Munson said, finally seeming to slow down a little. “She told me I might as well eat my own doctrine because I sure wasn’t living by it, and that if I wanted to fix it then I should start by apologizing. To everyone but--to you, first.” 

Eddie took a step back, winging out his hands as if to present himself. 

“So here I am. Apologizing.” 

A pause wherein neither of them did a thing, which caused him to awkwardly add; “To uh, you. Harrington.” 

“Yeah I got that.” Steve said, because what else was he supposed to do here? “Good for you? I guess?”

“Most people either forgive a guy or tell him to fuck off.”  Munson pouted, and mimicked like he was kicking at a rock. 

It made Steve want to laugh again, though he shoved the urge down. 

“Someone once told me,” He said instead, speaking slowly to make damn sure he didn’t let slip this piece of advice came from a middle schooler. “that apologies without actions don’t really mean anything. They’re a start--they let people know you’re aware you screwed up, but no one’s going to trust you if you don’t follow through. So I can forgive you, but I think you’re better off doing this with one of your friends.” 

Someone who would hug it out, or at least tell Eddie how he could be better, at least. 

Rather than argue, Munson just titled his head back, eyes to the sky. Like he was really thinking on the words, before giving a sort of accepting sounding noise.  

“Trying too.” Steve admitted with a sigh. 

“That’s what you’ve been doing, isn’t it?” He asked, head coming back down so he could stare at Steve.

“The thing in the cafeteria was a good start.” 

“Yeah?” 

Eddie grinned. 

“Yeah. Don’t think Hagan’s gonna see it the same way though.” 

“We were falling out anyway.” Steve admitted, and hated how easy it was to say.

That they really were just going through the motions of friendship. Had been, ever since Jonathan had punched Steve in the face. 

“Think you lost more than just him as a friend, to be honest.”  

“Pro tip about the actions thing, Munson?” Steve said with a snort, once again unsure of where this conversation was going, “Nice people don’t typically point out when someone’s turned into a social pariah.” 

“No, I get that. Say,” Eddie’s grin had grown, which Steve would have taken poorly except he invaded Steve’s space with a goofy little hop. “I think you might be in need of some new ones!” 

“New…friends?” Steve hesitated, very unsure of what was happening. 

Munson promptly stuck his hand out. “Yup! So--hello, my name is Eddie Munson, and I am here to apply for the position as your friend!” 

Steve snorted, but the harshness of it was taken away by the grin on his face. 

He took Eddie’s hand, noting how doing so made the older teen’s smile widen. 

“Nice to meet you Eddie, I’m Steve.” 

Excited, Eddie waived their arms up and down, with far more enthusiasm than the gesture required. 

“How about we cement our new friendship by renting a truly terrible horror movie and drowning our woes with my other good friend, Mary Jane?” 

Then he waggled his eyebrows, like that was something scandalous. 

“Tempting me along with weed, huh?” Steve mused back, sticking his hands in his pockets once Eddie let him go. “Guess you’re a little like Gandalf the Gray after all. Just don’t send me on any missions.” 

“Steve Harrington.” Eddie gaped, pure delight spreading across his face. “Have you read Lord of the Rings!?” 

He got a shrug and a sly; “Maybe.” in response. 

It was worth the barrage of questions, even if the rapid fire pace of them nearly gave Steve a headache.

(Just as it was worth it several months later, when Steve was comfortable enough to instigate wrestling matches with Eddie over the dumbest of things. 

One particularly semi-drunk tussle over the remote led to an interesting discovery when Eddie popped a boner, and then frantically tried to escape when it brushed against Steve’s leg. 

 Instead of panicking--or letting Eddie bolt in his panic, Steve just dropped his whole weight down, effectively pinning the slimmer man to the floor. 

“Steve.”

Eddie said it so quietly he almost didn’t hear it, the word filled with desperation.

The kind of tone someone whispered a prayer in, a sort of pleading that Eddie did better with his eyes than his voice. Or would have, given his own were firmly scrunched closed the second he realized he’d been caught out. 

Except--

“Not right now I’m thinking.”  Steve told him absently. 

Which he was. Speed thinking even, if that was a thing. 

Because if two plus two equaled four (which it did) then feeling the exact same, fluttering excitement about Eddie’s boner as Steve had Nancy’s breasts, equaled…

“The fuck? Steve--”

Steve shushed him. 

That pulled a frustrated, embarrassed groan from Eddie that went directly to Steve’s own dick, not that it needed much help waking up. 

“I think I’m having one of those crisis’s Robin is always accusing the basketball team of having.” Steve informed Eddie dutifully, the dots done connecting.

Eddie, still refusing to open his eyes, snorted. 

“Whatever man. Can you at least be decent and hurry up with the beating? This is embarrassing enough.” 

“I’m not going to beat you up.” Steve said, thankful that his brain managed not to add some shitty comment about the entire town being awash in rumors of Eddie’s sexuality. That he’d confirmed it here wasn’t exactly a surprise. 

“I’m going to try something. If you don’t like it, let me know.” Streve added, before screwing up his courage and leaning down.

That of course, got Eddie to open his eyes.

“Wha--” He managed, before Steve’s lips were on his. 

For one single, blissful moment, Eddie Munson’s mouth was too busy to talk. 

“Yeah?” Eddie said, voice wrecked, and oh, Steve liked that. 

“Huh.” Steve muttered, when they broke for air. “Well that’s new.”

Liked the way Eddie looked at him more, hesitant, but with heat in his gaze. 

Steve had always been good about knowing what to do with heat. 

He leaned back down, pecking lightly at Eddie’s lips, and was delighted to find Eddie not only let him, but kissed back. 

“Not bad, Munson, but I think I could give you a few pointers.” Steve muttered, nose ghosting alongside Eddie’s. “Let me show you…” 

One boyfriend, several weeks, and another interdimensional monster later, Steve found himself socked in the arm by none other than his coworker, Robin Buckley. 

