#when the current storyteller doesn't know who it really is

[kuipernebula]

The Rashomon Job might be one of my favorite Leverage episodes

[fondcrimes]

the "labru chapter" is the kabru chapter

this is a dungeon meshi love manifesto, but not in the way you think. sorry not sorry for the labrubait

what makes chapter 76 so amazing is kabru’s desperation has little to do with laios specifically. it’s not just about kabru being obsessed with laios and making sure he doesn't cause tragedy, either. I think this chapter emphasizes kabru's struggle with the concept of love and companionship. the point of this chapter is that every critical part of kabru collides at once and renders him useless.

(disclaimer: this post includes a lot of projection/speculation but it's to understand kabru's character arc i promise. for clearer analysis and examination of how kabru's ideologies are constructed, check out this really great post)

kabru is a lone visionary

in ch 76, kabru’s threatened by lycion exposing his true intentions to laios not only bc he wants to prevent laios from joining marcille in her destruction, but also bc laios is also from a short-lived race and kabru needs an ally in his power struggle against elves (esp when the chips are down)

but has kabru really accepted his need for allies in his plight? kabru has spent his adult life suppressing a human urge to connect meaningfully with others. he even keeps rinsha et al. at arm's length in the name of achieving his masculine hero complex/survivor's guilt goals. he's already quite disillusioned bc most adventurers don't have the same goal as he does. so he uses people and gets on their good side for systematic support. he’s well-intentioned and takes care of his party. but the idea that an ally could also protect HIM and make HIM feel safe as well doesn’t really register with him until later on in the narrative bc camaraderie and allyship, at its core, is about acknowledging intimacy. kabru struggles with intimacy sub-textually (his self-neglect and social insincerity) even though he knows how to simulate it to gain others' trust.

but he can’t crack laios, he can’t get him to listen. for lack of a better word, kabru is spoiled by the fruits of his superb perception and emotional intelligence. he also doesn’t cope well with failure (bc his goal is too valuable to ~not~ devote himself to) he puts too much value in conquering laios and when he thinks he's failed, he basically crashes out. the real problem is he still doesn’t understand his true feelings--not feelings for laios, but the root of his desire. the root of his goals and the endless search for companionship.

kabru is a strategic historian

at his core, kabru is a storyteller. he tells himself a variety of stories about his trauma and his goals, which serve as motivation and to some extent, self-protection (as shown in his conversation w mithrun). he deeply understands the role of storytelling in regards to the construction of history and drastic shifts in power.

as an utayan, he understands that the tragedy that overcame his people was not random, but resulted from elven negligence of a disenfranchised people. it is imperative for kabru to cement himself as a voice for otherwise voiceless people. in his story, he has no choice but to handle the hero, if not become the hero himself.

kabru even has a story about his pursuit of laios, mainly that laios is currently the most capable person of defeating the mage and that he must do whatever it takes to ensure laios doesn’t fuck it up. his instincts are right, sure, but at first, he places special value in laios’ capabilities that almost seems unearned… like yes he’s studied the island adventurers with frightening expertise, so it makes sense he would have a good idea about who is the most equipped to succeed. but his early suspicions of the toudens seems to complicate my perception of his knowledge by adding emotional depth and a layer of tinhattery so to speak.

canonically, kabru has been rebuffed by laios multiple times (which is so... lolll) when he's talking with his party, kabru hides behind the excuse of dungeon but he’s been trying to get his attention this whole time. to me it reads like he's got a bruised ego from being ignored and is being a hater about it (so real lol). it's funny bc kabru is usually great at taking shit from others (esp elves) if it means nobody suspects/interrogates his true intentions and he can keep the peace. so why does laios tick him off so bad? now we have to get into the psychoanalysis of it all!

kabru is a cynic

first and foremost, kabru’s cynical philosophy about humans is challenged by the touden mission. but plenty of people don’t care about the impact of their actions, so why does kabru obsess over the toudens at the start? I figured kui changed gears with kabru's characterization following his introduction, but I want to try to connect it to kabru's unresolved survivor's guilt. kabru is the sole survivor of a catastrophe caused by negligence and oversight. he criticizes the negative impact of the toudens' generosity and naïveté and confirms his cynical worldview (the road to hell is paved with best intentions), but still maintains a level-headed perspective. on the other hand, kabru's interactions with laios are tinged with irrational jealousy/resentment/desperation, even prior to kabru learning laios' character/intentions as an adventurer. I cannot emphasize enough that I am employing a neutral definition of jealousy here--it seems kabru is jealous of the freedom to not care the way laios does not care about the fate of the island. this isn't to say laios doesn't care about humans, he does, but he seems so singleminded compared to kabru esp in ch 76. kabru sees laios going to the literal end of the world to save his sister. laios gets to be human selfishly, kind-natured but ultimately self-prioritizing.

kabru correctly assesses motives (besides his own maybe). falin said she’d do anything to protect laios and marcille. laios has been socially rejected by people his whole life, and at first, he only cares about his sister and monsters. kabru has survived horror but only by accident… he doesn't agree with their pov and more importantly, it doesn’t exactly compute with him. the toudens are wholly unaware of their impact, which does not sit well with kabru at all, who understands the impact of negligence better than anyone else, esp how it ends up harming the less fortunate and extremely marginalized in society. it's reminiscent of the age-old trolley problem. while kabru has been the victim of senseless pain, I suspect kabru can’t yet make sense of senseless love. he gets to look down at their cause and call it selfish because it directly contradicts his lived experience.

kabru is an ethicist with a heroic streak

it's easy to glean that kabru wants to be the hero utaya should’ve had. while he's hardcore and intense, but not paranoid enough to do something rash. he uses violence as a means of achieving peace. he's self-aware enough to know his skill limits, which seems rational at a glance but the pressure he puts on himself suggests he views himself as inadequate until he achieves his goal. the races of humans are so split up and he sees that this is a matter of power first and foremost.

with the canaries, kabru submits to political pageantry to make a separate case for innocent people. senseless tragedy is unforgivable, but so is the "too little too late" reality of the canary system. he takes on the impossible task of rallying people together to save the dungeon. one read is that he's saving his childhood self from trauma perhaps by saving those like him… he's wishing someone did something before it got bad, wondering why nobody intervened when they had every opportunity to step in. it’s deeper than a sense of duty or fairness, this is about betrayal and retribution.

throughout his life, kabru struggles with the material inequity and limits of love. the human population is fundamentally segmented into a hierarchy due to lifespans and access to power/resources. his mother was the only one who loved him in utaya and she was ostracized because of his appearance and then she was killed due to senseless tragedy. his frustration with the elves encapsulates this idea perfectly, because he is aware of of the limits of their empathy as a long-lived race and adjusts his strategy and rhetoric accordingly. I think milsiril’s love for kabru is genuine, but still infantilizing and smothering due to the racial imbalance. this continues to inform his politics, as he views their perception of short-lived races with contempt. the worst offense is that their bigotry is nonsensical, meaning their hearts cannot be reasoned with.

