#to making them actually more complex than your main character. many such cases

[foursaints]

until ur blog i think i genuinely forgot barty crouch (jr❗️) was in the hp series- when u first started posting abt him i though "classic marauders character w only one line"- but no, he has lore?!?? like genuinely a whole ass backstory i forgot abt?!? and it's lowkey kinda deep too- just w his relationship w his father and his relationship w the de etc etc

i think the most interesting characters are always the really forgettable ones that jkr slapped with the "evil" label & then never bothered to flesh out... they have these tiny little nuances & contradictions that only serve to Further The Plot that are intended to mean basically nothing. but i like to make myself insane about them

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[rox1000000]

I'm tired of stats in rules light games.

A game design ramble.

Stats are usually very boring. That doesn't necessarily mean they're bad. Not everything needs to be exciting or thought provoking and they're sometimes good to have. More complex games will have stats or adjacent, but have way more to define a character mechanically, or other things of interest stacked on top of them. They can be a good foundation in more complex games and my issue isn't with their use in that context.

My issue is when writers strip back everything but stats to make their game fit on a page or two. Many OSR games do this, but it is by no means unique to OSR.

In this post I'll go over what makes something a stat to me, why I dislike them being center stage in rules light games, and alternative ways to approach defining a character in minimal space. I'm trying to be brief here but it's a long post.

What is a stat?

I view stats as being generalized attributes or verbs that a character can do. The core things that I view as being indicative of "stats" at least how they're defined in this manifesto is that they're generalized, and that they're not abstract. In a game you'll usually find them called attributes, skills, ability scores, or the like. Not everything described as a skill in a game is a "stat" to me, and that distinction usually comes down to how specific it is. Something like "fight" I would describe as being a stat, whereas something like "hand to hand combat" I would describe as being a skill.

Famously D&D's STR, DEX, WIS, CON, INT, CHA are stats.

Why I Dislike Them

Lets suppose you have a game where you've stripped down basically everything except core stats about a character. Why is that a bad thing?

Lack of granularity - I think one of the issues here is that in stripping back other options, the stats become your main verbs in the game and characters get very easily pushed into confined boxes, or expand to slurp up a good deal of action. (Idk how to word this lmao) Lets take intelligence for example. Many games just have a brain stat, meaning a character is more knowledgeable, reasonable, logical than everyone else in every single situation always when they have more of this stat. In a game with more rules, there's ways to make that knowledge more specific or to differentiate mechanically, what under the umbrella of intelligence a character is good at, but in a stripped down game it's just "I am google." This also pushes out other characters from the relatively universal action of thinking. Same happens for strength or speed or any other large category. Why think when we have a thinky guy in the party that can think instead. Why try and do something precise when we have mrs. dexterity ready to do it at a greater success rate?

Lack of characterization - I think stats do a poor job of characterizing a character and making that characterization matter in the game. If I have a character with high strength, that doesn't actually say anything about the character. I believe that in an RPG it's important to know who a character is as a person and/or what role they have in the narrative. With so little to go off of, does it really matter that your character can punch people and pick up heavy objects about 10% better (or in many cases, more often) than the character of the player next to you? When cutting back a game's mechanics, a designer is making a statement about what matters, and I'm hearing many designers say "yeah it does matter to be able to quantify slight differences in physical characteristics between characters, this is definitely a good use of my extremely limited time and space!"

Things I think are better

I have already seen some solutions out in the wild:

Assign numerical weight to problem solving approaches - I see this often and it works well to drive action without restricting specifically what a character must do to get their bonus.

Assign numerical weight to vibes - This works for games that are lighter and fluffier and can serve to characterize a character well, but can be lacking in more grounded games.

Assign numerical weight to archetypes or jobs - A character having points in "crime lord" is a lot more evocative than them having points in charisma or sway and then using it to deceive people.

Be more specific - If you're designing a game with a very specific scenario in mind, it might be better to use something way more specific and tailored to your game. This entirely solve the issues on its own, but won't make me roll my eyes at the very least.

Don't use them at all - there's other ways to define a character than assigning numbers to generalized categories, and I've seen games that don't have stats and work fine.

I don't believe I've seen it pushed it far enough, frankly. I'm a sicko like that. You can assign a number to nearly anything and it can work. Nearly anything. So experiment more. Let players write their own stats, find a job resume and add numbers to it, staple numbers where you wouldn't think to, the world is your oyster so don't be boring with it.

Signed, a pretentious game designer

[insert-random-account-name]

Crappy Character Analysis, part 11 (finale)

Alas, my ramblings have reached their end. We have the final voice: The Voice of the Hero. I saved him for last on purpose, since understanding the other voices is almost vital to understanding his character. If this is the first post of mine you see, do me a favor and check out the other parts first, so you can truly appreciate how special this character is.

part 1 (Broken) part 2 (Skeptic) part 3 (Cold)

part 4 (Paranoid) part 5 (Stubborn) part 6 (Contrarian)

part 7 (Smitten) part 8 (Opportunist) part 9 (Cheated)

part 10 (Hunted)

VOICE OF THE HERO

Hero is probably the most nuanced character in this entire game. He is the very first voice you get, and the only one to appear in every chapter of the game. He’s also far more complex than the single-minded voices that are also populating your subconscious. His first line is questioning whether or not you’re actually going to slay the Princess, yet if that’s what you decide to do, he goes along with it. He’s a lot quieter than most of the other voices, and allows you to make your own decisions. Once you start getting to Chapter 3’s, he fades into the background, only offering one or two lines when things start getting really out of hand. He seems mostly unable to exert the same control over your body that the other voices do, and is perfectly fine with going along for the ride. In his appearances, he acts as the voice of reason, trying to find the best option for everyone. In many cases, he tries to compromise, even when both the Narrator and Princess confirm that you’re going to have to make a choice eventually. I would make the argument that the Hero is the closest to an actual person than any other character.

Hero is simply someone who is trying his best. You get him the second you make a choice. He represents free will, and the natural feeling to question anything you’re told. He wants to do the right thing, and murdering a Princess is not in those bounds. However, he is incredibly loyal to you, the decider. He recognizes that all decisions come down to you. Even if you make a choice that Hero strongly dislikes, he still sticks by you, doing his best to spin something positive out of the results. His normalcy also adds a balance to the extreme personalities the other voices host. When Hero is surrounded by irrational voices, such as the Smitten or the Broken, he acts as a voice of reason (Example, telling Smitten that the two of you can’t be in love, since you just met). Around more grounded voices, such as the Skeptic or the Cold, Hero is more prone to panic (Example, him asking whether you can “put back” the Prisoner’s decapitated head). He is also incredibly courageous, not only staying strong in the course of the main game, but assisting you in the final confrontation with the Princess.

Even more important to the Hero’s character is that every subsequent voice comes from him. Each fragments off from the whole, and then takes that piece and grows it to an extreme. This is why the Hero has more nuance than the rest of the cast; he is a bunch of personality traits combined, rather than one or two. This is why there are times he shows empathy, or falls in love, or opts for violence. The Hero represents a person so well that he often echoes the thoughts of people playing the game. 

Finally, you can’t talk about Hero without mentioning the final cabin scene. He is one of the two voices to side with you if you are rude to them in every mirror scene. One of my favorite moments is when he offers to narrate the cabin for you, and if you agree, stumbles through a half-hearted description, meant more to try and cheer you up than actually paint an image. No matter what choice you make with the Princess, the Hero is loyal to the end, justifying your every action. The saddest part of the “Leave with Her” ending is leaving him behind, yet he understands that the two of you have a story to finish, and he knows that he has done his job. Still, if you leave with the harsh Princess, he still takes joy in her calling you “Hero”. The voice of the Hero is the most popular voice for a reason, and I hope I did him justice.

[marinsawakening]

Also while I'm on the topic, watching the LU fandom is fascinating to me as someone who's also been in the DC Comics fandom. Specifically, comparing it to the fanon Batfam fandom is fascinating.

In case you haven't sold your soul to mediocre superhero comics, Batman comics have a large cast of hero characters beside the big man himself, who are not merely side characters but main characters in their own right. This group of characters is casually called the 'batfamily' or 'batfam' for short. It is by far the largest fandom within the DC Comics fandom as a whole, and a very, very large portion of it (probably even the majority) does not actually read Batman comics. They are not basing their fandom off the movies or cartoons either, this is a fandom for the Batman comics. That they have not and categorically refuse to read.