In her defense, she’d confessed her love for Tammy Thompson, still somewhat drugged on the Starcourt bathroom floor, only for Steve to tease her that at least his boyfriend could actually sing. 

“God you and Eddie Munson.” She muttered after, smile on her face. “How did that happen?” 

Steve knocked his shoe into hers, returning the grin unabashedly. 

“So remember last Valentines Day?” Steve started, all too eager to finally tell someone who understood about the best thing to ever happen to him. 

Robin of course, would soon also be ranked in that same chart, but Eddie didn’t need to know that. ) 

[threebea]

I was thinking about how the Padawans being part of the war effort DOES suck and kind of bother me, but for some reason I don't really see it as an in universe moral failing of the Jedi.

First I was like: well Star Wars is aimed at kids . A pov character that is a kid makes sense. Especially in the early seasons of TCW and Rebels. This was added in the cartoon and it became part of movie canon after the fact that Padawans held military rank. Suspension of disbelief etc etc.

Then I was like... Wait. Padme was fourteen when she became elected queen, and although it was supposed to be a peaceful rule it got to the point where other fourteen-year-olds became her body doubles in case of assassinations. She also goes and leads an army to take back her planet. At no point was anyone like: you know what you're fourteen you should probably stay at base camp while we do this. We don't actually need you for the storming the palace part.

The GFFA in universe does not place moral significance on it. It isn't weird. If it did there is no way Shmi would have said: yes my nine year old son will do the death race when he doesn't have to even though he has never won or finished before. The plot must allow the gffa to be okay with child endangerment with the good guys still being good guys. No one says Shmi is a terrible mom when she agrees to let Anakin do it. She wasn't being coerced she's just convinced that the only way to help people is to put a nine year old in a death race. In real life if she did that we'd be horrified. And remember Padme isn't bothered because of Anakin's age she's bothered that they're staking everything on a random kid.

So Padawan Commanders makes sense in the GFFA.

Although yeah it makes sense to feel bad about Padawan Commanders in the real world, it also doesn't really say anything about the Jedi and their morality. They're pretty in step with the rules of morality of the universe.

The GFFA has similarities, but it isn't our galaxy.

Would I want children in real life to be trained as Jedi? No. I wouldn't want an eight year old to be trained as crimefighting hero Robin either. It's only when we're looking back at these things through an adult lens and ground fantasy in reality that it becomes a problem.

If you don't want to suspend your disbelief that's fine. But can you make moral judgements on the Jedi without looking at anyone else in the galaxy about this one particular fact? I don't think you can.

I don't know, funny to think about. Especially with the newer media which is aimed at for adults with nostalgia. Then the story does try to seem grounded in reality, but also trying to justify the past where our belief was suspended.

[astraystayyh]

We recently learned in our media class about the four indicators that reveal a country's use of propaganda to justify its actions/build a national and international consensus over its stance. This is exactly what Israel is doing now. Please read this to learn more about the Israeli propaganda (with sources) :

i. Establishing a distinct "us" versus "them"/"the others" divide: The Israeli media has been actively engaged in crafting a narrative that portrays Palestinians as sub-humans and animals, that deserve to be killed, butchered, and deprived of essential resources such as water, electricity and fuel. This dehumanizing narrative serves to rationalize the grave atrocities committed against Palestinians, reducing them to mere statistics, rather than acknowledging them as fellow human beings who have the right to be protected as well.

A recent example of this dehumanization (that encompasses children as well) is Israel's Prime Minister's words in a now-deleted tweet, on Oct 16, stating: "This is a struggle between the children of light and the children of darkness, between humanity and the law of the jungle."

This is also a common practice in Western media as a whole. In the context of conflict, the choice of words plays a significant role: Israelis are often described as "killed," and Palestinians are referred to as having "died" (example of BBC). The distinction can be seen as a way to omit Israeli responsibility, portraying the deaths of nearly 10,000 Palestinians as a result of circumstances beyond its control, rather than the outcome of deliberate and targeted actions.

ii. Use of emotion instead of logic: a stark example would be the whole international outrage that was first sparked due to the false claim that Hamas had beheaded 40 babies. This fake news was confidently shared by U.S. President Joe Biden, who later admitted that he had never actually seen any pictures of such events, neither did anyone in the IDF because there was never any instance of 40 beheaded babies (source) (also trust me if Israel did have any pictures of killed children they would not hesitate to share it)

CNN journalist who first shared this fake news has later apologized for being "misled." (which isn't the case that was a conscious choice of the news agency but that's another conversation)

Israel knew what it was doing by sharing this particular false information, they knew that the simple imagery of such a horrifying notion, even without concrete proof, would be a strategic tool to garner international support through emotional manipulation.

They are still trying to use emotion when it comes to children particularly to sway the public opinion : Israeli government spokesman has shared images of "fallen teeth of burnt children." This post has been debunked by dentists, pointing out many contradictions in the pics that conclude that these are props and not the teeth of actual children found in rubbles. (source)

(Meanwhile, there are factual documented videos and pictures of dead Palestinian kids and babies, decapitated, injured beyond belief, tangible proof of the war crimes Israel commits and yet the public outrage isn't the same, because Israel has already established that Palestinians are lesser people)

iii. Attempting to Influence Both Elites and Ordinary Citizens: In addition to their efforts to secure international support from world leaders, Israel has employed a multifaceted approach by spreading advertisements that regular civilians view. These ads serve to rationalize their actions, and they are strategically placed ahead of unrelated programming, including children's shows or games.

This tactic aims to integrate their ideology into various aspects of our lives, in order to promote their agenda and inundate us with recurrent pro-Israel messages. This strategy capitalizes on the psychological principle that the mind tends to retain information it encounters most frequently. (a more detailed video explanation)

iv. media manipulation tactics : For example, the night before Israel bombed the Baptist hospital in Gaza killing more than 1000 people, BBC published an article with the headline "Does Hamas build tunnels under schools and hospitals?" giving way to a "justification" for the heinous, war crime act that is bombing a hospital, under the guise of targeting Hamas hidden bases.