dungeon meshi is a story about power and politics, yes, but genuine love and acceptance are the catalysts of change and equality. the "invisible gulf" that marcille is referring to is the inability to view other races with love and care. such is the essence of camaraderie. kabru's backstory, family history, and beliefs/motivations raise two important questions for me: who gets to be loved enough to survive, and then to thrive?

kabru is a monster

the emphasis on distinguishing between humans and monsters is quite interesting too. of all sentient beings, who qualifies as worthy of "human" treatment? who deserves empathy and acceptance? kabru seeks these answers to fix the world, but also to justify his place in it.

kabru's lack of self-worth is evident here, but what’s more interesting is he knows many humans suffer worse fates than some monsters. the dehumanization/neglect of fellow humans does not compute, if the premise is humans are superior to demi-humans/non-humans because mutual empathy and understanding. he clings to the superiority of humanity as an appeal to ethos to those in power despite what he might actually believe about himself. to kabru, the true injustice is that humans won’t even save “inferior” humans despite being the same. his unclear heritage manifests as guilt, as he feels directly responsible for his mother's suffering because he is monstrous. then here comes laios, a human who somehow can find it in himself to love monsters.

kabru doesn’t want laios to love him, per se, but laios’ love for monsters and for falin reveals life-altering possibilities for kabru: there is a world where someone could love him even if he were a monster. there is a world where somebody would go to extreme measures just to save him. kabru does not know the extent of laios' trauma but recognizes a sort of kindred spirit but inverse. taking off the ship goggles here--it has less to do with laios specifically, and more to do with what his beliefs/abilities represent for the trajectory of the world (because kabru studies how beliefs/abilities manifest into material reality, after all)

kabru is seeking the power of love

in a different story, kabru would be laios’ archnemesis. they would have a disastrous battle of opposing worldviews in their struggle for dominion. kabru has every right to want to take laios out bc while his affinity for monsters is sympathetic and even charming, it is still a natural threat… kabru has the true hero pathology. he believes he only deserves to live if he can save people for a variety of reasons/traumas. he should do whatever it takes to exterminate laios. but the expectation is subverted in chapter 76 bc we see kabru’s curiosity and ongoing quest for understanding win over his worst fears.

I feel like I’ve been projecting a lot but bear with me... a huge part of kabru’s character is him trying to figure out how to matter to people, or figuring out why people matter to others in general. it’s not to say he doesn’t matter to his friends or milsiril, but why else would he bother with all the manipulative people-pleasing? it would be less meaningful if he had ulterior motives like greed or power, but he plays into people's expectations/desires for a disastrously noble cause. he’s still actively living in his trauma as a deeply traumatized adult. it’s pure serendipity that laios can send him right back to his past and then pull him right out again. I don't think it's crazy to say kabru (correctly) projects a lot of shit on laios bc he doesn’t know how to deal with those injustices and barriers between people himself.

this is also why I believe kabru's beef with laios is as personal as it is strategic. we have to consider the trajectories of their character arcs (their big missions, respectively) in relation to one another as foils. if laios' love for falin can move mountains and do impossible things, kabru is subconsciously drawn to the magnitude of that love like a magnet. his response to cognitive dissonance is quite remarkable as well. at the root of his unbelievable capacity for understanding and curiosity is the deep wound of being unloved and unprotected. kabru does not avoid or run away from his fears, he quite literally keeps running toward them and follows it down to hell. he wants to identify the true source of his deepest wound.

to me, this omake connects his childhood curiosity to his search for love, almost as to ask “is there enough room for me to be loved?" and the same can be said for marcille's character arc/ backstory. her biracial heritage has caused her great existential pain and social isolation.

in dungeon meshi, the issues of protection and justice continue to be interpreted through love. if kabru were to go back in time and save utaya, he would’ve needed incomprehensible magic, a supernatural power to save himself, his mother, his hometown. in contrast, laios' mission to save falin is just one manifestation of the surreality of love, all of the impossibilities it permits. the touden party wade through invisible gulfs to save falin, but also each other. kabru doesn’t hate their story, he just can’t fathom it yet.

kabru is a skilled strategist and communicator. and does not listen to his heart or body until he’s absolutely forced to do it. he has insane goals and expectations for himself and will go to great measures for those goals. as cerebral and cold as he might seem, it’s critical to understand that his character arc is about love too. in my opinion, it’s almost as if he’s trying to change his reality in hopes of finding love. my favorite thing about kabru is that he has all the narrative makings of the perfect misunderstood villain who self-destructs at the end of the story. but kabru is too smart for that, too focused on the big-picture impacts and the historical trajectory of the cause. instead, kabru finds the wherewithal to stand down once he understands that laios is capable of loving humanity like he does, or that he could help him see the value in humanity at all.

to love is to understand, and then to surrender.

[aethesfaelibrarae]

Mouthwashing has given me a lot of brain worms and we've got thoughts—time to share them with the hungry void that is Tumblr. One of the last places I'm 90% certain my words won't show up stolen or regurgitated by machine.

Warning for spoilers about the game and rambling!

I believe that Mouthwashing is a modern-day Lolita. The storytelling is similar, in that, almost against their own better judgement and will, the audience finds themselves thinking like our unreliable narrator(s).

Most people.. Sorry, some people have cottoned on to the fact that Anya's personality is not that of a scared, timid and ultimately, useless nurse and she's been in fight or flight response for months now with no other choice but to fawn. As someone who has been in a similar situation for only one day a week for months, the fear only got worse, the longer I went without support. And the things that she does in the background.. No doubt similar to the way that Daisuke kept track of their food supply was brushed over and unsung.. So is the fact that Anya has been keeping a severe burn victim—with 4th degree burns so severe, any treatment we currently have is experimental and expensive.. If the pain does not kill you first—she's been keeping Curly alive for months with no help and incredibly minimal supplies. (I personally think that Anya probably was on the side of giving him an easier death or maybe even suggested a gentler way of giving him medicine—but (sterile) syringes in space? Limited water? An especially dismissive Swansea and go with the flow Daisuke?.. Easier to try and give Jimmy what he wants.)

But. I believe that people overlook the ways in which Catastrophe Jim's perspective on Curly twists our own. Pre-Crash Curly exists upon a pedestal—a good man, better than Jimmy could ever hope to be; a good, well-liked captain. Well-off, better looking (I say this because of the similarities in how Jimmy mentally views himself in similar shape and age as Curly) and still reaching for more. For better. People catch the underlying jealous and resentment for the life that Jimmy wants at all cost but.. They miss the pedestal. The miss the fact that if Jimmy says that Curly's better than he is, a good and better Captain.. That means that Curly is doing the bare fucking minimum: keeping them all alive year after year. Curly is a nice captain with the capacity to soothe over minor issues and keep a cool head and keep the crew on schedule.. But he is not a good one. He's not even a good person. Not really. Jimmy thinks of him as a good person, puts him on this pedestal that he's foaming at the mouth with excitement to pull him off of. Dirty the golden boy and spit on his silver-threaded bootstraps once and for all.