These fanon batfam fans instead base their fics, art, and general characterizations off of a long game of canon telephone, where they get seven-hand information from the fandom itself. Fanon batfam is not so much a fandom for the actual batfam as it is a fandom for common fandon tropes that they can project onto the batfam. As such, it focuses mostly on the white or whitewashed guys in the batfam (Bruce Wayne, Dick Grayson, Jason Todd, Tim Drake, Damian Wayne) and largely ignores the non-white/whitewashed and/or woman members of the batfam (Barbara Gordon, Stephanie Brown, Cassandra Cain, Duke Thomas). Its characterizations and canon state are based on headcanon and a long game of telephone, often making the characters virtually unrecognizable. It focuses on a very nuclear family-type 'found family' or m/m slash, with elaborate headcanoned dyanmics that have basically nothing to do with actual canon. While the wider batfam fandom is certainly racist and sexist, these problems are more blatant and obvious in the fanon side. For example, there is a big problem with women of colour (such as Talia al Ghul, who is Arab) being demonized as abusive rapists, with no thought given to the context in which they were written or their own complexity/interiority, all in service of white man angst.

And then we have the Linked Universe fandom. A subfandom of the wider LOZ fandom based on a fancomic. This fancomic features the various canon Links with distinct designs and personalities, such that they are effectively the author's OCs. Many LU fans have played few to no Zelda games, and base their understanding of canon off of seven-hand information from the fandom. The LU fandom is more based on this telephone game of headcanons and elaboration on the LU comic that much LU fancontent is virtually unrecognizable as such. It focuses on a very nuclear family-type 'found family', with elaborate headcanoned dynamics that have basically nothing to do with actual canon. While the wider LOZ fandom is certainly racist and sexist, these problems are more blatant and obvious in the LU fandom. For example, Cia, a woman with brown skin, is universally demonized as an abusive rapist, with no thought given to the context in which she was written or to her own complexity/interiority, all in the service of white man angst.

See what I'm getting at?

There are definitely differences. A variety of them that I really cannot let myself get into because then I'd add like six more paragraphs to this post, so source: trust me bro. But the similarities are overwhelming, and they are both examples of what happens when people start seeing fandom as 'content'. As media in and of itself, rather than transformative works. There is nothing inherently morally wrong with this, but it does tend to lead to deeply shallow characterization and even more 'self-indulgent' behaviour than is already standard in fandom, which usually comes pared with blatant racism and sexism. Because if there's anything a fandom likes, it's a white guy, and if they get the chance to focus on those to the exclusion of everything else, they will take it.

Hope everyone enjoyed this way-too-long post about niche fandom dynamics. Everyone enjoys examining fandom dynamics as much as I do, right? Right?

[thehiddendooronserpentinesteps]

THE UNKISS – A KISS THAT ACTUALLY HAPPENED - PART 1.

This is probably my main theory, that I have not seen discussed, anywhere.

But if you encountered this theory anywhere else, please, please, let me know. :)

ABOUT THE UNKISS - THE KISS THAT HAPPENED

As everybody knows, Sansa has a very complex relationship with the Hound, which starts in AGoT, and develops in ACoK. It culminates in the famous Blackwater scene (ACoK Sansa VII). Sandor, incredibly drunken, exhausted and stressed out of the battle, frightened by the fire, humiliated by Tyrion, leaves the battlefield. Thus, he loses his job, his career, reputation, and I’d say partly his identity. (Since house Clegane’s story goes back to his grandfather, who saved the life of a Lannister lord, thus given the Clegane keep, fields and blazon.) Sandor loses all, as he himself states it, goes to Sansa and offers her to take her with himself.

"I could keep you safe," he rasped. "They're all afraid of me. No one would hurt you again, or I'd kill them." He yanked her closer, and for a moment she thought he meant to kiss her. He was too strong to fight. She closed her eyes, wanting it to be over, but nothing happened. "Still can't bear to look, can you?" she heard him say. He gave her arm a hard wrench, pulling her around and shoving her down onto the bed. "I'll have that song. Florian and Jonquil, you said." His dagger was out, poised at her throat. "Sing, little bird. Sing for your little life."

No kiss happens here, but later in ASoS and AFfC Sansa remembers three times, the Hound kissed her. This is the so called “unkiss”.

Martin himself made some comments on it.

You will see, in A STORM OF SWORDS and later volumes, that Sansa remembers the Hound kissing her the night he came to her bedroom... but if you look at the scene, he never does. That will eventually mean something, but just now it's a subtle touch, something most of the readers may not even pick up on.

File this one under "unreliable narrator" and feel free to ponder its meaning..

Well, I definitely feel free! So, I was thinking…

Sandor’s behaviour towards Sansa is a mixture of care, protection, gentleness, attraction, and… impetuosity, anger and violence too… It’s mixed, and we only see him from Sansa’s POV, we cannot see Sandor’s thoughts or feelings. It’s left in the dark, as many things between them, and I think for a very important purpose.

Sandor’s mixed behaviour divides the fandom, and it leads into two types of interpretations on the unkiss. Those, who do not like Sandor’s character, think that Sansa’s traumatized by him, especially in the Blackwater scene, and she tries to phrase it as romantic, to cope with it. On the other hand, those, who consider themselves Sansan fans, likes to think, that Sansa eventually gets attracted to him, and fantasizes about him this way.

Well, I think neither. If the unkiss would be Sansa’s coping mechanism, she should use it regarding Joffrey too, or the other members of the Kingsguard, who were waaaaay more traumatizing towards her, than Sandor ever had been. But we don’t see her misremember regarding any of the other characters. So then? Is it a sexual fantasy of a teenage girl? Well, I myself have been a teenage girl once, and I can tell you, teenage girls can make a very sharp distinction between reality and fantasy. Yes, they fantasize, but they don’t mix it up with reality. And again, Sansa’s not getting mad, we see no other cases where she misremembers this way.

So for me, the only reasonable answer is, that this kiss ACTUALLY HAPPENED.

But wait! What did Martin say? „Sansa remembers the Hound kissing her the night he came to her bedroom... but if you look at the scene, he never does.” But if you look at THE SCENE, he never does. In other words, he never does it, in THAT SCENE. And my idea is, that he actually did it… in ANOTHER SCENE. But there’s no other scene, where the possibility of a kiss appears, right? No. There’s no written scene. I think Martin hid that scene, on purpose.

THE HIDDEN SCENE

We assume, that we see every important scene of the POV characters, but that’s not necessarily true… We’ve seen missing scenes before, which we only got to know about in later chapters in remembrances or discussions about what happened. Sometimes the information is held back for a few chapters. Sometimes for a whole book (e.g. when Cersei gets Osney to kill the high septon) or for two books (e.g. that Cersei got Pycelle to lie about Margery and the moon tea.), and most certainly there are hints already placed that will only be unfolded In the upcoming volumes.

Let me give an example of a hidden scene. In AGoT Daenerys VIII. Dany says to Jorah: “"Help him," Dany pleaded. "For the love you say you bear me, help him now."” Yet, we see no scene, where Jorah confesses his love for Daenerys. But from his reaction, we immediately see that Dany did not go mad, or imagined Jorah to be in love with her, he really confessed. Martin simply does not show us that scene. Hiding scenes, memories and thoughts is something he does regularly and on purpose. The big difference between Dany and Jorah’s and Sansa and Sandor’s case is, that the latter pair has no chance to talk about what happened afterwards. They parted ways after the Blackwater battle, and Sansa has no one to talk about it afterwards, since everything happenned only between the two of them.

So jumping back to Dany and Jorah, where could be that scene in the timeline, where Jorah confessed? We see them interact way before the battle, and we see them interact after the battle. I think, this confession could have taken place somewhere in between. More precisely, the night before the battle. Why? The answer is easy. What do men need before a battle? They go there to kill other men, and they, themselves will probably be injured or killed as well. Jon notes in ACoK Jon I: „ Some men want whores on the eve of battle, and some want gods.” They all need something to comfort them, before a battle. Well, I think Jorah needed Dany. And I think Sandor needed Sansa. He needed comfort even more, for he already seen the fires set by Tyrion and Stannis, and he, as a leader must have known, that wildfire will be used in the battle. We know, he only fears fire. We see Sandor and Sansa meet some days before the battle, on the top of Maegor’s Holdfast in ACoK Sansa IV. And we see them interact during or nearly at the end of the battle. We don’t see them interact on the night before the battle (the eve of the battle). My theory is that they met, we’re just not allowed to see the scene. Why? I’ll get to that later.

That seems to be the only possible timing, for another reason too: Sansa’s having her first period, just after she had a conversation with Sandor on the top of Maegor’s Holdfast, only some days before the battle. Though still very young in our modern day terms, that makes her a woman according to Westerosi customs, just as Cersei says in the same chapter. If Sandor really kissed her, it is the first time, he could do such a thing, never before, for kissing a child even in Westerosi traditions is unacceptable.

AN UNRELIABLE NARRATOR

I think the timing also could explain why Sansa remembers the Hound to come to her during the Blackwater battle. There’s no mental breakdown, no fantasies becoming real memories.

