#type: criticism

[vivziepop-hazbin-over]

i think vaggie would have worked better as a bird instead of a moth. birds symbolize freedom, hope, and new beginnings.

despite how rough it was, she was freed from the angels, even if it was rather painful.

charlie is her hope. she is always staying optimistic and looking on the bright side of things. charlie was also her new beginning.

broken wings on birds can symbolize destruction caused by war (hells extermination) and an inability to truly be free (her unable to resolve herself of her guilt?)

[fooloftheunknownworld]

Dear Despair Time fandom

If the Another duology, not only also made by one person, but also a game series, something harder to do then a web show, has a fanbase that isn't afraid to give criticism to it (Just look at the Another subreddit for evidence), then you shouldn't be afraid to give or hear criticism to your sacred cow of a Fangan.

Because using phrases like "Uuuuh, have u mayde enything of quality?" and "Eeetz 3, zo zhut up ef it's not 2 ur leking11!!!" against any form of criticism is just embarrassing.

[chibird]

It's normal to be hard on yourself, because you want to do the best you can and accomplish everything, even when your time or energy is limited. However, sometimes the criticism towards yourself is too much, and it has a negative impact on your mood and motivation. The next time you catch yourself thinking that you "should" be doing more, pause and see if that's actually helpful, because maybe you're doing as much as you can already.

Chibird store | Positive pin club | Instagram

[prokopetz]

The reason most people are bad at offering cogent criticisms of other people's work is because they're evaluating those works on the basis of The Thing They Would Make, not The Thing You Would Make. Indeed, a great many people don't understand that those are different things, interpreting The Thing You Would Make as a defective or incomplete version of The Thing They Would Make.

This gulf of understanding is not an impassable one. Learning to correctly identify the author's creative goals with respect to a particular work, and to formulate criticism in terms of how best to achieve those goals, is a skill which can be cultivated. In its proper place, it can be a hugely valuable skill – there's a reason many authors will tell you that a good editor is worth their weight in gold.

Unfortunately, developing this skill will not make you any less prone to being a hater. Learning how to correctly identify other people's creative goals simply means that you'll graduate from picking at specific choices to saying: "I understand this work's goals, and those goals fucking suck. I hate everything that this chooses to be."

[aenramsden]

The following is not my idea; it was the original brainchild of a friend of mine named Omicron, with help from various others including EarthScorpion, TenfoldShields, @havocfett and ShintheNinja:

So, you know what I want to do one day? Run (or play in) a D&D campaign in which the Big Bad Super Dragon that is fuckoff ancient and unfathomably powerful and whose actions have shaped history and bent the course of nations and had repercussions on the whole culture and society in the region where it's set; the Bonus Special Boss for some endgame optional quest after you defeat the direct BBEG and win the campaign...

... is a white dragon.

To explain this for people not deep into 5e monster lore; D&D dragons are sapient beings, and known for their instincts and tendencies, and whenever you meet an big evil dragon that's really old it's usually this ancient creature of terrible intellect Smaug-ing it up all over the place.

Except white dragons are fucking stupid. Like, they're still capable of speech and thought! They're just… feral, hungry morons. And you almost never see them portrayed as ancient wyrms for that reason; they lack majesty. Critical Role did it, yes, but even then, Vorugal is explicitly the most bestial member of the Chroma Conclave, and the others are the more intelligent planners and long-term threats. An ancient white as a nation-defining endboss, though; not a thug for a smarter master but as the strongest and biggest threat around is just not the sort of thing you tend to see.

Adventurers: "Oh wise Therunax the Munificent, gold dragon of Law and Good, what can you tell us adventurers of the evil dragons which rule this land?" Therunax the Munificent, 500-year old Gold Dragon: "Good adventurers, know this: this land is torn apart by the evil of Tiamat's spawn. The eastern marches are the dwelling of Furinar the Plague-Bringer, black dragoness whose hoard is a thousand sicknesses contained in the body of her tributes. The southern volcanic mountains are the roosting of Angrar the Wrathful, the fiery red dragon, who brings magmatic fury on all who do not worship him. And the northern peaks are home to Face-Biter Mike, the oldest and most powerful of all, of whom I dread to speak." Adventurers: "F-Face-Biter Mike???" Therunax: "Oh yes, verily indeed; two thousand years has Mike lived, and his eyes have seen the rise and fall of five empires, and a hundred and score champions have sought to slay him; and each and every one he bit their fucking face off."