Except.. What evidence do we have that Curly is especially liked or respected? Where is this cheering crew? Where is Curly good?

Curly is a human, at the end of the day.

And.. Which comes to my more complicated and no doubt contriversal take... Curly is also a victim of Jimmy stuck in fawn response. This doesn't absolve him of the ways in which he failed the crew but Anya especially by letting Jimmy run amok and failing to take any action while he still had the chance. He stood by when Anya begins to hint at something beneath the shiny veneer of a happy tight-knit crew and most damningly, he stood by as Jimothy entered the cockpit immediately after suggesting a plan to kill everyone aboard.

I genuinely.. Genuinely.. Don't know what he thought would happen.

But he does take action.. And his last action is what makes he and Anya swap places. Except.. Not truly.

Yes, they are in similar situations—vulnerable to the whims of a psychotic madman with an inferiority complex and their plight largely ignored by the crew; a necessary sacrifice to keep the peace.. Just until safe harbor—but where Anya begins to gain autonomy and some relief from Jimmy no longer having a need for her.. Curly finds himself the center of Jimmy's world.

And that is not a great place to be in.

Curly is systemically isolated (bad-mouthed to the crew over and over again, berated publicly, blamed for an awful accident that Jimmy caused) and his torture and abuse mirrors the continuous, silent medical, emotional and physical abuse that many disabled people face. And almost in a worse way, his voice is stolen from him and used in such insidious inspiration porn.. A lot of people think that he actually said those things.

But we won't know. And if he did say these things.. Why does Jimmy only seem to (mis)understand them in the final acts? Recalling them in Curly's voice but not as the Captain but as a savior, his last charitable act to wipe the ledger of blood clean.

Jimmy doesn't want to see Curly better. He likes feeling useful. He enjoys having Curly watch him and in the same breath, he loathes it. He wants Curly's judgement. He wants Curly's praise. He wants.. Everything that makes Curly Curly.

Curly as a silent observer isn't remarked on often.. Nor is the fact that more than likely, the others heard Curly's sobs of pain from the medbay. But Curly is very conscious, very aware and very alone in his thoughts.

There's a point in which the perspective changes during Swansea's mercy killing—a gift that no one offers Curly—and once again, Curly is stuck watching all of his mistakes play out, one after the other. Unable to do anything but laugh.

But is it a laugh or a sob? Jimmy doesn't care and neither does the player—what's important is the objective: the gun. 739. Click. He steps over Anya's body like it's not even there and runs away.

We don't find out what set Swansea off—maybe Jimmy couldn't help himself and said something about Daisuke or Anya that blamed them. Maybe it was something else. Curly watches on. Helplessly.

There's something to be said about the black screens and the static that occurs when Jimmy hurts Curly or kills Swansea—like he's cutting the memory off before the guilt can get to him. And it's the same thing I'd like to bring up about Curly's voice. Yes, it takes a lot to speak without lips.. Or from what it looks like a tongue.. But there are more noises Curly can make. Noises that can refute Jimmy.

And in the same way that he's at the precipice of something so terrifying he keeps returning to the same spot that's slowly killing him, he's learned that fighting is useless.

It's 2 months after the crash when see Jimmy's perspective again, after all. And while Anya's requests for help seem to be new.. Who's to say that the beatings are?

The worse type of abuse is the type that leaves no bruises. After all, Curly cries all the time in pain.. What's the difference here?

To cycle back to my original point in this.. I don't see a lot of people consider Post-Crash Curly's living hell as another facet of Jimmy's abuse going unchecked by the people around him as anything other than comeuppance. As Karma. And it's the coldest take I've seen from the fandom so far. Allow me to reheat it up for you: disability so severe that you must rely on others is not divine punishment. It's not just desserts. Just as disabled people are your infantilazed, idealized, inspirational iron woobie that can take pain and push through it.. They are also not being punished by the divine. They are humans and sometimes shit just happens and it sucks.

The way that Jimmy views Post-Crash Curly as a saving prop.. Proof that he can indeed fix it.. is so normalized that as the audience, it can be something that you aim to achieve–one of the earliest and easiest achievements you can get is opening and closing Curly's mouth like a mannequin.

There's a relief that we share when Curly shuts up. There's a shutdown in empathy when Jimmy brutalizes him. Up until we can no longer look away.

Because Jimmy can no longer look away. And that is the chilling part of all this. Jimmy gets away with it—all of it—because of the crew's inability to overcome their own apathetic acceptance of the monster in their midst.

Just like most people accept the main character from Lolita as a gentleman, the crew accepts Jimmy as a guy. A little rough and short-tempered but what do you expect from blue collar work? Hold your nose, it'll be over in a year. In 8 months. In 10. Soon. It'll be over soon.

I can't help but worry if Jimmy weren't so bad at being likable and if he were even a smidgen of the charismatic mastermind, he so clearly wants to be..

We'd have another Valentino on our hands.

Mouthwashing is a horror that I can't help but devour. FEAST, indeed.

[isagrimorie]

[initial reactions] Agatha All Along 1x05 - Darkest Hour / Wake Thy Power

🎵 You should see me in a crown... 🎵

Single best needle drop in the whole of MCU or the single BEST needle drop in the whole of MCU???

That was an excellent episode of TV.

One of the things I like about Jac Schaeffer's story sensibilities is that the whole point is for the audience to figure out the clues they laid out. It's not about keeping secrets.

If knowing the secret is enough to derail a story that means it's not a well-executed story to begin with. The twist should only enhance storytelling, and not be its point.

This is something Jonathan Nolan forgot in Westworld.

Jac Schaeffer knows the best thing out of a secret known is the 'what happens next'.

This episode confirms my theory:

Agatha suspected Teen had to do with Mrs. Harts's death and suspected he was either her son, Nicky, or she was Wanda's.

Rio confirmed he isn't Nicky.

The best discussions happen after.

This episode also confirmed a couple of things:

Agatha's mother hated her since she was a baby. She probably tried to keep the knowledge of witchcraft away from Agatha and when Agatha stubbornly still tried to learn more, her mother had her executed.

Rio hates ghosts and really, really hates Evanora Harkness.

Agatha Harkness' magical absorption works like Rogue's power absorption. She has no control over it. It feels good to happen but she has no measure of control over her magical absorption.

We now know who Teen is.

Agatha suspected Teen was either her son or Wanda's.

But god am I sad that Alice died. She just got her life back and that Agatha was the cause and you can see she didn't want to be doing what she's doing but there seems to be Euphoria when she gets to absorb powers.

What kind of mutant magic curse is that -- it's like the TVD's Gemini coven siphoners but worse because she can't control it.

I hope the death that happens on the Road is reversible or something because I want Alice back.