She’s an unreliable narrator, for sure. But she’s always been one, nothing has changed. I’ll give you some examples on that too.

In AGoT Sansa I. and Eddard III. happens the famous incident, where Nymeria bites Joffrey in defense of Arya, Joffrey lies about the whole story, Sansa does not back up Arya’s story, Cersei demands the death of a direwolf, but only Lady’s left there, since Arya chased away Nymeria to save her. Robert doesn’t really hold his ground to Cersei, and at the end Ned takes the task of killing Lady, because he thinks she deserves better than Ilyne Payne. It’s pretty complex, but it’s also very interesting to see, how Sansa remembers the whole incident. In ACoK Sansa II. Sansa remembers Lady’s death: “Father had killed her, on account of Arya.” But later, in Sansa III. she says to Joffrey: "Lady never hurt you, but you killed her anyway. "No, your father did," Joff said…” In my opinion, this means that she sums up the core of the story, according to her momentary focus. She doesn’t make up new things, she sums them up.

Thinking about these examples, I find it quite possible, that she actually smashes up two events, that took place very close to each other in time: the night before the battle (the eve of the battle) and the night of the battle. The two encounters would be basically about the same thing: Sandor’s feelings towards her, expressed in darkness. Smashing up the two encounters also makes it more romantic for Sansa. Yes, I think, she romanticises what happened, but not by making up new memories, but by altering them a little bit. A kiss that happens “while green fires fill the skies” sounds quite dramatic, don’t you think? :)

GRRM says: ''Unreliable narrator'' is the key phrase there. (…)  And what does that reveal about her psychologically?”

Well, my answer is, that she’s not a data-person. That’s quite clear: she’s rather artistic: the songs, dancing, the sensibility for visual beauty: she’s that kind of person, who remembers stories and feelings, instead of details. She herself admits, that she’s not good with numbers. Plus, she’s a teenage girl. Honestly, I think, that’s all, that’s what these memories reveal about her, and not some mental breakdown, or madness.

But this is just a first part, and there’s gonna be a lot more. Stay with me for the upcoming parts. :)

Fort Part 2. click here:

For my previous topic, click here:

[incaseofart]

Wendy's Plush Making Starter Pack

Hello! I'm far from an expert at plushie making, but it's been a super fun journey for me and I've seen some folks express interest in learning to do this themselves. Now, that said, this is not actually really a guide to how to make plushies. This is a starter pack of resources that I found helpful to get me started! The most important thing is being willing to go look for resources, but it is intimidating at first because...where do you even start? That's the question I aim to answer!

This was one the first videos I watched - this will help you understand what it takes to get started. There's also an entire playlist with even more details associated! I only watched the intro vid because I was raring to go. Because of this video, I decided to work with anti-pilled fleece initially, due to the fact that minky is stretchy and that complicates matters. Fleece is also cheaper and in my experience easier to find in a store.

Next up, I thought it was best to start with a simple, free pattern for a few reasons.

if you start too complex, you're likely to be hit with catastrophic failure, and that can be really disheartening! Simple patterns can be completed relatively quickly, so if you mess up and it isn't how you want, it's a lot less painful than failure after two weeks of work or more. And trust me, you will fail and learn a LOT from those failures at the start! Do not expect perfection at first.

Free is a good place to start because if you try this out and find out you hate it, it's nice to not have spent a lot of money. That said, patterns are also often pretty cheap, so it's probably not unreasonable to go buy a pattern if you can't find a free one you like. It's up to you and your budget.

The pattern I first started with was this Poke'mon tsum tsum one!

It even comes with a free download of the pattern. This is a great one because it's very simple to start with. I had to make adjustments to the patterns due to using fleece (pikachu's ears wouldn't stay up straight the way the felt would), and ultimately I made large edits to the pattern to make my favorite characters. I also added embroidery because that was also something I wanted to learn.

My only other comment about this vid is that while the stitch they use is fine, I've since switched to using a straight stitch or a back stitch which I think are a bit more standard and useful long term. You can find out how to do those by searching for them on youtube! They're very standard and simple so I'm not including any specifics videos on them. My understanding is the back stitch is better when you need something to be a little extra sturdy, but again the internet can guide you better than I can there.

One other stitch that I wish I had known sooner is the ladder stitch, or invisible stitch.

This is a great tutorial that I found easily by googling. it includes a video (REALLY HELPFUL) as well as written instructions with pictures. This is great for closing up your plushies at the end, or for attaching pieces like hair or maybe accessories to the main plushie without using glue or having an ugly seam. That said, I did use glue for many of my tsum tsums because of how small they were, and in some cases I personally feel like that's still the correct choice, but this is REALLY good to have in your arsenal.

Once you're satisfied with a simpler pattern, you can make it more complex by adding details or modifying the pattern, or by moving on to a new pattern!

Okay, phew, so that's sewing! Let's talk about embroidery. You CAN make plushies without embroidery - you can glue on bits like in the Poke'mon tsum video, or depending on your fabric you can draw a face on, or maybe something else I haven't thought of, but I'm me and I like a challenge and detail oriented work so I opted for embroidery.

The most important of these for plushies in my experience has been what is called "stem" here, but I've also seen it referred to as "outline". Secondly, there's "satin" and "long and short" for filling, but I actually have another video with even more details on filling.

Satin stitch is what I used for all the fills on my tsum plushies. Thread saver is great because it really does save a ton of thread, and guess what? We don't care how the back looks because it's, you know, going to be inside a plushie. I'm currently learning the long and short methods, both blend and brick, and there's a bunch of other neat ones here.

What I'd really like to do next is link the amazing 20cm plushie embroidery video I learned from - but unfortunately, it's gone because yt terminated the account. So a quick summary of the points I recall:

Do an outline stitch for each part, in the color you are going to fill with. To fill it, go from the outside of the outline stitch, across, and to the outside again. Repeat.

Instead of filling by going directly next to the previous stitch, it can be easier to go halfway through the unfilled space. Then, go halfway again. Then, halfway again. Eventually your stitches will be directly next to each other, and it will be filled. This is less thread efficient but this is mostly what I do because it's easier for me to understand.

Use 1, 2, or 3 strands of embroidery thread depending on your fabric and what you're doing. If you don't know, embroidery floss comes in 6 threads that are all wrapped together, and you are able to separate them. For my fleece, if I'm doing an outline that isn't part of a fill, so for example the mouth which is just a curve for a smile, I tend to do 3 strands. For my outlines and fills, I tend to do 2 strands. You can then use single strands to cover in gaps in your fill, though I'm usually too lazy do this and just use 2 strands the entire time.

That'll about cover it. If you go on youtube, you can search "20 cm doll" or "cotton doll" if that's the specific type of doll you want to make. You can also experiment and try things out! I think that's pretty key to learning myself.

As for my own tips, in general:

Embroidery paper is the best thing ever. It's sticky, but water soluble, and you can write or print on it. So basically, put your pattern on the embroidery paper, stick it on your fabric, and them embroider over it. This helps stabilize the fabric in the hoop, and also helps you make nice neat lines. Life saver.

There are cheaper alternatives to embroidery paper, like water or air soluble pens and pencils, or like transfer sheets (you draw on top of them over the fabric, and the ink transfers to the fabric, and then can be washed off). Lots of options for different budgets! I've only used embroidery paper so I can't speak to the effectiveness.

Embroidery hoops - big ones look cool and tempting but will be hard on your hands and wrists. A friend told me you don't want the hoop to have a radius longer than your fingers if you can avoid it.

THIMBLES! Sometimes it is hard to push the needle through, and thimbles help prevent you from stabbing yourself or in some cases make it possible at all. For my fleece + embroidery paper, I need a thimble or the back of the pin will pierce my skin. I use some cheap rubber thimbles because they feel better to me than metal, but I might invest in some less cheap ones soon.

If you can draw on the back of your fabric, trace the patterns on that way and then cut them. While you can cut by pinning the pattern to the fabric, I've definitely found that harder and my impression from watching vids is that most plush artists draw the pattern on the back and cut it out.

PROTOTYPE, PROTOTYPE, PROTOTYPE! When trying something new, use scrap or other cheap/plentiful fabric to try it out first. You don't want to do all your embroidery only to realize once you've sewn everything up that your pattern needed modifications. Yikes! (I've been there and it sucks) It may feel like a waste of time, but you'll thank yourself when you didn't waste time and potentially more expensive materials only to find you did it wrong.

Embroidery floss - I use DMC, but you can use any brand really! I've heard satin can be a bit harder to use, but haven't had that experience myself.