The use of the Israel-Gaza war as a headline for the news leads us to believe that this is a war with two equal (or slightly disproportionate) parties who are both able to defend themselves. Whereas this is a genocide led by Israel (a powerful military with international backing by the world's most powerful nations- U.S, U.K, France, Germany.. to cite a few) and CIVILIANS. Because those are the people that Israel is targeting, by bombing hospitals, schools, mosques, churches, refugee camps.

It is a genocide, an ethnical cleansing, an attempt to eradicate entire families, then to relocate the survivors out of Gaza, making it impossible for them to reclaim their land, and resulting in a total takeover of Palestine by Israel.

Another manipulation example (because there are so many) is the first and most prominent question that many Western journalists ask their guests: "Do you condemn the attacks of Hamas on Oct 7?"

This question completely disregards the root of this entire conflict, which is the 75-year ongoing colonization of Palestine. By omitting all the previous crimes against Palestinians that led to the attack (the killings, the wrongful imprisonments, the torture, the stealing of land…) these 'journalists' actively manipulate the public opinion, portraying the Hamas attack as unprovoked, when you cannot possibly expect a colonization to have 0 resistance.

And an honorable mention to the zionists who are trying to morph the anti-Israel stance into an anti-Jew one. This isn't about religion, I've said this once and I will say it again, Jews around the world are condemning the actions of their government. Just recently, Jews were arrested in NYC for standing against Israel. (source)

This is a humanitarian cause. We're humans, this is the one denominator factor that unites all. We read about previous genocides in history. We wondered how people could support the killings of innocent people, men and women, and children and babies. It is happening right now again, and media propaganda plays a significant role in shaping public perceptions.

I couldn't include everything here but please, I urge you to use your critical thinking. Don't believe everything the media tells you, and this is coming from a graduated journalist. We learn about propaganda and how to counter it, which also means we learn about how to manufacture it.

So don't be gullible, boycott the companies who support Israel (mainly HP, Siemens, AXA, Puma, Israeli fruits and vegetables, Sodastream, Ahava, Sabra. check BDS for more information) and urge your governments to support the ceasefire. We have a voice and we should use it, even if we're uncomfortable, even if we're scared. Do it. By staying silent you become complicit in genocide.

[batmanisagatewaydrug]

this isn't aimed at anyone in particular because TONS of people do this, but you guys understand that when you send in sex ed questions telling me you're AFAB or AMAB doesn't actually convey any useful information, right? the gender you were designated at birth doesn't tell me anything about what kind of body parts you have right now. if your genitals are important to the question just tell me what they are. "I have a dick" is much more useful information.

[vashtijoy]

terms of address: maruki

I was asked how the squad refer to Maruki, so here goes.

first, the normies

Many of the cast refer to Maruki exclusively as "Dr. Maruki": 丸喜先生 Maruki-sensei. These mentions are universally in kanji.

Ann has 41 of these, and often uses sensei by itself;

Haru has 26 of these, and uses sensei alone a couple of times, during Maruki's Palace;

Makoto has 27 of these. She uses sensei alone quite often;

Yoshizawa has 41 of these total, 14 as Kasumi and 27 as Sumire. She calls Maruki just sensei often.

Noticing anything? Yeah: they're all the girls. These particular characters consistently seem to have relatively colourless and unmarked speech. This may in itself, of course, be a form of marking, since expectations around gendered speech in Japan can be so strong.

the relatively boring

Ren appears to always use "Maruki", apart from one instance very early on when an option, "Ask about the counsellor", includes Maruki-sensei. He also always uses kanji; protagonists don't have to be polite.

He calls Maruki sensei alone once, during his confidant. Kawakami gets it more often, while Takemi gets it constantly.

slightly more edgy

While Futaba always uses "Dr. Maruki", she slurs it a little, making it slangier: 丸喜せんせー Maruki-sensee. She always uses kanji for "Maruki", except in the text chat after he visits Shujin, where she's only heard his name spoken!—which is a cute detail. Occasionally she uses せんせー sensee by itself, which is distinct from her 先生 sensei meaning "a teacher".

Ryuji, again, virtually always makes it "Dr. Maruki", usually Maruki-sensei in kanji; a few mentions very early on, when they're still talking about the new counsellor guy, are just straight "Maruki". Also, in his counselling session, Ryuji almost just calls him that!—ultimately deciding to make it "Dr. Maruki":

Ryuji なあ、丸喜⋯センセーってよ、よく『変わってる』って言われね? naa, maruki... sensee tte yo, yoku "kawatteru" tte iwarene? Hey, Dr. Maru— ah, I mean, Doc. Anyone ever tell you you're kinda… not normal?

The meaning is a little lost in translation here, with Ryuji cutting from the normal form of address to a nickname. Also, in Maruki's Palace, he recognises Maruki on one of the videotapes, and starts off in hiragana before finishing in kanji. It feels a bit as if he isn't initially sure what he's seeing:

Ryuji まるき… 丸喜先生？ maruki... maruki-sensei? Maruki... Dr. Maruki?

He uses sensei by itself a couple of times, far fewer than you might expect; his "Doc" is usually either glossed in, or was originally Maruki-sensei, "Dr. Maruki".

He also uses 大先生 daisensei, "great leader/teacher/artist" etc, as a term of abuse, aimed at palace bosses such as Shido and Madarame. 獅童大先生 shidou-daisensei—"that stuck-up bastard Shido!".

the slightly outlandish...

Morgana overwhelmingly uses katakana for names, and Maruki is no exception. He talks about him a lot, always in katakana, as マルキ Maruki. He never uses any honorifics for him.

He has only one use of kanji, 丸喜 Maruki, in "will you meet with this confidant?" text, around I think rank 5, which looks like it may be a slip.

the strangely polite...

Akechi, of course, fails to grace Maruki with his title of "doctor"; he's just plain "Maruki". The localisation sometimes makes it "Dr. Maruki", but that's a gloss; Akechi never once uses sensei (or any other honorific) about him.