Like... I want to see a campaign where Face-Biter Mike is genuinely the most powerful dragon in the region, if not the entire world. Where sometimes he descends on a city to grab himself some meatsicles and causes a localised ice age by the beat of his vast wings and the frigid wastes of his mighty breath and by the chill his mere presence brings to everything for miles around him, and everyone just has to deal with that for the next decade. An entire era of civilization comes to an end, an empire falls, tens of thousands starve in the winter, all because Mike wanted a snack. Where his hoard is an unfathomably vast mass of jewels and artefacts and precious stones frozen in an unmelting glacier, except he is a nouveau riche idiot with fuckall appraising skill, so half of his hoard is coloured glass or worthless knicknacks, and he doesn't give a shit.

"Your Draconic Majesty, this crown is… It's pyrite." "Yeah, well, it's brighter than this dusty old thing made out of real gold, it's my new best treasure. Throw the other one away." "…throw the Burnished Tiara of Bahamut, forged in the First Age of Man, your majesty???" "See? I can't even remember its fucking name." "But my lord-" "DO YOU WANT TO BE A MEATSICLE" "…I will fetch a trash bag, your majesty."

But at the same time, he's not stupid, he's just simple, and in some ways that makes him more dangerous than the usual kinds of scheming Big Bad you see in these things, while simultaneously justifying why Orcus remains on his throne (because he's lazy). Face-Biter Mike doesn't make convoluted plans or run labyrinthine schemes; he just has a talent for violence and a pragmatic, straightforward approach to turning any kind of problem he struggles with into a problem that can be resolved with violence. Face-Biter Mike has one talent and it's horrifying physical power, so his approach to any complicated problem is "how do I turn this into a situation where I can fly down and bite this dude's face off?" with absolutely no regard for the collateral damage or consequences of doing so, because those are also things he can turn into face-bitable problems.

"My lord, the dread necromancer Nikodemion is using his undead dragons to attempt a conquest of the eastern kingdom; his agents are everywhere, his plans are centuries in the making, what can we do against such a mastermind?" "I'm gonna fly over the capital and eat the eastern king." "M-my lord???" "The kingdom will collapse without leadership, Nikodemion will win his war, he'll take the capital and crown himself king." "And that helps us… how?" "Once he does I'll fly over to the capital and eat him." "…" "This is why you advisors all suck. You're all about convoluted plans when the only thing I need to win is know where my enemy is so I can fly down there and eat him. Stop overthinking things."

And, like, yeah, it's a simplistic plan, but when you're several hundred tons of nigh invincible magical death, you don't need brilliant strategy; the smartest way to win a war is, in this case, the simplest. He's not even all that clever at figuring out the consequences of face-biting, he's just memorised the common consequences of doing so.

(If you want to go all in on Mike being the major mover and shaker in the region; Nikodemion only even has a pet zombie dragon because Mike killed the last dragon to show up and contest his turf but wasn't going to eat a whole dragon by himself. Nikodemion got to stick around and amass that much power because Mike ate the Hero of the Realm while he was adventuring because he figured the Hero would come and try to slay him at some point. Nikodemion got started because Mike ate half the leadership of the Academy of High Magic who typically keep evil wizards and necromancers in check. And then eventually this product of Mike's casual, careless actions becomes a big enough problem to bother Mike personally, at which point Mike eats him too.)

He doesn't even really fail upwards, either! He is regularly reduced to nothing but the glacier he stores his hoard in, but he's Face-Biter Mike so nobody wants to commit to actually ending him forever lest they get their faces bitten the fuck off. And his hoard's in a huge-ass magical glacier so nobody can get to it without running into the Invading Russia problem; it's hard to wage war when everything is frozen over and you're both starving and freezing to death. Once he's been beaten back to his central lair and has lost all his holdings… I mean, he's still a problem, but he's a far away problem. So he loses his assets and spends a decade in a cave brooding it up while no one dares risk trying to actually kill him, and then a generation or two later he flies down to a kobold colony and gets himself some minions, or a dragon-worshipping mage comes to offer his service against a pittance from his hoard, or a particularly stupid cult starts thinking they can get in good with him and leech off his power, and then he's (hah) snowballing again.