Lastly: LOOK STUFF UP!!! There's so many resources out there. Find a cool video but you don't need it yet? Save it somewhere so you can watch it when you do! Example, I nabbed a resource on making plushie clothes during a sale from a small artist late last year. I haven't used it yet, but I will be, so I keep it in a resources folder for when I need it! Similarly, I'm about to start embroidering on minky, so I plan to go on youtube and look for tips on how to do that since it's a bit different than fleece

secretly lastly, GO FOLLOW PLUSH MAKERS YOU ADMIRE! It will be inspirational and a lot of them time they sell patterns or how-to guides and then you can support an artist while also getting something super valuable for yourself!!!

Have fun! Make stuff! I'm not an expert but I'm living my best life! Feel free to add your own tips if you want!

[loosesodamarble]

Can you tell us all more about the butler AU world? Like what does Noelle do? What about the female characters like Vanessa, Grey and Mimosa ? How many OCs are there in the universe? And any extra information you want to share but can not fit into your writing. The AU is so interesting.

😈

I can indeed~!

I actually have a document full of trivia about the world of the Butler Cafe AU so buckle up for a whole info dump!

Other Businesses

The Flora and the Fae: a flower shop that also dabbles in making tea blends (mostly caffeine-free floral/herbal teas but also regular teas with caffeine). It's across the street from the Black Bird.

Flora and Fae is actually where most of the ocs that appear in the au work. Zera Cassia ( @lyranova's oc) is the main business owner. Briar ( @koneko-pi), Solara ( @thoughtfullyrainynightmare), and Josele (my own oc) are co-founders of the establishment.

Zen Dragon: a sushi bar and izakaya owned by Ryuuya Ryuudou. It's located in the busy Diamond District just like the Black Bird and the Flora and the Fae.

Elysia: a cafe owned by Licht and Lumiere (who is married to Secre in this au). It has a cozy, rustic atmosphere with a flower garden located behind the building, which patrons can admire up close. It's located away from most of the other businesses, being near the edge of Clover City.

Devil's Den: a bar owned by Dante Zogratis. He also uses the bar as a meeting place for mob activity. It too is in Diamond District but much further away.

As for Noelle...

Four-Leaf Academy

Asta was once part of the school's European Blade Sport Club. If he hadn't quit the club to make time for working at the Black Bird, he would've been the team captain.

Noelle is training to be a competitive swimmer. She frequently goes to Grand Times, a recreation center in Clover City, to train. She's currently living with her uncle, aunt, and cousin since her siblings have declined taking custody of her.

Yuno's plans after high school are leaving Clover City and studying history in college.

Mimosa is preparing to enter medical school and is a teacher's assistant.

Liebe won't be going to college but instead a trade school to be a mechanic.

Leopold has actually already graduated from Four-Leaf Academy.

Edward Avalache is the school's principal.

Four-Leaf Academy covers curriculum from 1st to 12th grade. However, only about 50% of students who graduate from Four-Leaf attend that school for 12 years straight.

Other Characters

Vanessa is an up-and-coming fashion designer competing against the likes of Nebra Silva. Before she had a big break, she designed the suits worn at the Black Bird.

Grey is the one to bring the designs to life. She also dabbles in make-up artistry and is the one to put together Vanessa's wardrobe for public appearances.

Charmy, as seen in a recent fic, is a food reviewer.

Charlotte is a stunt choreographer and performer, typically being called to stage live performances for stage productions but she also works in film too. She used to train at the same gym as Josele before they drifted apart.

Dorothy is a private investigator. Her current case is that of Acier's mysterious poisoning.

Mereoleona is a professional MMA fighter. Though she's being pulled away from sports temporarily to fill in for Fuegoleon at Vermillion Enterprises.

Nebra, as stated prior, is a fashion designer. She's made it much further in the industry than Vanessa thanks to being born with connections.

Solid is working a surprisingly humbler job as a programmer. He works with lots of complex code and the like.

Langris and Finesse are in the acting industry and waiting for Finral to reach out to them again.

Ciel is an interior designer for homes.

Loyce was the lieutenant governor of Clover City before his death.

Licita works as a simple house cleaner, doing her best to make ends meet for her boys.

Julius is a landlord and philanthropist beloved in Clover City. He's actually the building owner of the Black Bird Cafe.

OCs Present in the AU

There are a few ocs who are essentially locked presences in the AU.

There's Astrea/Lady Titania who works at the Black Bird.

Then there are the ladies from the Flora an the Fae (Zera, Josele, Briar, Solara).

Neva (another of Lyra's ocs) is a fellow student at Four-Leaf Academy. Presently, William is acting as her legal guardian.

And then there are a few who aren't locked in but I've welcomed into the AU in some way (either with a small background role or a cameo).

Acylla (belonging to @faewraithsworld) works as a jewelry and helped the butlers acquire some nicer cuff links after becoming acquainted with the business.

Mallory ( @sailor-muno) works at Grand Times and while she primarily coaches at the archery range, she and Noelle are familiar with each other due to Noelle's frequent visits.

Helia (my oc), Selena (another of Laura's ocs), and Helena ( @kalolasfantasyworld) cameo-ed in one of the butler intro fics (Nozel's to be specific).

Other Things to Know

Clover City is a city-state akin to Singapore and Vatican City.

The Diamond District is a commercial area of the city that acts as a hub for small businesses. At the center of the district is one of Clover City’s public transit stations, where trains and bus routes connect. Cars can be driven through Diamond District but it’s more common to take public transit and walk the area.

Heart Hill is a wide-spread residential zone known for having a low population density with multiple parks spreading between the neighborhood blocks. It’s got a transit station at its north and south ends. House prices in the area are considered “middle of the road.”

The Spade Sector of Clover City is a mixed-use zone of the city. There’s office skyscrapers and highrise apartments in this part of the city. It’s expensive and considered luxurious. It’s where the Parliament Building and the Civil Service Headquarters are located.

Golden Dawn Heights is the luxury, high-rise condominium complex where Yuno and Ciel live.

[mshexley]

Some of the critiques I see for "This Isekai Maid is Forming A Union" are so weird because they're not even actual critiques but just "how dare you critique this thing I like".

(Rant under the cut, seriously it's really long holy shit)

Now this is mainly from the Otome Isekai subreddit because I get recommendations from there and I was shocked that I never saw any posts talking about it. And that's because it seems like the more common sentiment on the sub-reddit is negative.

(Which is funny as hell cause that subreddit has more grace and time for Cry or Better Yet Beg as a "complex" narrative than this story so.........")

I'm suffering from having good taste

One of the more ridiculous ones I saw was someone saying that the story "hated white people" which is an interesting takeaway because imagining watching "Hidden Figures" and then saying that the movie just hated white people. (Mind you the movie added a scene to make a white character look good for a white savior moment)

Like...

If the story just hated white people, it would’ve featured Bridgette kicking Sadie out on her ass without ever trying to help her.

But the story’s whole thing is that NO ONE deserves to have their humanity stripped from them.

The story focuses on how this system meant to protect the white people of this universe, also constantly fails them and in many cases leaves them ripe to be abused and discarded by the system that they have been taught is meant for them.

A story that just "hates white people" is not going to give white characters that depth. Marinus would not get any depth, Sadie wouldn't get any depth, Phoebe wouldn't get any depth and even side Teffrah characters wouldn't get depth.

And it's a wild ass statement because if that's "hating white people" then Otome Isekai and RoFan hate women since we wanna just say shit.

///

The main premise of the abuse being centered around protagonists slapping their maids is presented as if the author is just making strawmans when the author gives examples every time (at least on Tapas, I don't know if it's the same for the WebToon version). It's not a matter of the author making it up, it's a matter of how much do you excuse these actions because the protagonist is the one doing it? Because the protagonist gives you THEIR reason for doing it?

And let's be real, many RoFan and Otome Isekai fans DO let the protagonist's actions dictate their morality. Yes, there is author intention but there's also reader comprehension and (again if we're being real) a lot of folks in these fandoms dodge understanding a point of a story or certain characters like it's the fucking plague.

I sat through 100+ chapters of people hating Helena from "Kill the Villainess" for no reason other than a innate hatred for white lotus characters. Mind you, Helena isn't even a white lotus character, she's literally just a kind person.

Even with Not Your Typical Reincarnation Story, people already decided to hate Rhyse before she even fucking did anything. I saw more disdain for Rhyse in the beginning than Cliff which is wild cause Cliff was being suspect WAY before Rhyse.

"But they have to slap their maids to survive"

Do they though?

We're talking about settings where workers had little to no rights. You can just fire them. And if the character is committing to having a villainous persona than set them up to be fired. There really is NO excuse for a protagonist you're meant to sympathize with (and yes many of these stories want you to sympathize with these protagonists because they had hardships) to inflict hardships on others.

The story is asking if this is really survival?

That's the question and some of y'all are more mad that the answer might be "no".

Their "survival" leaves people ruined.