But he uses an honorific to Maruki, once:

That "isn't that right" is ですよね desu yo ne, which might seem startlingly polite for third semester Akechi. In fact, he's rather consistent about his masu forms to Maruki—and only to Maruki—during the third semester.

He has no uses of desu or -masu/-masen, for instance, to anyone else in the third semester. It's actually rather cute, because it makes it clear a number of his lines in the 1/2 and 1/9 Palace are directed not to Ren or Yoshizawa, as it might seem, but to Maruki.

So this looks like a sardonic little aside, and I'm sure there's a lot of that in it—"Maruki-san". But this is also the only time Akechi ever addresses Maruki by name. And since he has all these desu and -masu forms going on around Maruki, then maybe he just calls him Maruki-san, full stop.

Did I mention he's a weird boy?

...and the downright weird

That leaves us with Yusuke, who (as nobody will be surprised to hear) does his own thing that raises some fascinating possibilities.

Yusuke only appears to address Maruki by name once, when they first meet in the courtyard, and as you'd expect, he calls him sensei—丸喜拓人先生 Maruki Takuto-sensei, "You are Dr. Takuto Maruki, correct?".

But every other time Yusuke uses sensei in the script? He's referring not to Maruki, of course, but to his sensei, Madarame. That initial approach to Maruki, stranger to stranger, face to face, is the only time he uses it to anyone else.

So what does Yusuke call Maruki? He calls him 丸喜氏 Maruki-shi.

what is shi

氏 shi is a very formal and exclusively third-person term, usually seen in writing, or heard from newsreaders. It's often translated "Mr X", which can be very odd to hear in media that retains honorifics like -san and -kun; "Mr. Akechi's coming on!" is an example, from 6/10. And Akechi is, in fact, usually mentioned as Akechi-shi on the evening news.

Yusuke's Maruki-shi is universally translated as "Dr. Maruki", as if he'd just said Maruki-sensei like everyone else. Which is a little bit of a shame.

Yusuke also uses shi for one other person—the art patron Kawanabe, in his confidant, before you meet up at the sushi bar. Most of the rest of the time, before and after, Yusuke just calls Kawanabe "Kawanabe" in third-person, with no title; he pulls out a Kawanabe-san at rank 10, after he's won the contest—face to face, of course, since shi is only third-person.

On the other hand, Yusuke never mentions Maruki at all without a title.

the other time yusuke uses sensei

Okay, I lied: Yusuke has one other instance of Maruki-sensei. This, like Morgana's single lapse into kanji, is in prompt text: "Are we going to Maruki's Palace today?" Again, I think this is likely an error.

revision history

Click here for the latest version.

v1.0 (2023/12/29)—first posted.

[pyroy3]

Compiling additional proof against Wilbur into one, easy to understand list.

I'm making a simple list that anyone can refer to when faced with doubts about Shelby's and other victims claims. I don't know if this will reach the right audience, or reach anyone at all, but i'd like to get it off my chest.

Why do I care so much? Because i've followed Wilbur since his day on the Jacksucksatlife channel. He had a great influence over me as a teenager, and it sucks that he was an asshole all along. I want to see him fail, that's all.

Main points are all in Shelby, Nikki, Minx and other creators' videos on him. These are just small details that are easily missed.

Wilbur being abusive towards his friends

The first video in particular really highlights the amount of power that Wilbur holds. "Tell them about how awful I am to you" seems like a dangerous thing to say as someone who is actually abusive, but it's likely that he knows he can get away with it. He doesn't expect anyone to call him out on his behaviour.

The other problem I have with this clip aside from the taunting, is the vacuum cleaner. He asks her to tell the people watching about her experience, and immediately starts vacuuming for no reason which drowns out the noise of her speaking. Feel free to tell me i'm looking into this too much, but this is how I feel about it: It's him (knowingly or unknowingly) showing off his power. Showing that he's in control even when she's talking about the biting, creating an understanding that it's not a serious issue and that it's just a joke. His humour makes the audience laugh along at an issue that we now understand wasn't funny.

A clip talking about how Wilbur threw Niki because she playfully said she was big and strong. His quick sentence "you were saying you were stronger than-" could either be him misremembering, deciding to ignore that detail, or literally saying that he interpreted her actions as claiming to be stronger than him. He says it was a "consensual throwing" but we already know how terrible he is with consent. TLDW: Niki said she was big and strong so Wilbur threw her "to assert dominance" (and show that he was stronger than her).

Niki has confirmed that she "knew wilbur in that way", but aside from mentioning the biting habit, she doesn't want to talk about it. She just said that that period was a dark time in her life. No one should ask her to talk more about this (or even bring it up around her), but it is unfortunately possible that she carries even more horrible experiences about Will with her.

In Tommy's disneyland vlog, there is a short clip where Tommy playfully unties Wilbur's shoelaces and gets his hand stomped on. Thing like these flew under the radar because of their brotherly bond. You'd expect two young brothers to react like this, but not a grown man and his teenage friend. Tommy tells him that his finger got cut, and instead of apologizing, Wilbur says it was because Tommy was gonna untie his shoelaces. He essentially says that Tommy had it coming, that it was his fault he got hurt.

The biting behaviour wasn't exclusive to romantic partners. This is a clip of him biting Tommy's hand "for content", despite Tommy repeatedly shouting no. The biting isn't bad here, but it once again proves that this was something he genuinely did.

The story starts at 0:38. Here, Wilbur tells the story of how he helped Techno pick apples by gently throwing them so Techno could put them in the basket. Techno says that Wilbur is very bad at throwing. In response, Wilbur says that he threw an apple as hard as he could, aiming for his stomach. Instead, he accidentally hit the shoulder that his surgery was on. Anyone who's been hit in the stomach should know how painful it is. If Wilbur were to throw an apple has hard as he could at his stomach, it would seriously hurt. But he laughs it off. Wilbur once again claims that the person he hurt deserved it, because techno made fun of his throwing ability. I've heard that Techno's dad yelled at Wilbur for doing it, but even then, he still laughs about the story.