He's also got a very… well, the kind of weird Charisma that Grineer bosses do. Like Sargas Ruk, who's a malformed idiot, but oddly charismatic. As he's a dragon, that makes him a natural sorcerer and thus Charisma is all he needs. He's pretty relaxed when he isn't in a face-biting mood, and he's kind of infectiously optimistic, because his life has taught him that he will succeed as long as he perseveres. So he just believes it.

And sometimes that's really refreshing to work for, as an evil minion of darkness! It's like, you're coming to your Evil Dragon Lord with terrible news; you've worked for evil overlords before, you know how it goes. You fall to your knees weeping and tell him that you've failed to seize the incredibly powerful magical artifact, you think your life is forfeit. And he's just like "Eh, it's okay, these things are all over the place. Better luck next time. You remember the guy who took it, right?" and you go "Y-yes, oh great lord!" and he's like "Sweet tell me his name later and I'll grab it" and then eats a frozen adventurer he kept around as a snack.

His followers tend to quickly realise that if they fail him, bringing some temple's silver or a sack of brightly coloured beads or a couple of dead cows means he's super forgiving because at least he's got something out of the day. "Oh boy, cows? It's been forever since I had those, ever since the Orc Steppe Nomads took over it's all about goats and onions. Today is a good day." He's a master of delegation by dragon standards, in that he just tells you "Just go get it done, I don't care how" rather than micromanaging you and constantly appearing as an image in smoke or taking over your campfire.

The key part of Face-Biter Mike as a threat to players (because he exists in the context of a D&D campaign) works well in that you can rely on several known quantities:

He will not pull sneaky shit that you don't see coming

He will not make convoluted plans that you must work to unravel

He will consistently attempt to come down and wreck you personally if he finds the opportunity and you are a threat to him

You cannot fight him head-on (at least not until the last leg of the campaign, and ideally as an optional boss rather than mandatory)

So as long as you are good at staying under the radar, thwarting his minions (whom he gives broad orders to with almost zero oversight) and not putting yourself in face-biting range, you can deal with him. If you succeed, it won't be the first time Mike has lost his assets and had to go brood in his glacier for a decade or two before rebuilding. It happens; he can deal with it. And that's a win for you within the context of a single campaign, so take the win.

And if you're not going to use him as an enemy, he works pretty well as a quest-giver, too! The costs for failure are obvious and straightforward, and "do whatever, just get me mine" means that players have a lot of freedom in accomplishing their goals. As far as evil overlords go he is actually one of the least dangerous to work for; his pride is relatively subdued by draconic standards, his goals are simple and typically achievable, and he is easily pleased.

(There's also a good chance he is the forefather of any draconic sorcerer in your party, because Face Biter Mike is a deadbeat dad.)

[chthonic-cassandra]

An anonymous individual asked @awildwickedslip for recommendations of literary criticism on the gothic, and she directed them to me, so I thought it was time I make a rec list on the topic.

I'm keep this to more general analyses, but of course have a lot of recommendations for more works on more specific texts (especially but not limited to Dracula).

I'm also including some things that are more properly about amatory or epistolary fiction, because I think an understanding of those genres will serve you well in contemplating the gothic.

Mario Praz, The Romantic Agony

Nina Auerbach, Our Vampires, Ourselves

Christy Desmet and Anne Williams (eds), Shakespearean Gothic

Kate Ferguson Ellis, The Contested Castle

David J. Skal, The Monster Show: A Cultural History of Horror

Devendra P. Varma, The Gothic Flame

Angela Carter, The Sadeian Woman

Roland Barthes, Sade, Fourier, Loyola

Elizabeth Cook, Epistolary Bodies

Jacqueline Howard, Readng Gothic Fiction: A Bakhtinian Approach

Toni Bowers, Force or Fraud: British Seduction Stories and the Problem of Resistance

Peter Cryle, The Telling of the Act: Sexuality as Narrative in Eighteenth- and Nineteenth-Century France

Peter Cryle, Geometry in the Budoir: Configurations of French Erotic Narrative

Jalal Toufic, Vampire: An Uneasy Essay on the Undead in Film

Ruth Bernard Yeazell, Harems of the Mind: Passages of Western Art and Literature

Marianne Noble, The Masochistic Pleasures of Sentimental Literature

Terry Castle, The Female Thermometer: Eighteenth Century Literature and the Invention of the Uncanny

[ganeshpnf]

Thinking about Wrath of the triple goddess again and I just saw the interview Rick made and-

He openly says that he is mixing up two canons together, how he gets inspired by the "actors" and their dynamics. I read @lilislegacy 's criticism again and I just dont know how would we handle new books if he just keeps doing it. Because we saw the results, we saw how ooc characters become, we saw how it felt like Rick didnt read his own books for years and actually this is funny:

Just read your own books...And like, missing every detail even big ones or the ones we kept in our hearts for years(Annabeth's lemon shampoo...) is gone! Like what are you on?