I love Rita in Depths of Malice but that's mainly because the story NEVER pretends she's a good person just trying to get by. Someone could read her that way but they'd be wrong. She constantly goes out of her way to be a bitch under the guise of being an airhead. She's pretending to be a well meaning person because it's beneficial to getting what she really wants. The story admits that her survival is literally HER survival, she doesn't care about anyone else.

I saw someone say "but many of these leads are illegitimate children with no rights" and you think the working class has more rights than them??????

Bestie being "poor" in the Beverly Hills is still better than being poor in Skidrow.

Jon Snow from ASOIAF is a good example of this. For as much as he whines that his life was hard because he was a bastard, he still lived a MUCH better life than commoners. He doesn't live in the Riverlands, he has never known what it's like to go hungry, he's even treated more humanely than most other noble bastards despite how Catelyn hates him. Hell, he's lived a more cushioned life than his parallel character, Danerys Targaryen, who starts her story being sold off by her brother.

Jon's awakening is him realizing that he doesn't really know what a bad fucking day is.

Yet despite coming from places where workplace abuse is common especially if you're a woman, these protagonists don't have ANY qualms about it.

That's when you have to ask, why are you being just like your own abusers?

And that question is answered through characters like Iseul and Phoebe. Phoebe admits she likes the power dynamics and she initially presents it as if "she has no choice" but to also be racist and classist when in reality, she had plenty of choices to be a better person and she continuously chose not to because she liked having power over people.

While Iseul initially goes this direction she receives a wake up call. She was fully ready to get in on this on the idea that the maids wouldn't know how to fight back. But when Bridgette does, Iseul realizes that not only that she's no better than her bullies and she strives to make amends for what she's done.

Also for many of these RICH ASS NOBLEWOMEN, their survival stops being having stakes when the easy answer is "sell your jewelry and run". It's the reason I like characters like Deborah from "The Perks of Being Villainess" and Edith from "Not Your Typical Reincarnation Story" because that's literally their plans.

Even in settings where the story makes it a point to tell readers that women can't have their own bank accounts, running away with the money from your sold jewelry is STILL an option.

Unless the situation is that the story is literally going to compel you to come back and fulfill the role you were given in the story, then there really is nothing tying these protagonists to these people that are ready and willing to kill them other than them not wanting to be poor.

But again, being Beverly Hills "poor" and being Skidrow poor are two different things.

In the same way I think critiques of The Remarried Empress where it "fails political story telling" doesn't work because that's not the base of the story (GUYS THE MAIN EMPIRES DON'T HAVE ACTUAL FUCKING NAMES, EVEN DYNASTY KNEW TO GIVE THE COMPANIES THE CHARACTERS WERE RUNNING NAMES AND THESE SHOWS AREN'T EVEN OFFICE DRAMAS. LET'S NOT ASK FOR SOUL FOOD FROM A RESTAURANT THAT CLEARLY ONLY SERVES PIZZA.)

These type of "critiques" for "This Isekai Maid is Forming Union" are unfair because it depends on detractors presenting the story as if it's just a story looking to "bully" a genre by pretending the author just "doesn't understand" these stories.

But the best deconstruction stories are the ones where the creator clearly likes the thing they're deconstructing. And you can always tell when they don't because there would be no depth to the characters or the plot or the world building.

For instance, you can tell that the Wayans Bros like horror movies and Blacksploitation movies despite how "Scary Movie" and "I'm Gonna Get You Sucka" seems to be making fun of them.

Movies like "Vampires Suck" or "The Starving Games" on the other hand, clearly just have a disdain for Twilight and The Hunger Games for being popular and as such, they can't really make fun of it in a way that's also entertaining.

[anthurak]

Salt ask list 1, 2 and 5 I think?

Well, since you didn’t specify a fandom, I’m going with SRW Y shows XD

1: What OTPs in your fandom(s) do you just not get?

Kira/Lacus from Gundam SEED. Admittedly this isn’t exactly a case where I don’t ‘get’ that they are an OTP, indeed there was a time where this ship was my SEED OTP. Rather, looking back in hindsight now that Kira/Lacus has basically become THE main couple of SEED and especially after the SEED Freedom movie, I really can’t help but consider this a rather hilarious instance of a fandom massively headcanon/mandala-effecting this ship into something MUCH bigger than it actually was.

Like back in SEED and particularly SEED Destiny, Kira and Lacus are kind of a textbook case of a barebones, ‘take our word for it’ couple. Not just in a ‘they don’t kiss so it doesn’t count’ sense but in that the shows BARELY treat them as any kind of couple, with the writing basically just ‘telling us’ that they care a lot about each other. Combined with any of their other prospective love-interests having either hooked up with other people or coming down with a bad case of beam-rifle induced vacuum-fridging*. I mean back in the day there was actually quite a bit of DEBATE as to whether Kira and Lacus even were a couple in Destiny.** Which all feels especially contrasts by the other, much more conventionally overt couples in SEED like Murrue/Mu, Athrun/Cagalli and Shin/Lunamaria.

So it all just feels frankly kind of HILARIOUS when SEED Freedom puts Kira’s and Lacus’s relationship at the center of its story and tries to act like these two have so much history and buildup together that TOTALLY happened, honest! And just feels hilariously disjointed as a result. Especially coming off the heels of what is EASILY the best, most well-written, fully-realized romance in Gundam by a MASSIVE margin.

I mean after watching Sulemio make just about every Gundam couple before them look like chumps (save maybe Domon/Rain and Garrod/Tiffa), it was honestly HILARIOUS watching SEED Freedom’s tropey, clichéd, soap-opera-y take on Kira and Lacus. I mean I saw that movie in a theater, and I LAUGHED at a number of scenes I definitely wasn’t supposed to find funny, and I’m fairly certain I got more than few dirty looks from some other fans XD

All in all, I certainly don’t think Kira/Lacus is a bad ship to be sure. Just… VERY disproportionately hyped by its fandom.

*Flay definitely deserved better.

** Admittedly much of this was in the context of ship-wars, so you know; grain of salt and all that.

2: Are there any popular fandom OTPs you only BroTP?

Going to have to go with Lelouch/Suzaku from Code Geass for this one. Now don’t get me wrong; I see the VISION here. I absolutely agree that Lelouch and Suzaku are EXTREMELY bi (along with basically every other major Geass character lol) and definitely had feelings BAD.

Rather, my preference for these two as a BrOTP stems more from the fact that I really just want GOOD things for them both? Because I think it’s pretty clear that any actual romance between Lelouch and Suzaku would be a frankly hilariously dysfunctional, toxic MESS of a relationship.

On Lelouch’s side of things, among other things he’s just got this extremely deeply engrained tendency to ‘mask’ himself with various personas around basically anyone, so I really don’t think it’s a good idea for him to be romantically involved with anyone who can’t easily see through his shtick. And as we see many times across the show, Suzaku DEFINITELY fits that category*.

As for Suzaku, I feel like he probably shouldn’t BE in a romantic relationship with… well, anyone? Both for their, and HIS own good. Like this guy is just a complete fucking MESS of dysfunctional and self-destructive complexes and I’m pretty sure him trying to navigate actual emotional/romantic intimacy with another human being is almost certainly going to end with either Suzaku getting himself killed, or getting his partner killed.

Now of course, I have no doubt that everything I just said is precisely what MAKES Lelouch and Suzaku as a couple appealing for some people and I certainly don’t judge or think less of them for it. This is just my personal preference for these characters.

*Incidentally, this is one of the big reasons I really like Lelouch getting together with C.C., as she’s really only one of two people in the entire show who is NEVER fooled by Lelouch (the other being Euphie), and thus is basically the only person whom Lelouch is consistently entirely open and sincere with.

5: Has fandom ever ruined a pairing for you?

While I can’t say they outright ruined the pairing(s) for me, I will say the SEED fandom and the shipping fandom in particular was a factor in my eventual losing interest in the show as a whole, as well as representing a bit of a barrier to reentry as I’ve found recently. Specifically in their commitment to SEED’s very particular brand of melodrama. Basically I think what I already said about Kira/Lacus sums it up fairly well.