Wilbur's music and separating it from the artist

It's completely natural for a musician with a history of bad mental health to blame himself in his music. One of Wilbur's biggest inspirations, Crywank, have lots of songs about being a bad person. A symptom of depression is to believe you're a bad person. But as far as we know, Wilbur's music actually told the truth.

I can't find the tweet, but we also know that one of wilburs old friends(?) came out with the info that Lovejoy's song "concrete" was based on their experience, and the song explains Wilbur's neglectful behaviour.

You should know what Lovejoy's music is about. A lot of it is based on toxic relationships, being cheated on, being abused. It is a complete mockery of the people that he hurt. "Call me what you like" is clearly about being in an abusive relationship where his partner takes advantage of him and cheats on him. She forces him to "bump his head into every doorway she sees suitable for them to go through". Not that he knows what the song he wrote is about though, since he couldn't recall a single thing about the song during the genius interview. Yes, he was high, but he may as well had someone ghostwrite it for him.

Singing "you claim your ex-boyfriend's a policeman, I say you need better standards" in the song Perfume is crazy when his standards are allowing abuse to happen.

When listening to Scum, you repeatedly hear him admitting to being scum and waste. Concrete is about how he's a piece of shit. Consequences should remind you of the actual consequences of his actions. I already explained what's wrong with "your sister was right". His parody songs are direct reflections of his real personality.

However, if you still want to listen to him - spotify has a feature where you can put local files into your playlists. If you have his music downloaded, you can listen to it on spotify without giving him money or views. Just saying.

Why he can get away with it

Look at him. He is an attractive white man in the UK, And pretty privilege is a thing, no matter how you look at it. He's popular and has gotten empathy from impressionable teenagers on the internet. A lot of people have put him on a pedestal after he showed support for the LGBT+ community and BLM, singing about being against capitalism. People feel bad for him because of his history with mental health problems. They excuse his actions because he was depressed during his relationships. He also has a pattern of exclusively targeting those weaker than him. Tiny women who he can pin down, throw or bite to show he's stronger than, and teenager Tommy who believed they had a brother dynamic. You will also notice that the only people who have shared their experience with him have been women who didn’t feel strong enough to fight back against him. He is a manipulator through and through.

This is not all the proof there is

If you need more convincing, watch other creator's videos and statements on the subject. Shelby, Niki, Minx, Alicenyannya. There are also more small things that he has done that add up, either violent behaviour, yelling, or ignoring people's boundaries.

You can keep uselessly arguing about why he acted this way, but the physical abuse is undeniable, and I hope that the other points in this post has shown his disrespect for consent (ignoring people saying no), manipulative behaviour (victim blaming, making it seem like a joke) and lack of care for the consequences of his actions (stomping on tommy's hand, throwing an apple as hard as he can at techno, throwing niki, biting his girlfriends).

Thank you to anyone who got this far, I hope someone will get use out of it. I'm happy to finally get what I wanted to say out there.

[cheeseanonioncrisps]

Something I never hear anyone talk about in the 'why are Young Adults (late teens to early 30s) reading so much Young Adult (teens) fiction These Days' discussion is how surprisingly difficult it can be to transition from kids books to adult fiction.

And I don't mean in terms of content. Forget themes, characters, plots, etc. I'm talking pure practicality.

As a kid, most of the books you read are calibrated to you exactly. Your local library likely has a 'children's' section, and that section is likely split into smaller sub-sections based on age group. 0-5, 5-8, 8-12, teen. A lot of your interests and experiences are pretty easy to guess at based on average developmental stages (eg. most 16-18 year olds will relate to Coming Of Age stories), so it's probably pretty easy for you to walk into a bookshop or library and find a book aimed at you specifically.

But get to 18 (or younger) and start straying into the 'adult' section, and suddenly nothing is calibrated anymore. When people complain that all 'grownup fiction' is about white middle class heterosexual couples going through angsty divorces in their mid-forties, this is what they're complaining about. They can't find books they can personally relate to, or that are about topics that they are interested in.

And yeah, sure, books shouldn't have to be relatable to be good or enjoyable. But there's also nothing wrong with wanting to read a book about young people, when you're young. Or queer people, if you're queer. Or people from your particular culture, religion, or ethnicity.

Even if we ignore the relatability aspect entirely, there's also nothing wrong with wanting to read a fantasy book that isn't just 'Tolkien but drearier' or a sci-fi that wasn't written by some guy in the 1960s who thought that women were just another kind of alien.

The problem is, fundamentally, that finding the books you like amid the haystack is a skill that most people are not being taught.

As a result, when they get past YA and try using the old tricks of just picking up whatever is on the bestseller list at the moment, or whatever their local library is currently touting as their 'book of the week', they frequently end up with something that isn't suited to their tastes.

And maybe they love it and it opens up a whole new genre that they'd never considered, but more often they hate it but feel obliged to slog through because this is a 'grownup book' and they have decided they want to be a 'grownup reader'.

A few times being burned like this, and they come to the conclusion that all adult fiction is boring, and that the people who read it are all either mature geniuses of the type they could only hope to be, or slogging through like they were and only pretending to like it.

Thus they run back to the familiarity of YA—which is fine, to be clear, there's nothing actually wrong with reading YA as an adult— but there's every chance that somewhere on the bookshelves is a potential favourite author of theirs that they will now never know because they were never taught how to find them.

[centrally-unplanned]

I watched two documentaries recently that were very "2000's nerd culture" which I thought were very fun! In like a meta way as cultural commentary, of course, it is me after all. The first was Indie Game: The Movie, a 2012 documentary on the making Braid, Super Meat Boy, and Fez. It is a "creator-focused" documentary and in particular for the latter two games the film crew actually filmed them mid-production & release, which does make for some authentically heartfelt scenes.