Rio wants Agatha dead but not the kind of dead that she would suffer an eternity of Evanora Harkness.

Now that we know about Teen -- how conscious Teen is about her powers, about what she's doing. I like that Teen is manipulative like a true student of Agatha, all along.

Also, in WandaVision Agatha's always been simpatico with Billy, she liked Billy. (Agatha: I like all of Wanda's children-- Tommy who?)

I love that we have more episodes ahead of us because this means they have time to hash out all the issues, but this time when Agatha, Jen, and Lilia return to the Road and confront Teen/Billy it with the full knowledge of who they all are and without artifice.

That's the truth of it.

Also, my theories about Teen wanting to ingratiate himself as part of the coven and pushing this walking the Road feels like it's been validated.

As for Billy, I'm not gonna stand here and have people question how real he is because as we've proven with Dawn Summers, he is REAL. Wanda has Chaos magic and is capable of spontaneous creation which means whatever Wanda made is REAL.

How Billy returned is beside the point. (Well, it will be explored in the show, I bet).

It also doesn't take away that even if Billy isn't Nicholas, Agatha does care for Billy even if she is currently furious with him. Agatha can hold multiple truths within her.

The point of the story isn't the revelation -- even though the cast and crew made an effort not to say anything. The point is the audience will find out and what will be the fallout then?

Also, Jac Schaeffer is the kind of storyteller who is not into Big Bads as the point of the story. She's about human relationships and conflicts. By the end of this, my theory is that Agatha and Billy will be shoulder to shoulder at the end.

It is also an unfortunate reality about Agatha that witches around her die whether she likes it or not. More frequently, not.

No wonder she doesn't like the Convenstead rule. Among other things relating to her issues.

I like the moral ambiguity of this show starting with the star of the show who is selfish and manipulative but that doesn't mean she doesn't care. She just has to learn to care for somebody else above her own skin.

I don't think the whole coven is dead, I think they'll wake up somewhere else and Jen is going to be so pissed about what happened.

[comicaurora]

Hey red, what's your opinion on some modern writing that's very lamp shady? And do you have any advice on how to avoid "Well that just happened" dialogue?

It's an interesting question!

The thing is, lampshading exists for a reason, but it's not the reason it gets used a lot of the time. Writers might lampshade a narrative choice they're insecure about, while characters lampshade because the things they go through in a typical story are kind of bonkers, and we might expect them to notice. If a character signs on for a simple mercenary expedition and ends up discovering they're the long-lost prince of a kingdom they've never heard of, that's weird and they probably feel weird about it. If an ally is determined to 1v1 their super overpowered nemesis with no help from their friends, those friends might have opinions about how dumb that is.

This is a form of lampshading that doesn't break immersion because it's entirely in-character and doesn't lean on the fourth wall. There's a difference between a character noticing how weird their life is and a character pointing out how cliched a recent experience was. In the latter case, the character is treating their life like a story, and while it IS a story, they shouldn't know that.

There's a spectrum here, with "complete sincerity and taking every turn of the plot at face value" defining the 0-point and "complete self-aware uninvestment" at the far end, but healthy levels of lampshading live somewhere in the middle. Characters at the 0-point accepting everything that happens without question can feel just as weird as characters that won't stop pointing out the TVTropes entry they're currently living. It's about what it makes sense for the character to find disruptive or noteworthy. A hardened badass probably won't see the need to point out how bonkers a recent fight scene was, but a newcomer to the Cool Bombastic Adventure scene might be really excited when they pull off a cool special move and want to point it out.

I think this is why the recent D&D movie worked for a lot of people, because while the main characters all lampshade their lives to varying degrees, the way they do so makes sense for all of them. Edgin is a bard and storyteller so he has a slightly meta perspective on a lot of things, purposefully avoids playing along with certain narrative conventions and sometimes responds to other people's dialogue by critiquing their dialogue instead of just responding normally; Holga doesn't really care to understand how the world works and so keeps pointing out that they should just use magic to solve their problems, which is probably the most popular lampshade in the whole genre; Doric and Simon don't get a ton of time to shine character-wise, but they'll both occasionally poke holes in the pretense of the story they're in. The thing that makes this all work is Xenk, who plays absolutely every moment completely 100% straight and is entirely immersed in the objectively ridiculous setting of D&D. Same goes for most of the villains, except for Forge, who's probably the wackiest and most self-aware character in the entire movie, but in a way that makes him feel callous and disregarding of the people around him, like he's uninvested in the world not because he knows he's a fictional character but because he has too much money and power to care about anything. The ways each character does or does not lampshade their surroundings make sense for who they are as people and reinforce their characterization and place in the world instead of undermining it.

I recently watched a couple episodes of Stargate Atlantis and noticed something similar - the main character and, to a lesser extent, the rest of his associates from Earth have a tendency to make wry observations about his objectively bizarre life and the eccentricities of the people around him, which helps contrast against the extremely serious and businesslike Cool Space Warriors they keep accumulating, which helps make them feel (a) distinct from each other and (b) relatable considering all the weird stuff that happens. And the protagonist switches off the quips as soon as things start looking perilous for his team, so you never get the impression that they aren't invested in the story they're living, and as a result the various quips and lampshades come across more as a habit or a coping mechanism than a disruption to the narrative itself.

So basically I think you can get away with a lot of lampshades as long as the character doesn't feel like they know they're in a story.

[rorywritesjunk]

No longer locked upon the land but free on the rolling waves

You and Buggy come face to face with himself from the past, and while you're fully accepting that this is your husband as a child, Buggy doesn't want to accept it.

Rating: PG-13ish, but just due to some swearing.

Warning: Upset kid, upset husband. Reader is way too nice, doesn't necessarily take husband's feelings into account as well.

A/N: A combined request. I did a few versions of this story before feeling like it hit the marks I was wanting to hit. Also, I'm just trying to vibe off what I've seen of Kid Buggy. I'm no expert. I'd protect that kid with my life. He's so adorable. I also like the trope of "Meeting your self from another time" and "gets turned back into kid-self". This is the former, and I know shit about time travel but I just kind of made something up. Also, kelpies. Are they in One Piece? I honestly don't know but I love kelpies and needed an excuse to mention them.

Title comes from "Sailing Song" by S.J. Tucker.

Chapter 1 + Chapter 2 + Chapter 3 + Chapter 4 + Chapter 5 + Chapter 6/Epilogue

Chapter One

You would have thought you drank the pub dry the night before and were still drunk with what you were seeing in front of you. Except you very much didn’t drink. You stayed back on the ship, wanting a quiet night while the rest of the crew and captain went to drink the pub dry. You were perfectly sober, no hangover in sight, but you really weren’t sure what you were staring at.

Blue hair, red nose, and a scowl you knew all too well was in front of you, clutching something in his little hands while looking you up and down. “What?!”