[marshbarks]

if the south park boys were all animals, what's your headcanons for their species and why? can be furry or just normal animals

i've answered smth similar before, but i only did the main 5 + i have alt ideas and reasonings so!!

stan - a dog, of course. a bigger breed, something that he could reasonably say "i'm a wolf" about even though he is literally not a wolf at all. he's extremely loyal and has strong emotions, and as someone who has had a husky for a number of years, i think they have matching personalities and complexities. the ONLY downside to my affection with him being specifically a husky is that it means he doesn't get stupid floppy doggy ears. so perhaps a husky mix. he needs to look wolflike enough to claim being one, but still be like.. a silly puppy! (he could also genuinely be a wolf- like my tsot stan IS a wolf, undeniably- but i think its more fun if overall he is just a dog who is wolfkin) kyle - my first thought is always a sheep or a sheep/goat hybrid, but i've become fond of deer kyle as well! though.. dragon kyle has become very prominent in my things w/ adrian ( :3c ) and i think he's so fucking cool and awesome as a dragon. why is he a dragon?? because he keeps going "i am a human being." when his friends talk about fursonas and he won't make one but he thinks dragons are cool. fox kyle is fairly popular in the fandom but other than a personal attachment to both kyle and foxes making my heart go '!' every time i see it, i don't personally really like fox kyle on a character level? cute for visuals and i think there's a couple fun jokes to be made, but he's not really much of a fox guy to me. eric - cat or raccoon! obviously. there's not really much other choice, i'll be so honest. maybe a big cat or a non-domestic cat, but he's always like a little guy on your floor who stares at you and waits to be petted and bites you when you pet him because youre never doing it right. i think, like stan, he's most likely a cat who is raccoon kin. thinks they're so cool. if he had the warriors books when he was younger (and was actually assed to read them), he'd be so fucking sick about these cats. kenny - mustelid. i've always leaned into ferret kenny specifically! why? good fucking question. i don't know. but kenny is very rodent coded without feeling like a rat/hamster/guineapig/bunny, y'know? has ratlike qualities but doesn't really Fit. would NOT be a mouse. ferret or a weaselly guy feels right. also because it makes me happy butters - a doggy, too! something medium sized, more likely. lab or a retriever type. a Good Boy who is so naive. knows how to listen and wag his tail and be good, gets confused a lot, whatever. arroouou ruuruuruuu arr arruuu [sound of butters sob-barking from good times with weapons]

more under the cut bc this post got big :3

craig - hyena! or a very calm wolf! why? because i think he's cool. mainly the hyena thing is for adrian and i just fully agree because it feels right. the concept of him being a wolf is PURELY to make stan mad. tweek - a birddddd my little tweeter.. ♥♥♥ i just think he's very bird coded. i think a canary sounds good for him, warning of danger (even if it isn't really there). might be hybrid with something else, but he's MOSTLY bird. maybe a gryphon? would be a cheetah in that case i think. cheetah/canary. actually yeah that fucking rules he's a gryphon holy shit. clyde - lion. he's strong and proud (but also kinda a coward!!!! yay!) and i think the idea of clyde being a lion and thinking he's got SO MANY GIRLS THATRE HIS is so funny bc of the way the girls kinda toss him around. tolkien - not a lion. maybe a cat, honestly? he's so.... Normal. he's just such a normal guy. i could easily see him slotting into role as a cat. like your typical american shorthair. very average and normal critter that you gotta get to know to learn exactly the ways his personality works and differs from things. jimmy AND timmy - both parrots or parrot-adjacent birds! this is adrian's suggestion, because parrots are very smart and community focused and care about each other. i think the idea of these two being birds who bond over time is so cute. also because i got the thought in my mind of jimmy helping timmy find sweaters to cover up plucked feathers :( used to be VERY stressed out and then he found a friend and now he's doing a lil better.

wendy - rabbit wendy is my favorite, but i think she could work as a cat. but rabbit makes me happiest. maybe a hare, actually? type thing that looks like she's a little prey beast but will kick your ass into next week if you don't watch out. sigh.. i'm so in love with her.. lets her be small and sensitive while still being able to, at any point, stand up for herself. bebe - liger. pretty and everything, but doesn't quite fit her role like she could. specifically like.. a low-expression one, stripes that only show off in certain light. very low contrast markings. enough to not fit in Perfectly amongst other lions, but not enough to visibly be a tiger. this is to mirror her struggle with brains and beauty and trying to have both without becoming reliant on her beauty- but not disowning or dismissing having 'pretty privilege'. sighhh i love bebe a lot i love her so fucking much. heidi - bunny.. she's just a little rabbit. small and scared. trying to do her part and be good! trying. hybridized with a goat, freaks the FUCK OUT when her horns grow in because she's not supposed to have those. legally i suppose she is a jackalope except she is a bungoat. nichole - bearrr i just think she'd be so cute as a bear.. i don't even have a good reason for this. i associate her with bears and sunflowers. sun bear..... aoawouahghgg.. red - iguana??????????????????????????? i dont know why. that's what my mind said to me.

henrietta - sheep!! one of those multi horned ones. as satantic as an ungulate can be. firkle - cat! if it wasn't conformist to read warrior cats, he'd be kin with scourge i think. would want to be that. purple collar, obviously (personally i think the rainbow is the best choice but firkle would NEVER) pete - big cat of some kind. this thought is undeniably influenced by 6ftkyle's stuff, i love the idea of him being a tiger so fucking bad it makes me sick okay. black and red stripes??/ fuck OFF thats so COOL he would look so sick. people would call him edgy emo and he'd get so fucking MAD. michael - dog. one of those tall dogs with curly fur. de-facto leader type. they also look very distinguished and cool to me. but he's still a dog, y'know? has little quirks that pop out sometimes that you're like ohh you're just a puppy doggy aintcha. mike - dog! chihuahua type. big ass fuckin ears. says he's part bat.

mole - shockingly, not a mole! i think he'd be a cat. like a weird cat who digs holes, but a cat. not your typical domestic shorthair. maybe a forest cat, actually? :thinking:

douglas - cat, but he'd be like.. a catboy. i couldn't see him as full furry. he'd be your nasty dirty grimy indoor catboy boyfriend. he's awesome augh. dogpoo - unsurprisingly, a doggy. i think he'd be one of those breeds that isn't like.. DEAD without care, but needs care to be at their prettiest, so he's always a little fucked up looking and dirty. fur a mess... english for some reason.....

while most siblings can be The Same as their other siblings, i do think ike would be like.. a little hamster...... id ont know why. he's such a little hammy to me.

the cotswalds are designer toy breed dogs. bradley (cartman sucks) is an antelope. gary harrison is an extremely proud golden retriever with perfectly groomed fur. damien is a jackal, obviously. pip is a bunny i think. kevin stoley is a devon rex. leslie is a cat but she looks ai generated. thomas (tourettes) is a pitbull. tammy warner is a fox.

and scott malkinson has diabetes (i think he'd be a cat)

[pumpkinpietimb]

What is idwtkoh?? Tell me your propaganda

Oh my fucking god anon hello and THANK YOU for giving me the opportunity to talk about THE most amazing webtoon I have ever laid my eyes upon. Get ready cuz I'm gonna be insufferable-

OKAY. So, 'I don't want this kind of hero' is a Korean webtoon (manhwa) made by Samchon. It became popular in 2010 and the english translation ended in 2020. It has 290 chapters when I say every single chapter is top tier, I MEAN IT.

First of all, the artsyle is SO GOOD. It's so fucking charming and so BADASS when it wants to be, a perfect balance. Idfk why some people get turned off by the artstyle?? Like???

This is the first ever panel and it already looks SO GOOD WDYM. And the character designs??? THE CHARACTER DESIGNS OH MY GOD. You can take one look at any character in this series and you'll have the basics of their personality just like THAT. It's so obvious but subtle at the same time??? I can't explain. Just- the character designs are AMAZING. I want to post every single character in the series just to prove my point but that'll be overkill, take this group photo instead-

SPEAKING ABOUT THE CHARACTERS.

The characters in this are all SO GOOD. And I'm not even being biased about it I swear- I mean, I don't like main characters often, in fact, I can count in two hands the number of main characters I actually like from ALL the stuff I've watched over the years, and Naga is in that list. Naga is the main character of the series and that boy owns my HEART. He's the most powerful person in the world, he goes through a lot of shit, he canonically has depression, he had so many opportunities to take a life and get away with it because it would have been JUSTIFIED, but he still finds it in him to be the kindest person out there. He can be selfish, he can be childish, and he is unapologetically FLAWED in more ways than one, he messes up and sees the world for what it is, but he learns and he grows but he will never be perfect and that's what makes me love him.

And it's not just Naga who's amazingly written. ALL the characters are unique and complex in their own ways. I can go through every single one of them, from the heroes to the villains to the people caught in the crossfire- I can make ESSAYS for everyone. Why they act the way they do, why they did the things they did, how the circumstances that they went through made them who they are. The dynamics between the characters themselves are so amazingly done as well, it's so origanic, in a way.