So in a certain sense all eras of documentary will contain this, but the 2000's going into the 2010's was absolutely rife with a new wave of films, often supported by crowdsourcing funds like Indie Game was, primarily concerned with the self-legitimization of niche subcultures. By creating something cohesive, academic, and prestigious like a documentary, the film can codify the subculture as "real" and "worthy", and additionally lend credence to narratives about the subculture that have grown prevalent. And to be clear, this is not a criticism, even if there are parts that are - all meaning and identity is forged in similar ways. But for nerd culture in the 2000's, there was a particularly intense need for this process, because this was the era of nerdom going mainstream. That level of culture shift generated demand for all the above, which films like this aim to supply. There were lot of films of this type - we made a brony "documentary" propaganda film guys, nothing was exempt.

Indie Game is overwhelmingly the story of outsider artists bleeding and dying for their art, which will triumph above all odds. And it leans, heavily, into the bleed; at one point Phil Fish (creator of Fez), openly states he might commit suicide if his game fails. Much screen time is spent on personal sacrifice, financial poverty, the "doubters", etc. This is of course a classic tale for artists, but if I may be so bold that is something of an easy sell - emotionally, narratively - for someone writing the Great American Novel. It is maybe harder to sell if you are making this?

(Cover art by Bryan Lee O'Malley btw - very era appropriate!) How do we make "dude in hat solves puzzles" worth the Starving Artist life?

We do that by positioning these games not as games, but as paradigms. These games, by dint of being the independent vision of unitary creators, are making games that Big Gaming never could. New digital means of distribution are allowing artists to cut out the middleman of publishers, groups that corrupt the real vision of creators. And with no barriers to development, now anyone (maybe...even you?) can make games that can compete in the big leagues. Indie games through this lens are a different product than mainstream titles, and these creators are opening doors. And their suffering is going to be financially rewarded with success and money to boot! That is the narrative Indie Game is selling to its audience of gamers, to understand why the indie games they bought and loved are meaningful.

And to be clear, as much as I am about to deconstruct this, it isn't like totally false or anything. Starting in the late 2000's digital platforms like Steam, more accessible development tools like Unity (released in 2005), and so on did in fact make smaller games appealing to more niche markets more viable, and by virtue of their nicheness yeah they can do things big budget games maybe can't. These creators absolutely had passionate visions for their games, sacrifice for your passions is fine (not bashing that part here), hats off to them. Indie games in this era would absolutely "change gaming".

But not really in the ways this narrative wants them to, nor with the "meaning" people of the time expected it to have. For one, there is a conflict in this documentary of them wanting to highlight "bold new visions" and also wanting to highlight...popular indie games. This is Super Meat Boy, for example:

Yeah, never had a 2D platformer blob guy dodging traps before in gaming! "No see its retro" yeah retro to what, old games? Like those Nintendo made back in the 90's, which you explicitly mention in your documentary? You know, niche indie studio Nintendo? This isn't a bash, at all, at the game itself, but instead the idea that "AAA Studios would never"; they totally would, and always did. There has never been an era where the large gaming studios weren't also making creative games, but for this narrative they need to be propped up as static for it to make sense. And the actual niche indie stuff that big studios wouldn't touch don't sell well enough to justify being in this film!

And the idea of the "solo developer" is also, hm, let us say a bit sus. Not that these developers weren't solo or small teams, they were (though ofc a solo core creator will often have dozens of helpers on supporting roles that get sidelined in this "unitary vision" narrative); but that such a model is all that new? How big do you think development teams were in the 90's for so many classic games? The original Pokemon Red/Blue game had less than a dozen core developers (the total staff list, including American localizers, is ~30 people - Super Meat Boy meanwhile seems to have 16 for comparison). You wanna bring up the dev teams for PC-98 visual novels? They were made in an Akihabara cave with a box of pixel art scraps by like 6 people! You think those games didn't have "unitary creative visions"? Small gaming companies have always been a part of the ecosystem, getting niche titles funded & published using insane magic and pure luck. The "indie boom" is better seen as a change in the numerator.

Though what did change is that, by being self-published, development was approachable by outsiders in new ways. Though even then, this is a bit of a lie - Jonathan Blow of Braid was an industry veteran, and everyone here plays the "convention circuit" and networks with people like the PAX crew and Xbox representatives. But with the games being published by an individual over a studio, even a studio of a half dozen people, it is far easier for the audience to see the creators as "one of them". No office, no suits, just a man in his gamer den banging out his dream. That aesthetic is core to why this narrative was potent at the time, and why making a documentary to codify it was seen as compelling. It takes an already ascendant idea, polishes it, packages it as nonfiction, and then sells the idea back to the people who invented it. LIke so much media, to be clear! I always enjoy seeing it, it is the dialectic of culture in action.

I also find it very funny to see a documentary made in 2012 playing tropes that will become far more ~problematic~ just around the corner. Burnout and work-life balance - in a documentary where a developer, crying, discusses suicide if his game fails, to remind you - is pretty much never mentioned, and a successful game launch is absolutely presented as justifying endless crunch. You would never see that today. The only women in this documentary are wives and parents - which is very amusing, because the co-creator of the film is a woman! No one thinks gender is relevant to mention. Boy would that change in a few years.

Indie games today, of course, are just a segment of the gaming market. They are incredibly common now, so much so that most people lose money making them, people discuss oversaturation, big studio companies have "indie wings" to cover consumer preference ranges, etc. There is no magic in it anymore, it is just dev strategy. So yeah, very enjoyable as a representative time capsule in a strain of culture that is pretty much gone now! The Capital-R Romantic Era of indie gaming; what a time.

In the next post, we are going much more niche, so stay tuned for that. Or don't, I don't know you, and like this was a loooot of writing. Maybe i'll, idk work on that for the next one? ...I probably won't -_-

[untoldsoup]

Why is it in fandom spaces whenever someone only ships pure wholesome ships and uses that cutesy texting style you eventually find out they send real people death threats over cartoon characters and try and ruin real ppls lives.

It's to the point i assume anyone who acts like this online is secretly that evil bear from toy story three.