“I… don’t know.” Which was true, you didn’t know. The kid in front of you looked every bit like the captain who was currently sleeping back on the ship, having managed to find his way home without falling off the docks and into the water to drown(this time). He never mentioned having a kid, ever, and considering how long you knew the captain and your relationship with him, and guessing the kid’s age, you would have been having a very serious talk about infidelity and why keeping your love child a secret? Seriously? wasn’t good for relationships. 

“Why are you staring at me?!” The kid snapped. “Don’t stare at me!”

“Sorry!” You smiled and knelt down in front of him. “You just look so much like someone I know, I was confused. I promise I wasn’t staring.”

The kid was on guard, tense, and looked ready to bolt, but you were curious. He just looked so much like Buggy that he had to be an offspring or some kind of relative, but the scary thing to you was how much he really looked like Buggy; he had kept some photos of his childhood onboard the Oro Jackson, and you knew what he looked like as a kid. He would show them to you on nights when he was drunk and reminiscing about the good ol’ days, singing shanties and drinking heavily. Last night was one of those nights before he passed out asleep in bed. 

“What’s your name?” You finally asked. The kid didn’t seem sure about telling you, but he must have felt brave because he straightened up and smirked at you.

“I’m Buggy!” He told you, puffing his chest out proudly. “I’m an apprentice under Captain Roger, y’know, and I’m one of the best already!”

Oh.

Oh shit.

Yea, no, something weird was going on. Why was there a kid who looked like Buggy, had the same name, and was talking about Captain Roger like he was still alive? Was this an elaborate make believe game the kid was playing, or were you staring into the eyes of your husband’s childhood self?

Weirdly enough, the latter made more sense to you. You heard of this happening, stories from sailors and pirates alike, but the stories were overheard at the bar after too much alcohol was consumed. Stories of children appearing for several days on a ship, like ghosts from a distant past, only to disappear again without a trace, but sometimes it happened the other way around, with the storytellers insisting that they met themselves as a child in the past, got to relive some memories, good and bad, before coming home again. 

“Yea?” You grinned. “That’s impressive, so where’s your crew? Your ship?”

The smirk vanished and he deflated a bit, looking around with the smallest bit of worry. “I don’t know. I was in front of them and there was some kind of flash of light, and… I don’t know where I am.”

“Oh, well, want me to help you look for them?” You asked, knowing all too well that his crew was nowhere around, he was not where he thought he was, but you didn’t want him getting into any trouble (which you knew was difficult because as an adult he managed to get himself into enough trouble). “If we don’t find them, you can stay with me. I’ll keep you safe.”

“I-I don’t need to be kept safe!” He snapped. “I’m tough, okay? I can take care of myself!” 

You made sure not to laugh, but it was hard not too. He was so cute as a kid that saying those things with such passion and intensity just made him even more adorable. Instead, you nodded, agreeing with him as you held your hand out to him to take.

“Well, how about something to eat? I’m just finishing up a supply run for my ship.” You said. “I’m happy to make you something before we find your crew.”

He looked at your hand, looked at you, then back at your hand before hesitantly taking it. Whatever he held in his hand he put in his pocket, making you wonder what he stole before coming here. You decided not to test the waters yet, he was feisty, proud, and if you treated him like a kid then he wouldn’t be very happy. You needed to treat him like the apprentice that he is, proud, determined, and passionate. Once his hand was in yours, you gave it a gentle squeeze and smiled at him as you started walking back to the docks.

“I have fresh apples and peanut butter, if you’d like that as a snack.” You said, eyeing him with a grin as his face lit up. That was the same snack you’d promise the captain whenever you wanted something from him. It wasn’t fancy by any means, just a simple snack, but you kept the peanut butter hidden from him so he never knew where to find it. The way the kid’s face lit up told you all you needed to know that this really was Buggy as a kid.

Oh, it was about to get fun on the ship.

~

“-and then I stole it!” Buggy exclaimed with a laugh, holding up the pendant for you to see. He had just finished telling you of his latest act of piracy, stealing some necklace from a vendor on the streets. You had fed him, given him something to drink, and you couldn’t help but walk over to him once he finished talking to wipe some of the food off his face with a dish towel. He was caught off guard and made a face at you when you did that.

“Pirates with food on their face scare no one.” You chuckled as you slung the towel over your shoulder before clearing the dishes in front of him. “And then what happened, Buggy?”

He fell silent, brow furrowed as he thought of your question. What did happen? He took off running, met up with the crew, and then a flash of light and he bumped into you-

“Buggy?” You tapped on the table in front of him, bringing him out of his thoughts. “You okay, sweetie?”

“Yea, yea.” He mumbled as he looked down at the pendant in his hand. “Next thing that happened was I ran into you.”

He quite literally did. You had just stepped out of a shop when he walked right into you, and you had been in shock of seeing him that you weren't bothered that a kid was yelling at you about being in the way.

“Oh!” You nodded and went to refill his glass. “Well, you can stay with me until we find your crew, okay?”

“Are you a pirate?” He asked. “I'm on a pirate ship, but you don't seem like a pirate.”

You laughed softly at that, shaking your head. “I'm not, no. I don't do piracy, just help with the upkeep of the ship. My husband, however, is a pirate.”

“What?!” 

“Yea, he-”

“It's too loud in here.” Someone grumbled from the doorway. You both turned to look; the kid’s eyes widened and you grinned. And there he was, groggy, a little hungover, and obviously needing food and coffee if he was going to start the day. You went over to him and led him to the table, helping him sit down before you started on the coffee. “Time?”

“Lunch time.” You chuckled. “That's what time it is, honey.”

He glared at you, oblivious to the guest that was staring at him with wide eyes and an open mouth. Buggy was a little hungover, having had his fair share of alcohol the night before. Normally you had the coffee ready for him before he woke up, so he was confused and unhappy that it wasn't readily available for him at that moment.

“It's too early.” He grumbled, rubbing his eyes. “What's for lunch?”

“Wake up first.” You brought him a cup and kissed the top of his head. “But I need you to look across the table before you drink that coffee, honey.”

Buggy looked up at you, eyes squinting in confusion. You took hold of his head and turned it in the direction you wanted him to look, and a few seconds later he pushed back from the table while you still held his head. Swearing, you popped it back onto his neck.

“W-What is going on?” He shrieked upon seeing the kid. Thankfully Kid Buggy remained seated, but you could see the confused look on his face. The two were staring at each other, mirror images except for the age difference. Before you could explain, your husband got up, marched over to the kid, and picked him up by the back of the shirt, carrying him out of the kitchen.

“Buggy-” You went after him, not sure what was happening.

“Hey! Put me down!” The kid shrieked, fists swinging and legs kicking. 

Buggy didn't respond and before you could stop him, he tossed the kid over the side of the ship and into the water. You couldn't believe he did that. You rushed to the side to look over, relieved you saw the kid treading water. So this was definitely a young Buggy, pre-Devil Fruit, otherwise you would have thrown your husband overboard after the kid. You threw a rope down to him while your husband went back to the kitchen, rambling on about curses and bad omens. 