Oh my god if you love women, you'll LOVE this series because lemme tell you, the women in this are amazing. 100/10 would recommend. They're not sexualized in any way, they get as much character development AND exploration just as much as the men do and no one is there to purpose as the mc's love interest. The ladies as fuckin BADASS and cool and beautiful and the villains!!! HOLY SHIT THE VILLAINS LADIES. They are so evil and flawed and I adore them so much- the hero ladies too AUGH- (makes sense cuz the author is a woman)

But yeah, I talk about heroes and villains a lot bc this is a story about heroes and villains and a world with powers and animal hybrids and mythical creatures-

AND THE STORY. THE FUCKING STORY. IT'S SO GOOD.

I won't go into details because that'd be spoilers in case you wanna read it (PLEASE READ IT ITS SO GOOD) but I can tell you this much- it's a perfect balance between humor and action and tragedy. It starts of light and funny, but the story gets a darker edge as time goes on, I know that's a deal breaker for a lot of people, but it's actually done in a way that makes so much sense that you realize in your second read that it's ALWAYS been a much darker story. The cruelty of the world has always been there, the racism, the unforgiving circumstances, the perversion of the world, the pain and the grief and the misery- it's always been there.

Only, we were seeing the world through Naga's young and naive perspective. He was new to the world of heroism, he's just a kid that didn't know any better. He was never arrogant about his powers, he never bragged about it, didn't even want the attention it brought him, but he unknowingly got too confident in his abilities to keep him sheltered. As time went on and as more fucked up shit he goes through, he sees more, understands more, and suddenly everything's too dark because that's ALL he sees now.

The story shows us how the world is not black and white but instead a multitude of the shades of gray. And it doesn't shy away from exploring those shades. It DIGS into those shades of gray, makes you question the justice of a character's actions, makes you wonder if things would have gone differently if this or that happened instead. Even goes deep into the psychology of the characters, both heroes and villains alike.

And the main villain? OH THE MAIN VILLAIN. Baekmorae is SUCH a top tier villain. I HATE HIM. I hate how much I love him. He's so- he's insane. He's crazy. He's unhinged. I want to put him in a blender, turn his bones into powder and feed him to the fishes. He's so well written it HURTS.

Oh and this series gets dark. Like DARK dark. It's like if you mix One Piece, BNHA, Mob Psycho, and Saiki K together, you get this. And if you know me, you know I ADORE all four of those, so this series owns my entire being-

Augh, as much as I want to keep going, this is getting longer than I expected it to be. Well, that's a lie, I wanted it to be longer but I also want you to read the entirety of my propaganda and having this stretch out longer might turn you off so I'll stop here kfvekdvs if you want to know more PLEASE don't hesitate to slide into my inbox I'll be so freaking happy to talk about this more <3

TLDR: idwtkoh is freaking amazing from start to finish you should go read it it's amazing, BYE!

[chodzacaparodia]

I have more thoughts on bllk and Isagi soo It was cool in the start because Isagi was like one of the worst players and we could see how he evolves and that was interesting and weren't boring hearing his inner monologues I guess? And the others all seemed impressive from his perspective lmao But now he acts like a main boss of something and a prodigy who has lots of skills and actually acts a bit rude towards others? (here comes the personal taste that one can just not like his personality I guess) but he like turned to a prodigy whom he admired and win against in the first half and now those are the ones trying to beat him but Isagi is the main characters so kinda these evolve around him which is unfortunate for the ones who don't like his character Soo I kinda mean that we could try to bring back Isagi not being too good? and now he could actually lose (like he can I guess bc he already win a lot and evolved so it's not like it'd be over just for him to get less op and the others could catch up too, because the power scales and balanced really shifted from him needing to beat someone to others needing to beat him which is quite an interesting development of events and a lot has a more tragic past than him now give them a win pls (this is just some personal thoughts I came up with they might not be full correct so my apologise)

Thank you so much for sharing your thoughts!

I understand your point of view because in many respects I agree. I admit that it was interesting that he started to develop from an average player into one of the best. His internal monologues were also completely different, because not only did he surprise others, but he was also often surprised himself when he noticed complete things and analyzed them.

I like that you wrote that Isagi turned out to be a prodigy. Because that's the truth. He was a prodigy from the beginning, but before Blue Lock he never had the opportunity to discover it. It's not that I don't think he hasn't developed as a result of hard work and training, but his greatest strengths are actually related to his way of thinking and his special ability to analyze, something that not every character is gifted with and is unlikely to practice because it happens rather automatically.

As the story progressed, Isagi actually became overconfident. (Yeah, totally like a main boss!) And that's why he actually started to think that he was better than others (actually I did a meme about it ). And I must admit that it irritates me a bit. Surprisingly, this didn't irritate me with characters like Barou or Rin. Maybe it's because we get to know them as characters who feel better than others. And Isagi went from a guy with low self-esteem to a guy with a bit of a God complex. From extreme to extreme.

And in fact, he behaves rudely towards others. It seems even more visible because he was a really nice guy from the very beginning! But honestly, I think it's not just a matter of him feeling better than others (but I think that's largely the case). Isagi blended in with the Blue Lock's atmosphere. He was constantly exposed to people who treated others in the same way (including Isagi), so I'm not surprised that such behavior influenced him and he adopted it as well.

(And it must be really irritating when someone you don't like makes you grow. Typical bllk experience).

Honestly, I wish he would lose and humble himself a bit. I want absolute destruction. After all, the higher a person rises, the more painful the fall. And logically, sooner or later Isagi has to lose, because you can't always win. However, I'm not sure Isagi can return to that level as before (I'm not talking about the level from the very beginning, because he will never return to this times, but maybe more to the level from the 3rd or even 2nd selection). He's gone too far with all this. After his defeat, he would definitely go through a worse time, but would he actually become more humble? Would he have completely despaired of his abilities? Would he feel inferior to someone else? It's possible, but I think it's more likely that it will be just an episode rather than a longer streak of self-doubt. This will be seen from the outside more as "His rival was better" than "Isagi wasn't good enough".

But deep down, I really want the character I like more than Isagi to win. I admit that I often let my thoughts go in the direction of "this character has a traumatic past, he deserves to win as compensation". But in my head there is always the thought that Blue Lock was a manga unlike any other from the very beginning. Such issues really don't matter there. On the field, no one cares about the characters' traumatic pasts. All that matters is being the best and striving for a goal without any scruples or moral compass. And as interesting as it was (I would REALLY like to see it), even though the other characters theoretically deserved their victory more. A character doesn't have to have a tragic backstory (like Isagi) to win. They just has to be the best.

(I'm sorry if this wasn't the answer you were expecting! I didn't know how to respond to this and I thought for a long time, but in the end I let the discussion carry me away and referred to some of your thoughts and added my own, not necessarily related to your statement. I really don't know what and why I wrote all this 🙈).

[khaoala]

Just saw your post about people JUST discovering Capitain Christ is an actual cop at ep6 and this seriously raises so many questions to me like:

1. Did they not pay attention when he called Kant in and thought he was some sort of criminal too? and if so how was he supposed to hold Kant off on his charges??

2. Did they just not read the dialogues cuz it was not romance related and so they turned off their brains there?

3. the most concerning question of the bunch: did they ACTUALLY START SKIPPING KANT AND BISON SCENES FROM THE START? then thats just being biased to FS without EVEN TRYING to put an effort in the show! and so disrepectfull to the cast! I would get it if they skipped his and KB scenes after like a few eps(not really cuz how? they are the best but I am also biased tho I NEVER skip on first watch) cuz if you are so bored by them I guess? but that then shows that they have been doing it since the start if this is the case

hope it's one of the first 2 and they just watch shows with their brain off unless there is kissing or sex on screen

but god am I so pissed at the people skipping KB scenes cuz how? how are they boring??? they have the most nuamced and layered relationship in a BL I have seen in a long time, and I don't say this just cuz I am FK biased in general, I swear tiktok and YT people only care for the more classic and "tropey" couples, and lets be honest FS are more of a classic BL couple than KB in how they developed and don't get me wrong I like them a lot just objectively they are more classic and practiced

anyway sorry for the rambling I just don't get this people

of all the options you laid out, i'm afraid it's either option 2 or option 3. i'm not going to stand here and say i don't have my favorites, i clearly have, but it baffles me every time i see people who actively put effort into not watching someone's scenes because… they aren't their favorite character?

i was here during only friends era, and i didn't enjoy every storyline they've had in that show, but i would never skip scenes just because my favorite character or couple weren't on screen since they, as a whole, tell a story, and only friends had a lot less plot lines than the heart killers. the heart killers is somehow a lot more involving because the plot doesn't depend only on the main 4. it has plotting under all of that, too, with christ, lilly and keen and even babe. and then they decided to just… skip that? so why are you even watching this then?

that's why it pisses me off when bl fans ask for more complex characters or complex stories when they aren't here to watch the plotlines unfold and instead, stick around just so they can watch two beautiful man make out and throw heart eyes at each other (and pls, understand, i'm not saying this is what fs are. they, as well, are layered and have nuance and i know that because i have been watching the show as a whole, see the difference?).

i would much prefer that people who skip their scenes or pay zero attention to kb when they are on screen would just shut up about them and that would make me 1000% happier. if they did watch their scenes, they would at least understand the reasons why kant is doing what he's doing instead of just saying he's *reads notes* manipulative and a liar who doesn't care for bison and doesn't have feelings for him because all he wants is *squints* money… sure hun, that's why he's doing all of this.