"Bowuigi is toxic and abusive" Listen. i need people to understand I literally don't give a shit. I don't care that the mustache scene in the movie was scary for luigi. I found it hot. I'm gunna ship bowuigi because I find it hot. I actually enjoy that the relationship is messed up. I find depth and potential in it because of that. I find it more real because people in real life get together over fucked up shit all the time. Stories are better to me when they involve characters that have major issues.

"why not ship mario/peach instead, it's wholesome". because it's boring to me *because* it's wholesome. It's great as a side story pairing, but for a main ship it has no drama for me personally.

And don't get me started on people complaining about Powser.

You can enjoy your wholesome ships, no one can stop you. But I'm not gunna be forced to ship wholesome stuff to make you feel better. if ppl are sick of seeing Bowuigi content I have this amazing thing you can do: block the tag. If you want to see luigi paired with someone else feel free to draw it yourself. Creators don't have to cater to you.

(Just wanna make it clear this rant isn't aimed at anyone in particular, just issues I see whenever I try and go into the Bowuigi tag on this or various websites.)

also as a side note: If I wanna draw gijinka Bowser shredded and gijinka king boo as a twink I'm gunna. You want to see them look different their are plenty of wonderful artists who draw them in other body types. Bowser has only one canon human design: the 1993 live action movie. So unless your drawing your human Bowser as blonde trump, don't come at me for how I draw mine.

[that-left-turn]

Do you think they were just trying to change the audience from Carol (and Daryl) fans and bring in a bigger male audience instead? If it is this, what do you think will happen in terms of the show's success?

There are some showrunners who feel like they 'deserve' a certain kind of audience or that their writing is aimed at a specific type of viewer. (Invariable young, straight, white male from a middle class background.) If the actual demographics of the audience don't match, some of those showrunners essentially self-sabotage by trying to change the elements of the show that appeal to their viewership. I don't know that Zabel is that guy because he doesn't write procedural crime or (supernatural) action adventure—physical plotting is a particular weak spot of his and it makes him unsuited to write for TWDU (as envisioned by Gimple) because it focuses on action over character. I assume that's why Keith Staskiewicz was a new addition for TBOC; he doesn't have much experience, but he's written for Dead City, which is an action packed show written by dudebros for dudebros.

There seems to be a tug of war going on about what the tone of TWD Caryl should be, between Norman who wants an artsy exploration of the human condition (more in line with what we saw in S2 of the flagship show) and Gimple who prefers gore and grimes. The horror genre covers a lot of ground, so both of those options are valid choices, but they can't coexist in the same show. Either you aim for more psychological horror (not really what Zabel writes, but I suspect it's what Norman would like even if he doesn't know how to articulate it) or gore with its shock-value violence and novelty zombies. The latter works for Negan, but not for a Carol and Daryl spinoff. They're abuse survivors and the focus should be on psychological terror rather than grossing out the audience.

I think some execs at AMC thought that S1 didn't do well because the plot lacked action and excitement. They expected Daryl to bring in lots of (young male) viewers and the course correction for TBOC was to have him be a more traditional action hero who kills things and kisses inappropriate women. Throw in Carol as the Ripley/Connor stand-in and every gimmick in the "TV Book of Tricks," from riding a motorcycle and a white horse to shooting the crossbow and killing with gardening tools, and surely that big male-skewing audience will show up.

There are primarily two kinds of TWDU viewers:

those who watch for character(s) and/or ships

those who are interested in the mythology of the setting

The external plot of TBOC is incredibly weak:

The religious-political conflict goes nowhere, it's just a lot of characters spouting their life philosophy

nothing is done to move the needle on the walkers/virus

even the story engine, Daryl's quest to get home, doesn't drive the action but is instead in doubt (biggest no-no in TV writing)

The TWD Caryl characters are all stock characters:

the noble soldier driven to his own downfall by his misguided need for revenge

the villain whose lack of control and agency turned her into a power hungry monster and in the end, an actual monster

the madonna-whore representation doomed to be a plot device because she exists solely to service the arcs of the male characters

Carol and Daryl's dynamic is off-kilter and the latter has been turned into a Clint Eastwood lone ranger type of man

TBOC isn't giving anyone anything they enjoy, but it was an attempt at catering to a male skewing audience. I'm not sure what TPTB will do with S3 because, like I said, there are very distinct schools of thought on how to 'fix' the problems.

There was a production stop after the scenes set in the UK and the storm at seas were shot, so chances are, there were rewrites in response to the poor reception of TBOC. Any downtime once you've started principal photography is extremely costly, so it's only done when there's a legal obligation, like for an on-set death or if there's a showstopping emergency, like major last-minute revisions. Anything else, the production team tries to shoot around, so there won't be any delay. If you shoot on location, you have to house and feed everyone in addition to the costs of producing the show, so it gets very, very expensive if you don't wrap on time.

TWD Caryl won't be successful if the writing doesn't improve. A good showrunner puts the story first—there's always noise coming from all ends which has to be shut down or redirected. If the nunmance was Norman's idea, Zabel should've nixed it because it's literally his job to control the talent. If it was his own idea, how much hope should we hold that he's learned how to plot better in the last few months? Can Zabel and Richman, who don't write three dimensional women and haven't watched the flagship show, write a complex emotional arc for two traumatized abuse survivors?

My questions to anyone who's still reading this long post:

Do you think Zabel could write a romance you'd find satisfying?

If it's lackluster, would you still watch the show, find contentment in "at least there's finally canon"?

Would it be an okay tradeoff if Caryl's characterization is altered to accommodate Zabel's vision for canon?

Do you trust him not to refrigerate Carol?

[danmeichael]

Get on Tencent Meeting.

Xue Zhengyong stares at the message for a long while. Had he forgotten a meeting? No, Chu Wanning would have sent the message to his work phone were that the case, and this is his personal number. His dear Yuheng is rather particular about those things, you see.

In the midst of his pondering, the little typing indicator appears on screen.

Now. (...) Please.

This predicament has gone from peculiar to worrisome.