You wanted to know what the hell that was about.

~

“I’m fine!” The kid insisted as you wrapped his hair up in a towel. His clothes were soaked and you did not have anything that would fit him, so he was currently wearing an old shirt of Buggy’s until his clothes dried. They were draped over a chair in the bedroom, the pendant he stole earlier sitting on your shared dressing table. 

“I don’t need you getting sick, sweetie.” You sighed as you used another towel to make sure his face was clean. You were mindful of the nose, touching the towel to his face except there. “I’m sorry he did that.”

“Why did he do that?” He grumbled as he crossed his arms, glaring up at you.

“Because pirates are superstitious fools.” You told him. “And… seeing you scared him I guess. I don’t know, I’m going to talk to him.” Carefully, you unwrapped his hair, making note that he needed to have it brushed to keep from tangling too much. You got up and set the towels aside before grabbing your hairbrush. “Buggy, I’m going to tell you something and I don’t want you to get scared, okay?”

“I don’t get scared!” He insisted. “Not like that guy! I’m braver than him!”

“Okay, here’s the thing about my husband-”

“Don’t tell him anything!” Your husband suddenly appeared in the doorway, glaring at the two of you. “Where did you find him? Who is he?!”

You weren’t bothered by his mood, but you wanted to make sure the kid felt safe. Without a word you moved between the two, keeping Kid Buggy behind you as you crossed your arms.

“We ran into each other, Buggy.” You told him firmly. “He got separated from his crew.”

“Crew?!” Buggy shook his head. “No, get him off this ship. He could be… a kelpie or something. Get him out of here!”

“He’s not a kelpie.” You sighed. 

“You don’t know that!”

Rolling your eyes you looked down at the kid. He had grabbed hold of your pant leg, gripping it tightly as he stared at the man in the doorway. This was a lot for both of them but you needed the captain to calm down. You knelt down and touched the kid’s bare toes. He took a step back and gave you a weird look.

“Human toes, no hooves.” You pointed out. “He also mentioned the Oro Jackson and being an apprentice…” You looked back at your husband. He paled and shook his head. This was too much. This was not him, this had to be some form of trickery, or a shapeshifter. “Besides, I’ve spent enough time with my husband to know when I’m with him as a child.”

Kid Buggy’s eyes widened, looking between you and Adult Buggy. Child? Was… this supposed to be him in the future? As an adult? His jaw dropped, he couldn’t believe it. You smiled at the expression on his face, pleased the kid was in awe of this.

“I turn out to be a drunk loser?!” The kid shrieked. “Why?!”

Okay, that was not what you expected. You slapped your hand to your face while your husband looked ready to throw the kid overboard once again. Kid Buggy just shook his head, not believing this. Was this an alternate reality of some kind? He wouldn’t be like this. Was this guy even a pirate? He didn’t seem like it from the little bit the kid had seen already. He was not impressed in the slightest.

“I want him gone.” Buggy snapped. “No kelpie or bad omen crap is allowed on this ship!”

He stormed off after that. 

[jq37]

I'm like genuinely interested as someone who thinks a lot about the craft of critique and fandoms the ways in which the current Rat Grinders discourse shows why you can't really apply the same lens you use to critique a pre written story vs an improvised actual play show by a bunch of comedians who are first and foremost concerned with committing to the bit. Like Porter's a great example of this, he went from a nothingburher to secretly evil with a whole lore and backstory!

In the same vein the Rat Grinders probably could have turned out to be not as culpable in all of this had the Bad Kids really tried to bond with them, but instead they focused on other things with the way downtime was structured! And because they did that they could pass the Last Stand, and are safe from Porter's rage thing! Like legitimately I really liked the mechanics of downtime this season, it just also came at the cost of developing the Rat Grinders!

(Though to be entirely fair, the BKs did try to engage with Oisin, Ivy, and Ruben and then Oisin launched the house, Ivy was racist, and Ruben still attacked Wanda so)

I think it's really fascinating from a storytelling/game design perspective! The downside is the Discourse is so tiring

Yeah it's interesting. I covered some of this in other asks so I'm gonna hit on the stuff I haven't yet.

If you're telling a story that is based partially on user input, it's not entirely fair to be like, "This subplot was underdeveloped" if the reason for that was that the players didn't make choices to facilitate that development. When DM's push hard for the players to care about things they're not interested in, they get hit with railroading accusations.

And even outside of the player choices, there are also the rolls. A BIG part of D&D is the randomness of the dice. Even if the players care about something, it doesn't mean they'll get it. I'll mention again that Kristen tried to roll Insight on Buddy before the final fight and got a Nat 1. What is she supposed to do? Roll again until she gets a good read on him? That's not how that works. If the dice aren't cooperating, there's not much you can do. And you can make sure your big story beats don't rely on dice but at the end of the day they *will* shape your story in ways you can't control.

Another key thing about the medium, as you pointed out, is things can change on the fly. The confluence of high rolls and serious interest can change things that were behind the screen canon in an instant. In Burrow's End, Aabria planned for Bennet to have a family but as soon as Tula/Brennan expressed interest in romancing him, she Thanos snapped that family out of existence. I don't know how much Brennan wanted the Rat Grinders to be recruitable but even if he'd planned them all to just be foils and evil and nothing else, I can totally see him flipping one if they'd really wanted to and it would have made for a good story beat.

Anyway, yeah! Interesting stuff to think about. Even though D20 often feels like a TV show, it's important to remember that it's a different beast in many ways.

[bladekindeyewear]

HS^2 bloggin’ mainline 2024-09-29

(Previous post - current page 666)

Section 6 is finally here! (And the part at the bottom is gone, possibly never meant to be clickable?!) Time for possibly the last or second-to-last portion of one of my favorite Homestuck storytelling sections so far, let's see if and how this situation ends!

Time to see if it really HAS been a whole eight years before she finishes her therapy like the joke Davepeta left on last time, or if it'll add up to 6 for the whole thing to go with the Hell/purgatory/666 theme, I suppose! *click*

"LATER"

Well, I suppose it isn't going to tell us HOW LONG just yet...

Ooh Davepeta's theme again, it sounds a bit jazzier than usual if I'm not imagining it, like a slight remix!

Gosh she looks so proud and happy! (Even though the next line could easily pull the rug out from under us.) I can't wait to see grown-up Vriska having almost-sort-of resolved her biggest issues! (No change in her sprite when I compare to my earlier screenshots, although that doesn't tell us much about how much time has passed since there was always a good chance she had grown as much as she's going to physically the prior new sprite switchup.)

DAVEPETASPRITE^2: B33 < its b33n a long ass time but were cr33ping up behind the grand finale DAVEPETASPRITE^2: B33 < that finale is never gonna s33 it coming

:D

VRISKA: The final 8oss.