This is why I always believe, if you make an adaptation, keep them separate from the canon material, in this case, books. It is hurting the both of them. Also this is the reason I personally dont like any mixing in the arts or in fanfics. I respect who does or prefer, but for me, universes need to stay separate or we have this situation in our hands.

Show and the books are so so so different, they deserve to be their own things. Show deserves to have its own canon, own events, actors need to have their own development. While books should stay books and book characters should stay book characters. Like please, book characters and show characters are different. We cant pretend the otherwise, we just cant. You cant tell me Walker is exactly book Percy, Leah is book Annabeth or Aryan is book Grover. They are all amazing, yes. We should support them, also yes. But pretending they are the book characters, that they are the exact same is just a big no.

Rick trying to write the actors' dynamics into the new books felt so ooc! And anyone who is hyping "Oh he imagining them as he writes", you cant see how ooc they were? And someone should tell Rick that. I dont know how to reach that man, he loves keeping himself away from the fans. But someone gotta let him know because the new books feels nothing but cash grabs. Amount of typo mistakes, ooc characters, all the stupid advertasing for the S2. So so cringe :(

I really dont want new book to be the same and I really dont know what to do *sigh* It hurts to see the man, who I admired for my whole childhood, getting so so much hate from the fans, but it is getting so hard to defend him, he is turning to JK.Rowling and it is creepy :(

[artist-issues]

I remember during the making of Tangled, the filmmakers said they had to work hard to design Rapunzel’s tower to be beautiful and seem like a cozy, fun environment, while also making Mother Gothel seem sweet and loveable, if manipulative.

Because, they said, if the environment is too much like a prison, and Gothel is too much like a villainess, the audience wouldn’t believe in Rapunzel as a character. They’d think she was either stupid or cowardly, to stay in such a nasty situation without trying to escape sooner. But if her circumstances seem just livable enough, just sweet enough, that you can see some of the appeal, then you wouldn’t blame her for waiting so long to leave.

Why didn’t they do that with Wish?

Why didn’t they think that relatability through?

Nobody is really feeling compelled to root for the everyday Rosas citizens during the movie. You don’t feel like rooting for Asha’s cause, or even Queen Amaya’s. Because you think to yourself, “why did it take the townspeople so long to ask the question ‘why can’t we just have our wishes back?’”

Asha comes up with those culture-breaking questions, inexplicably, in the first twenty minutes of the movie. It takes the rest of the townspeople about 24 hours to suddenly start asking that, too.

So why don’t you root for them?

Because when something bad happens to them, part of your brain goes, “why didn’t they see that coming, though? Why didn’t they ask questions? That one’s a little bit on them.”

And you don’t really feel that feeling you got with Mother Gothel, where you were like, “Oh yeah, I can see why the main character trusted this villain; the villain really seems to care about the hero, if you didn’t know what she was after.” You don’t;t get that same feeling with Magnifico. Because the whole idea of what he does—by erasing people’s memories and yelling at them and having no moments with regular folk where he’s warm and personal and building trust—is so malicious that we don’t believe the other characters couldn’t see it.

We COULD HAVE believed it. If they’d added in good writing and character moments to make it believable.

When Magnifico interacts with the people who trust him and are duped by him, he’s up on a stage, flashing superpowers they don’t have and then disappearing back into his tower after only granting one wish. He’s not on the welcome tour with Asha. He doesn’t know his own palace staff by name. He’s done nothing to build the trust all the side-characters unquestioningly give him. So even at the end, when everyone’s like, “aw, we wanted to believe in Magnifico,” we don’t feel it. Because didja? Why? Everyone could see that coming.