[kitkatpancakestack]

I saw your post on The Pitt and I’m intrigued by your comment because I feel like I’m in the trenches at the moment as I read ship war discourse….like this is not the takeaway we should be having from this show. I actually don’t know how to put it into words but I just feel that shows like Grey’s Anatomy, Chicago Med and The Resident have skewed how we view medical shows. To me, they are all essentially soap operas because they focus on personal drama where the characters just happen to work at hospitals. But a show like the Pitt focuses on the medicine and how the characters navigate it because they are working in what we know is a broken/overwhelmed system which is hard enough but then you are also bringing in you own personal history, experiences and biases while still going “how can I provide the care these patients need in a system that is actively working against everyone while actually learning how to be a competent doctor or navigating burnout/PTSD from a system that grinds you down at a spiritual level of the years?” IDK like maybe it’s my own personal bias and opinions where we have all these complex and flawed characters who are actually so representative of the state of healthcare and medicine and so many of them being badass women that I could care less about shipping Dr. Mohan or Dr. King with their chief residents/superiors and reducing them to that…..if you want that go watch Grey’s Anatomy….

Hmm, I see what you're saying. In some ways I agree. But I have no problem with shipping. It is a fun and mostly harmless activity. I think it's fun. As for the ship wars, as long as there is media there will always be ship wars and they will always be needlessly contentious.

My issue is with all the other conversations around the show. Many just miss the point so hard. I'm probably too close to the subject matter and will maybe sound really uppity in my response lol, but I'm honestly not trying to judge anybody for the way they engage with this show. Some of it is just a little.... disappointing.

I LOVE medical shows. Always have. I've seen everything under the sun. They all have their merits. I'm not about to preach about what makes the pitt so unique bc I think anybody who pays attention can identify what makes it different from your average network medical drama. But:

We live in a period right now of rampant and malignant distrust in the healthcare system. Particularly since COVID-19. I'm speaking specifically from my experience as a USAmerican. I won't go too deep into that, because that is a whole other mile-long post, but what has resulted from that is a destabilizing series of blows to an already decrepit system, and the people who suffer the most are the ones who are ultimately the least culpable: the healthcare providers.

I hear from my family and from friends and post after post on this website about how much people hate doctors and nurses and how they think they are stupid and useless and heartless monsters. It's hard to defend yourself from this when you're inside it and see firsthand the complexity of it, because it is SO far from perfect, but there are also SO many people trying to do good. The main reason I was excited for the pitt was because it invites the audience at large into the fold for the day. Rather than an outsider looking in, the intimate slog of the way the show is directed makes you feel like you are there and you are IN IT. This is what it's like. Day after day week after week year after year. How do you maintain your humanity? How do you keep hold of who you are? How can you see the worst of people and still come back the next day?

So. Idk. There's so much more I could say but. Ultimately people can do whatever they want. I can only continue to engage in conversations about the subject irl and online I will just filter and move on. The most important thing is that people continue to experience it. In any case, it's still an amazing show.

[ihazyourkitty]

Personally, I think that being able to enjoy creative media for what it is despite its flaws is a skill that is increasingly lost on a lot of YouTube film-discourse influencers and their fandoms. I'm specifically talking about movies and shows here, but I suppose this can be applied to other mediums as well.

Not everything needs to be a masterpiece like Arcane, Avatar the Last Airbender, Lord of the Rings, early Game of Thrones seasons, etc. in order to be good or even enjoyable. Like, I don't need all of my favorite pieces of art to be S tier all of the time.

Two specific examples on my mind are these: James Cameron's Avatar franchise and the Dragon Prince series. Yes, trust me... I am WELL AWARE that both of these things are flawed, and yet I thoroughly enjoy them.

"Oh my gosh, it's just Pocahantus in space with smurfs LOL!"

.......So? I don't know how to tell you this, but a lot of science fiction is essentially "What if X, but in space?" Yes, Avatar is not subtle about this, but taking inspiration from other things is not inherently a bad thing, nor is it plagiarism.

Further, simple story =/= bad story, and I will die on that hill!

(Side note, I do find it funny how it is often compared to Pocahantus, Dances With Wolves and Fern Gully all at once, none of which are the same story, but I guess being similar to all three things at once means....... unoriginal plagiarism? Dude, plagiarism is not just being similar to or taking inspiration from something. Also I'm beginning to wonder if the people parroting this tired meme have actually even seen these movies. Sharing tropes does make them the same thing!)

"Dragon Prince tried too hard to be like ATLA, and the Raylum romance was so stupid!"

And yet, many of its most vocal critics shat on TDP precisely because it was't as good as ATLA. They wanted it both ways. They wanted it to lean in to being its own thing, hated the ATLA Easter eggs they threw in (which I admit got kind of old), but also whined that "ATLA was good because X, and that's why TDP is bad!"

So which is it? Do you actually hate TDP this much, or are you viewing ATLA with rose colored glasses?

Like do people forget that ATLA had its own flaws? I'm sorry, has its place as a masterpiece in popular kids shows caused us to be uncritical of what it didn't do well?

Because personally, I didn't find the romance between Aang and Katara very convincing. Just because the writers had more time to (sort of) develop it doesn't mean it still didn't feel like it was just another "oh these two main characters MUST be love interests because reasons!" to me.

This is to say nothing of ATLA's pacing issues, which were to me most notable in season 2 and some of season 3.

But many of the issues with both these series boil down to not the writers themselves, but to the constraints their networks put on them. AND YET they were still able to pull off some pretty awesome story telling in both cases.

Like, yes blue people Avatar doesn't have a complex story, and has problems with how it portrays indigenous peoples/issues. I still like it.

Yes, it's mostly good for the visuals, and you know what... that's awesome! The realism is organic, grounded and immersive, which was a major departure from what other 3D movies were doing at the time the first Avatar came out. It's not just flashy CGI, it's flashy CGI used to tell a coherent story. Visual storytelling is a lot harder to pull off than people think, and there is just some really amazing visual storytelling in those movies! I love how behind the scenes there was a lot of world building that you can dig into if you want. But in the movies themselves they give you just enough to make it feel real, while also leaving enough room for you to insert yourself into the journey. In that way, the world building is almost like a drawing that looks hyper realistic, but on closer look the line work is very sketchy, but it's done so effectively that it gives your brain just enough information to fill in the rest. You can lose yourself in the beauty of the world, while be confronted with heavy topics of war, colonialism and environmental destruction. I look forward to how it will push the envelope with that juxtaposition in Ash and Fire. Yes, it's simple... but simple can still be good.

Yes, TDP didn't use the time it was given very efficiently, and ends on an unsatisfying note. I still like it.

Yes, there are some pacing problems, underdeveloped concepts, and wasted plot points. There are also some really profound overarching concepts, like forgiveness, breaking cycles of violent retribution, healing, etc. that I think it handles very well. I love how the cycle of retribution all connects back to Aaravos' quest to watch the whole world burn. No, I don't like how ham-fisted the fallout between Callum and Rayla was in season 4, but I loved how they built up to their resolution in season 6, and how it in turn contrasts with other characters' desire to hurt those who hurt them. Honestly, I think the issues with Rayla/Callum and Aang/Katara have more to do with romance just not being these writers' strong suit. But you know what they are great at? Making quirky, multi-layered characters whose growth is driven by navigating high stakes inner and outer conflicts. Creating unique magic systems. Writing dynamic redemption arcs (I really like Viren's redemption arc, there I said it!) Balancing dark and lighthearted tones. Making a series work despite stupid network constraints. None of these things are small feats, and I really wish they were given more credit for the things the TDP did right! You don't like the hanging plot threads? Tell Netflix to green light more seasons then!

The harsh judgments levied at both of these IP's seem to boil down more to what these critics' expectations were. They wanted it to be something else, but because it wasn't that, it was therefore bad.

I'm not saying there's anything wrong with not liking something because you were disappointed with the direction it took. I'm also certainly not saying there's anything wrong with disliking either of these works. Art is subjective, and you are entitled to your tastes.

But there's also something to be said about just letting a movie, show, book, or whatever be what it is, and judging it on its own merits, rather than comparing it to something you think it should have been instead.

It's a skill sorely lacking in popular film discourse these days. Negatively sells, sure. But don't just consume the reasons why X is bad. Challenge yourself to look for reasons why X might also be good.