Ooh, who is it? I mean, probably herself obviously. But who else could it be? There are possibilities I'm sure but they're not coming to mind easily. I'm reminded very much, the way I have been this entire time, of the conversation in original Homestuck where the retcon-returned Vriska berated her possibly-inverted ghost self, insulting her and shouting her down in a way that was wrong and proved all the ways the version of her who HADN'T survived had grown and the one who HAD survived hadn't. She insisted that being the hero and hiding her self-hatred to go have an Epic Final Story Battle with Lord English was the only way forward for her while everyone else was escaping the bounds of canon to enjoy a life and hopefully true happiness outside the story's confines, and what she'd gone up to before The Plot Point was her reward, consigned to irrelevance again and now WITHIN the Plot Point shown that none of what she'd been pursuing up until now would have ever made her happy, or into a better person. Now she has to finish learning that lesson, or at least get close enough, of what to actually do and what true freedom ("Ultimate Freedom") and happiness is to finally do what's right for her and potentially everyone around her.

I guess that means I expect her to have to "fight" herself, because she's been the enemy this whole time, right? Everyone she's "reconciled" with has been, in effect, the reflection of those people that exists within HER Heart, much like Jake was able to invoke Brain Ghost Dirk. Lines in here in previous sections indicated that she really is "alone", that these people she's talking to are an illusion and really besides her tagalong therapists she's the "only one here", the only one keeping herself here and torturing herself. Because SHE'S always been the one torturing herself, and SHE needs to learn how and when and why NOT TO in order to be the best version of herself. The Jung in Homestuck shows itself again in the form of the shadow, in the lesson of merging to ascend, of accepting yourself and your flaws with a humility that doesn't deny your ability to affect the world around you, to understand how to leave your mark on reality and how you're WORTH doing so, without stamping down the wills of others.

I'm rambling and stalling, let's see what they have for us.

DAVEPETASPRITE^2: B33 < master hand, your days are fucking numbered

I know this is just a smash reference, but does Vriska think she needs to go at Doc Scratch again? His chess playing with her on the board is sort of some "master hand" shit, I'd think.

VRISKA: More like minutes!

A clock hand joke perhaps?

DAVEPETASPRITE^2: B33 < finally ready to take that final step

whatisitwhatisitwhatisit :D

VRISKA: I needed a 8reather!

Huh. I didn't think that maybe she had been just, not going back in AT ALL after the Doc Scratch thing and maybe just, resting for a LONG time that's about to be divulged after the first try, or perhaps multiple tries?

Oh wait is that a Breath aspect and freedom pun hint too? You can't always buckle down and go at your responsibilities (Blood) all the time or you'll snap like a rusty chain.

DAVEPETASPRITE^2: B33 < you sure did!

I know I'm stopping like, every line, but... I'm sensing a punchline coming of THE BREATHER'S BEEN X YEARS.

DAVEPETASPRITE^2: B33 < *a tear begins to well up in dps eye behind their shades* DAVEPETASPRITE^2: B33 < *they f33l like a mom s33ing their freshly pupated charge about to finish their final trials and march off to the subgrubs or maybe a dope ass cave* DAVEPETASPRITE^2: B33 < *dp wonders will they be safe out there? will she make use of all the lessons theyve learned here?*

Dave and Nepeta as a fusion is never not fun and interesting to listen to.

I don't expect The Plot Point to have "fully cured her" so to speak because not even comprehensive therapy is the full answer to solving your issues, and because we still have a good amount of plot LEFT besides all the attention Vriska is sucking up here of it. But if she leaves The Plot Point having identified her issues, confronted them, and with a true resolution to accept herself AND her flaws and do better out there in the real or quasi-real world, with a bit more of an understanding of how to ACTUALLY strive to be the best version of herself (the answer to the ultimate riddle) and begin honestly trying without much leftover regret, then yeah. That may be all she needs from here. We'll see.

DAVEPETASPRITE^2: B33 < *will she remember to wipe the lid?*

O-of what? The toilet? Huh? >_>"

(Is this a stealthy reference to Vriska being a trans gal in side content as per Toblerone and urinating standing up...?)

FEFETASPRITE: 3833 < 383

WAIT WHAT? Was she always here?!? Did I forget a comment about her showing up before? Is she real?? She's a sprite who DIED, isn't she, which would mean that since this isn't a reflection of Vriska's, sprites still HAVE ghosts that went to the Furthest Ring and could be sucked down here?! This is a heck of a random sprites-having-ghosts confirmation!

...I could have sworn that the joke of Fefeta being so talkative but never doing so onscreen was repeated SOMEWHERE in HS^2 since Beyond Canon and my liveblog of it resumed, but I can't freakin' remember where. I think I was just coincidentally talking with a friend about Fefeta's explosion recently on a random subject matter and I'm confusing it with having read/heard SOME mention of her again in the comic. Like from Roxy or something. Roxy might have brought up her past with Fefeta to remind us she existed so she could be dropped again on us in here, or... fuck I'm confused. Someone let me know if we had any clue Fefeta was here or mention of her elsewhere in Beyond Canon, or if her living again had been confirmed elsewhere before this, because my memory could NOT be failing me harder right now.

VRISKA: *The Thief proudly puffs out her chest with her hands on her hips and her 8ack to the sun, looking heroic and 8adass.*

--Okay I know that Vriska HAS roleplayed before, or we've been told enough that she has, but doing so ONSCREEN so shamelessly with Davepeta speaks of a really really strong friendship she'd have to be pretty vulnerable with them to do this, I think. Which is adorable.

Also, her back to the sun, huh? Nah, no need to dig into that.

VRISKA: Ha! You've got nothing to fear. VRISKA: I'm older and wiser now.

And the time it's taken punchline is coming aaany second now...

VRISKA: I want to thank you, too.

AWW! Gosh she's improved SO MUCH to be talking so freely vulnerably; the last time she approached this sort of opening-up was the moirallegiance with Terezi that was always too one-sided because she never intended to listen to her moirail's advice, back in the last stretch of original Homestuck.

DAVEPETASPRITE^2: B33 < what for DAVEPETASPRITE^2: B33 < i barely did shit

HAH! Don't be modest, you kept her (relatively) sane this whole time! Davepeta looks genuinely confused, that's hilarious.

VRISKA: Haha yeah, 8ut I'm glad you were here anyway. VRISKA: You and everyone else! FEFETASPRITE: 3833 < 383

EXACTLY. You all spent X years with her in here just to keep her company!!! That's not nothing, that's a whole fucking ton of something! Even if I get the feeling that The Plot Point was partially a sink of sorts to suck up all the ghosts from the Ghost Rain and keep them from mucking up the place.

But no seriously, was Fefeta here before??? Did I genuinely forget she was? Because I'm finding it hard to believe I hadn't noticed her and the implications a formerly exploded sprite surviving here would have had before.

VRISKA: ........

Yeah I'm apparently with you there. XD Is she running into the same confusion as me? (Or is the fact that there are sort of two half-Nepetas here about to invite a conversation about Heart and the Ultimate Self again?)

VRISKA: So, DP, you're half Nepeta, right?