Meanwhile Mother Gothel tells Rapunzel she loves her most every time she leaves. She laughs with her. She reinforces every conversation they have with the idea that she’s desperate to protect Rapunzel. She brings her her favorite soup as a surprise and remembers the ingredients. She goes to get white paint on a very long trip so Rapunzel can paint. She compliments her strength and beauty—even if it’s backhanded. She calls her “dear,” and “darling.” She knocks thugs out with sticks, returning even after she argued with and supposedly ‘gave up’ on Rapunzel, all to supposedly’ protect’ her. So when Rapunzel realizes it was all an act, and she’s wrathful and furious and grabs Gothel’s hand, we DO feel it. Because we believed that Rapunzel really didn’t see this coming, so the shock stings worse. We don’t blame Rapunzel, and we do blame Gothel.

Just another example of what #NotMyDisney forgot about themselves.

[sarahreesbrennan]

Thank you for writing Long Live Evil.

I'm no cancer survivor, so I haven't been through the horror that that must've been, congratulations to enduring and surviving, and my sincere condolences that you had to go through it.

But I am chronically ill (cystic fibrosis, genetic defect) and have so far lived for 5 years longer than my prognosis allowed. My health's been good and stabile for a long time now, but I remember times where I couldn't walk alone, had a 18/6 nasal cannula and a 24-hour IV drip instead of school or a future.

Now I'm working at university, an archaeologist, chipping away at writing stories for years and years, and incredibly glad and privileged to see the world. All this to say that seeing how hurt Rae was in the beginning (and again throughout the story, while also never truly forgetting her true roots and motives) and how she grew around it like a gnarled tree, was like catharsis for me. Having miraculously given a second chance, no matter how hard the fight to keep it will be; I haven't ever read any story talking about this in a way that made me feel seen and understood like this. Thank you also lots and lots for taking the time to mention Rae's appreciation for Rahela's curves — it's been the same for me, since I've managed to get out of the underweight-trap. It means a lot to me, and I guess to many others in similar situations, including you of course. Thank you for sharing this with us, it must've been hard to touch on a deeply personal experience like this in writing that's simultaneously removed from oneself through fiction (at least that's what I'm imagining).

Thank you, and I wish you nothing but the best, health, and lots of good days to come. Deeply curious to see how Rae's story will continue!

Thank you so much for this.

I am so glad you are alive. Thank you for that, too - for living on even when you couldn’t see a way forward and everything was helpless despair.

I haven’t been through what you’ve been through, either, but it’s a privilege to have shared adjoining experiences trapped in darkness, and to share gladness and the wide world with you now. I’m so sorry it happened, and so happy you have archaeology and stories, and the world has you.

I will be totally honest and say it has been hard sharing Long Live Evil with the world, and I’m so grateful to you for knowing that, and for sending this message because you knew. This book is highly personal to me, but it’s also meant to be a wild celebration of messiness, escapism, and finding humour in art and darkness. And that means to some it’s just a joke, and in the words of Joanna Russ, ‘she’s not really an artist and it’s not really art.’ And so it gets dismissed, and it does hurt to see my most important story dismissed sometimes.

I was with other writers in a public space at one point and they were talking about how their books were about serious issues while ‘Sarah’s book is just for fun, and that’s fine too!’ (I had to take a minute before I could lean into my microphone and say ‘My book is about cancer’ in a cheery tone.) I’ve seen readers saying ‘this book’s just fluff, just silly, I’m ashamed of myself for reading it, there’s nothing to it’ about the book I wrote about almost dying.

My Rae, while of course she has bits of me in her (every character I’ve ever written does), and evil queens I’ve loved, and characters with wild hubris going on in the Greek plays I mention often in the book, and readers I’ve seen and I’ve been who are blithely confident they know what’s going on without doing more than surface reading and while forgetting key details… she’s also bits of women and girls I’ve mentored, been mentored by, befriended. And some of them are dead. So seeing the bits that were them particularly scorned or judged, seeing her pain dismissed or the discussion of her body sneered at…

That has been hard.

But.

In the end I believe I am really an artist and this book is really art, and art is there for the wide world to judge - to be mocked and dismissed, yes, as a price that comes with the opportunity to also be truly seen and appreciated, to get to influence real people’s real lives. Art is the gold that comes from the crucible in which we put all our pain and all our love and all our joys. I believe it deepens and transforms.