Trying not to be too worried,Chu wanning likely isn't dead nor dying, otherwise Xue Zhengyong would be getting a call from the hospital or the police more likely, he cracks open his work laptop, opens up the meeting link to... an empty room?

Oh, no, he sees a bit of movement toward the bottom of the screen. After a bit more shuffling, and some quiet aggravated noises, the movement reveals itself to be.

Well, there's really nothing else it could be. That is a child. A small, very stern-faced child that is struggling their way into Chu Wanning's desk chair and straining their face just barely into view.

Hm.

Why is there a child in Chu Wanning's house? Chu Wanning certainly doesn't have a child, and the Xues are his family more than anything. What little family he has is certainly not anyone close enough to dump a child on him for babysitting purposes. Is this a neighbor's child?

Xue Zhengyong offers the little one a winning smile, concerned about scaring them by scowling too hard at the screen.

"Hello, dear. Do you know where mister Chu is? Have you--"

"Xue zong."

The voice is high-pitched, obviously that of a child, but startlingly articulate. The tone, the enunciation, the general cadence it's all familiar. Everything in clicks into place in Xue Zhengyong's brain so loudly he swears it might actually be audible.

"Yu...heng?"

There's a peeved sigh on the other end. The child adjusts, forcing himself slightly further into frame.

"Do you make a habit of hiring children?! Who else would be contacting you from my phone, from my account, from my home, and calling you--"

Xue Zhengyong snorts. He doesn't mean to, really. He quickly purses his lips afterward to keep anymore laughter from escaping. Any hope he had of Chu Wanning not noticing is immediately dashed to smithereens by the little boy's face turning bright red. He can't quite be sure if it's from embarrassment or anger.

With barely restrained rage, more rage than seems like should fit in such a tiny body, the itty-bitty Chu Wanning grits out "Do not. Laugh."

Ah, it's over for him. He can't help it. He's a weak, weak man. He laughs, he laughs so hard he nearly skips straight from laughing into wheezy crying.

"Xue Zhengyong, you had better count your blessings I am not there to kick your ass in person!" Chu Wanning squeak-screams through Xue Zhengyong's laughter-induced coughing fit.

"Can you--" A few more coughs. A wet giggle as he wipes tears from his eyes. "Can you even reach my ass? I think you might have to aim for the shins, Yuheng."

Chu Wanning's audio cuts out as he starts shouting again. Xue Zhengyong knows he's shouting rather than falling silent from pure rage, because the video feed does not cut out, and he is treated to the sight of Tiny Wanning, snarling at the camera with white-hot rage.

[molsno]

hii so im kind of confused about the general inner workings of transmisogyny as an extension of transphobia and was hoping you could clarify. basically, transphobes & terfs in particular say that trans women are men, however they treat trans women differently than men, dehumanizing them on the basis of their gender. i always interpreted this as a form of gender discrimination that aims to define trans women as a lower or subhuman class, a third gender of “not quite men but undeserving of the title of woman”. does this conflict with the concept of bioessentialism, i.e. that trans women are fundamentally men? i see people say that “transphobes see trans women as men” but from experience that’s not quite true. men receive privilege and rewards for being men that trans women don’t. sorry if this is incoherent im just trying to get a better understanding of it

your understanding is pretty good to be honest. trans women are a separate gender class - an underclass to be specific - and transmisogynists are aware of this, even if they claim to see us as men. does this conflict with bioessentialism? not necessarily, but in some ways it does.

the thing is, though, logical consistency doesn't particularly matter to bigots. that's why basically all of the laws designed to oppress trans women, despite all of the fearmongering about how some technicality in how they're worded will result in them targeting cis women and other tme people, are ultimately only going to be enforced to the fullest extent against trans women. for example, tme people would rightfully be furious if a teenage cis girl was subjected to a genital examination due to the suspicion that she's trans and playing in a high school girls' sport. this would unambiguously be sexual assault, after all. but ultimately, she would be allowed to continue playing (not that she'd likely want to after something so traumatizing, but I digress), and she would probably (not certainly though) have some kind of recourse available to her due to the backlash this incident would cause. if this happened to a teenage trans girl, though, would anyone care? would there be outrage about this? she would have gone through the exact same kind of sexual assault, but the law in that scenario would be functioning exactly as intended. no form of recourse would be available to her. sure, you could make the case that a cis girl might not be able to sue the school district due to financial or other barriers, but a trans girl would have no ground to stand on, legally speaking; she would have broken the law, no matter how unjust and discriminatory the law is.

so violence against trans women broadly isn't recognized as violence against women because we aren't viewed as women. but we're not viewed as men, either. for another example, let's work through the lens of sexual assault again. if a tme person of any gender accuses a trans woman of sexual assault, there is little to no doubt that she will be viewed as guilty automatically, both by other tme people and by the law (the trans panic defense is still legally admissible in many places). in the best case, this will lead to her ostracization and isolation, putting her at higher risk for instability and suicide. in the worst case, this will lead to her imprisonment or death - REGARDLESS of if the accusation is actually true or not. the justification for this is that trans women are secretly perverted men who are trying to prey on innocent cishet people, but the basic idea underlying that premise isn't even something tme people truly believe! if they actually viewed trans women as men, then her guilt wouldn't be quite so certain. men can commit sexual assault every day and face no consequences for it, even when brought to trial with clear and damning evidence, because patriarchy ensures that men won't be held accountable for their actions. of course, this isn't always the case, marginalized men often do face intense scrutiny, many times involving violence. but even adjusting this analysis to account for additional factors such as racism, trans women still receive absolutely none of the same solidarity, leniency, or respect that men of the same demographics as them do.

fundamentally, trans women aren't treated like women or men in society. we're treated as a disposable and undesirable underclass of women that everyone else is free to abuse without consequence. any claims by transmisogynists about what gender they see us as is posturing. we are treated in unique ways as a result of our status as transfeminine. that's exactly what we mean when we talk about how transmisogyny is a unique form of oppression. bioessentialism certainly plays a part, but its contradictions are so obvious that it can only be understood as one piece of a much larger puzzle.