I wrote this book about how deeply unsympathetic people actually are to sufferers of illness, chronic or otherwise, and especially to women expressing pain. How the world villainises imperfect victims—which means all victims. How the world villainises bodies, and robs us of our joy in them—even when there’s horror in a body, too. I did know that by putting this book out into this world, that attitude would be reflected back by the world onto the book. And that attitude has hurt me in the past, and hurts me when I see it now.

I still think it’s worth calling out that attitude, even if it means getting more of that attitude reflected back onto me - because it means readers like you see it, and know others have been through this, and it was never okay, and you were never alone. While I know there will also be readers with chronic illnesses and/or cancer whose experience doesn’t overlap with mine at all, that only means there need to be more stories. So everyone who needs it gets the map into fantasy lands.

And I do hope some able-bodied readers read it, and think twice about adopting the world’s attitude to the people in their lives who are already going through enough. Some readers have told me the book helped them sympathise with and understand the cancer sufferers in their family and friend circles, and that’s meant a great deal. What do we write for, if not to learn to love each other better?

Long Live Evil has also given me my life back, as truly as chemo did, in a way that makes the pain worthwhile - I think I would have kept telling stories in some form, but Long Live Evil was my last throw, for as far ahead as I could see. Now since the book’s done well so far I’m hoping I can write more books, and my life can be the storytelling shape I always wanted it to be.

I read your message and I regretted nothing. I remember the pain and the way so many of us laughed or tried to laugh our way through it, and I know this was my way. Jokes, like stories, are the golden thread we follow through the dark labyrinth of our own agony and incomprehension.

It really has been hard, and it’ll stay hard. But like living, it’s worth it.

Please know two things.

I am so happy I wrote this book. Ultimately more than any other feeling I had so, so much fun writing it, and I’m having even more fun seeing the book be read by the people it was meant for.

2. This book was written for you.

[cadyrocks]

Play of the Week! A new play, performed live, every week, in front of a live studio audience. How wrong could it go?

Okay, I gotta talk about The Goes Wrong Show.

The Goes Wrong Show is something I'm surprised Tumblr hasn't been more up in arms about. This website is, after all, all about committing to the bit. A popular text post by @linecoveredinjellyfish proposed the school of media criticism called "Bitism". And buddy, lemme tell you, The Goes Wrong Show is the patron saint of Bitism. They commit to the bit harder than an alcoholic horse who recently found protestant Jesus.

And it is the funniest goddamn thing I have ever seen.

As is so often the case, writing a review of a very good comedy is hard - it's not easy to talk about it without taking some of the oomph out of the jokes. And, make no mistake, The Goes Wrong Show is an incredibly good comedy. I'll try my best anyways, because I cannot stop recommending it, but if you don't need more convincing, just go watch an episode. It's incredible.

Our framing device is a series of weekly plays put on by an unbelievably incompetent and eclectic drama society, where anything can and probably will fuck up horribly. Terrible acting? A horrific script? Broken props? A set mistakenly built at a 90-degree angle? You name it, they found a way to fuck it up.

But. And this is the key thing. They commit. The script calls for a scene involving pouring tea in a set that's oriented completely wrong? Commit to the bit.

The script demands a period piece family dinner, but something is very wrong with the ceiling fan?

Commit. To. The. Bit.

Major actor in the piece is completely incompetent?

Commit.

To.

The.

Bit.

It's an Airplane!-esque barrage of constant absurd gags, and I don't say that lightly. Each member of the cast is distinctly deranged in their own unique ways, the stage management is woefully incompetent, and the special effects are really just a special kind of fucked.

Really, the only complaint I can make of this show is that there isn't more of it, and frankly that's a good problem to have! If you're the kind of person who's not too busy to read a long Tumblr fandom post, but is too busy to binge a series you can get through in an evening, just give s1e3, "A Trial To Watch", a look - in my humble opinion, it is incredibly hard to top.

[madame-helen]

Reasons why the Tomb Raider Netflix anime sucks.

[vivziepop-hazbin-over]

charlie is just annoying. she is not main character material at all. she has NEVER once acted like an adult. sure, she can try to. but the constant whining and crying over something as small as angel forgiving her annoys me so much. why is she saying sorry to the angels, you know, the people shes defending her HOME from??????????? she shouldnt be this naive, whiny, mary-sue oc type of main character that youd see in a 2016 mha fanfic. this is the PRINCESS OF HELL. why is she acting like such a child?

in my opinion, charlie should be written as an optimist. yes, she already IS that, but get rid of that naiveity. she has seen literally all hell has to offer. she is the princess. she knows what goes on in hell. keep her as an optimist, but use that optimism to actually uplift others instead of being a whiny child about forgiveness and such. she is an adult woman bringing out these first grade friendship techniques. and for the LOVE OF GODDD bring back her pilot personality.

[spiritualseeker777]

[mcfuckity]

You know what? Im breaking my silence. Im TIRED of people missing Jess’ character on purpose. Like, everyone can use context clues and fill in the blanks for every other character but somehow Jess is the only one taken at face value? Jess is being seen as a cold, detached, mean bitch by fans but I cannot determine whether we even watched the same movie.

Let’s address the elephant in the room, because she is a black woman who is NOT a mammy character, people criticize her harsher. Jess was MORE than Miguel’s “lackey”. She had her own thoughts and opinions. She definitely had her own personality and feelings about the entire situation. She lowkey stalled time to give Gwen chances to fix her mistakes.

If Jess was as cold as Miguel and such a “bitch”, she would’ve left Gwen the first time. Let’s not forget that Miguel was fully about to leave Gwen with her own father holding her at gunpoint, JESS vouched to bring Gwen under her name. Jess put her OWN position at risk to help Gwen and it required that she do her job accordingly. Jess made the boundary VERY clear, she is NOT Gwen’s mother. She is NOT her friend. I seen people argue that “Jess’ maternal instincts” should’ve kicked in to protect Gwen” but fully ignoring that Jess HAS A FAMILY! Jess is PREGNANT with her OWN child. Her instincts DID kick in and she chose her dimension with her family in it!

Jess was stuck in a rock and a hard place. She obviously wanted to help Gwen (considering she brought her in at the cost of her own position) but UNFORTUNATELY, GWEN messed up. Gwen saw Miles and that ultimately led to Spot escaping. You can love these characters and acknowledge that every character had their OWN thoughts and motivations that led to fuck ups. It’s not right to try to make Jess sound worse than the man who fuckin replaced his dead self out of grief, was about to leave a teen at gunpoint, and had an entire society of people chase a teenager who wanted to save his dad.

Don’t get me started on the “she’s fighting crime while pregnant argument” because we can accept superpowered people but NOT the possibility that their bodies are more resilient. NOT TO MENTION THAT PETER B HAS A WHOLE BABY ON MISSIONS???? Like, no one is calling him a bad father so what’s different with Jess? Miguel was mean as fuck to Miles upon meeting but Jess doing her JOB is considered being “mean”.

Then the “I didn’t see her enough to connect with her” is fair until everyone can somehow create entire {TERRIBLE} mischaracterizations of Hobie, Pav, and Peni who (arguably) had just about the same amount of screentime. She also shares traits with every other spider person with being snarky and quick-witted while being completely grounded. She’s literally one of the spider people that Miguel fully trusts but somehow the fandom erases her and goes “He loves Peter B and Lego Spidey🤪🤪”

Like, it’s crazy how people find it so easy to erase Jess and Margo (Spiderbyte) in fanworks for things they easily dismiss from other characters and it’s feelin like misogynoir. Like, Margo and Hobie served the same purpose with deciding to go against Miguel for Miles, yet only Hobie and Gwen gets that credit.

AND THEN THE MANY EXCUSES WHEN IT COMES TO SHIPPING! People keep hating on Jess/Miguel because she’s “obviously pregnant and married” but go right around and ship Miguel with Peter B. Same with Margo/Miles because it’s a bunch of “Miles and Gwen are obviously endgame” ANDDDD???? Since when did every ship HAVE TO be canon in order to be a ship? It’s especially crazy because I BARELY EVER see those comments on Miles/(Peni, Pav, or Hobie) or have no problem with having all the boys huddled around Gwen. The double standard is glaringly obvious.

In conclusion, some of you mfs dont deserve ATSV.

[ppgxrrblove]

okay.. your gonna possibly ask where are the greens?.. sigh - well i hate buttercup hobo guy outfit and brute looks like a legit prostitute with a micro short skirt, and just a darn bra, did not bother to choose a crop top shirt..this is making me second guess to even give credit moving forward; "cause its okay to dress a teenager in that way" ugh

buttercup at least shes clothed but good grief brutes outfit choice is uncomfortable to look at. buttercup outfit looks like a tragedy that shouldn't have been a thing.