Oh, it is!!! :D (And Fefeta's just a sprite, or a ghost of one, not a sprite squared and thus automatic Ultimate Self of both Dave AND Nepeta.) We're about to get some Heart aspect to help stick in Vriska's mind to break down the ultimate answers for her and the audience I bet.

DAVEPETASPRITE^2: B33 < yeah VRISKA: Well, more of a whole Nepeta, along with a whole other dude. DAVEPETASPRITE^2: B33 < ... yeah? FEFETASPRITE: 3833 < 383 VRISKA: 8ut Fefeta's also a whole Nepeta!

It feels like Vriska shouldn't be too confused on this, unless she's gotten lucky and subconsciously sensed that there's an answer she needs for herself, here.

FEFETASPRITE: 3833 < ...

Just don't explode on us again :p

VRISKA: So like... how does that work?

Vriska, you've met who knows how many alternate copies of literally everyone, right?

Nooooo don't make her Fefetasplode again!

VRISKA: Why are there two Nepetas?

A MEOW SOUND EFFECT AND THEN SHE FADES INTO NOTHING. Dammit!!!

I mean, solid joke, sure, except on the Fefeta lovers, but. Is this a consequence of Davepeta being an Ultimate Nepeta and sucking up any spare nonliving Nepeta air in the room passively when it's pointed out? All of HS^2, plus the Epilogues, had a theme in part of Dirk concentrating his power as an Ultimate Self by taking parts of himself back in from places like Candy where it wasn't convenient to exist to achieve his ultimate (hah) goal, which it was IMPLIED made him more powerful-- and we just saw alt!Calliope lose power when she divided herself and have to spend time meditating to reunite enough of herself to control any sort of Jade body again. (Which again, makes her super vulnerable to being disrupted by a Prince of Heart, by the way, which I have no clue how she can be so arrogant as to dismiss and think she can do this with just her squad.)

(Did I mention that there's a TINY chance that Ultimate Davebot's chosen purpose, in alt!Callie's quest to tie up all the loose ends and bring the plot back together, might be to have him scratch Caliborn's session so that alt!Calliope could properly exist? You know, my old debunked-and-defunct Third Scratch theory, the three scratches on Gamzee's face? Oh shit that post has old broken image links I need to fix too, I'll do that by tonight. It's only a small chance, though. EDIT 20240930: After sleeping on it, it seems even less likely than I thought, actually. Alt!Calliope's ship with Davebot and Aradia on it is headed for Dirk and Rose's new planet-- for Davebot to pull off what I just proposed, he'd normally need to use time travel on Earth C to leap to the distant near-death of its star when the cherubs lived and get an easy route into Caliborn's session. I can't say it 100% rules it out, especially if Davebot might (or might not) be able to rewind his entire ship journey when he's done with it to make a full Spacetime move instead of just Time; and that's given that when they entered the Meat timeline they even started at the Meat version of Earth C anyway, too, which is only really an assumption. But it doesn't seem to add up to alt!Callie's need for Davebot in the confrontation itself, at least.)

Okay back to poor, sweet Fefeta just having vanished under the slightest bit of scrutiny.

VRISKA: ... What the fuck was that? DAVEPETASPRITE^2: B33 < you just fucking sent dear sw33t precious fefeta to sprite city.

Is that a literal Sprite City like the kingdoms founded on Earth C where Jasprose was hanging out, or a figurative Sprite City as in sprites tend to die?

Does an Ultimate Nepeta's presence here mean that unless avoiding scrutiny (Voidily) they all become part of the present Ultimate Nepeta and can't exist in this space at the same time? Also with the Umineko connection pointed out last time as something this whole sequence is apparently referencing, I know from my partial experience from the series that there's precedent for someone unable to exist and falling apart if their true paradoxical origins are revealed.

VRISKA: ???????? DAVEPETASPRITE^2: B33 < hahahaha anyway

NO NOT ANYWAY, EXPLAIN

DAVEPETASPRITE^2: B33 < i was just fucking around earlier but honestly, im actually gonna miss you

Yeah, much like her ghost self from the pre-retcon timeline, this Vriska was likely a lot more gratifying to hang out with. (NO EXPLANATION AT ALL FOR FEFETAFADEOUT, GREAT)

DAVEPETASPRITE^2: B33 < i think im f33ling a goodbye glomp coming on

Yeah, they would. (Sorry for quoting and commenting on basically every irrelevant line it's become ingrained habit already and we've only been back here a few times aaaa)

DAVEPETASPRITE^2: B33 < oh yeah sorry

This is too fun a reaction for me not to screenshot, though. Yeah, personal space, Davepeta! Consent of contact!

Ohhhkay I think this is my sign that if I don't stop screencapping and retyping every single line of dialogue I'm never going to get through this final section. Time for more selective quoting and paraphrasing of action!!! (I promise! Kinda!)

VRISKA: Alright fine, one hug 8efore I crush this and I'm outta here.

Daww. :D

I wonder where everyone here is going to go... I don't think Davepeta is going to voluntarily stop existing, but they're pretty hard to pin down.

Yaaaay! :D :D :D

Davepeta you are by NO means allowed to stop existing once the Plot Point is resolved by the way. You can be as plot irrelevant as you want, just don't stop existing.

Oh shit, it's somewhat literal.

One of the eight-balls she compulsively broke, "increasing her bad luck" and leaving things to step on earlier that Kanaya pointed out she could have found her perceived luck returning just by cleaning up. The metaphor that she's been the one putting HERSELF through hell for much of her life, especially ever since she escaped her parent.

VRISKA: I've 8een waiting for this one.

You know who it is?! Is it you?

VRISKA: I have a pretty good feeling I know who's waiting on the other side.

Oh come on, I didn't break the habit of retyping every single line of dialogue at all!!! She's just guessing. Which raises the chance significantly that this might instead be Terezi she has to confront, within herself, to help bring this full circle and decide what she has to do. Everything about their arcs seems to be leading the two of them together again, and not just in their ghost versions, I feel like.

It's just as possible though that when we finally see the message Vriska left Terezi at the end of the epilogues, though, still unseen, that that represents the final word between the Scourge Sisters and these versions of themselves are meant to find their own paths, even though Terezi spent all those years searching the wreckage of the Furthest Ring for her. I can't say for sure.

Okay I'm going to start paraphrasing... pff, Davepeta lampshading the Silent Hill mind prison -ness of this, yeah plenty of works have had this sort of trope and that's certainly a good one (so much as I've heard/read of it anyway).

The quite possibly final goodbye from Vriska to Davepeta! Hope "see you around" remains literal and Davepeta doesn't go to Sprite City </euphemism>.

Wishing her luck!

Black screen, Vriska waits...

A tree fading in in the distance... multiple colors of tree... this feels like Terezi.

VRISKA: Hey!!!!!!!!

VRISKA: Is that you?

Ohh fuuuck the touching slow piano music is kicking in. D':

It's time for emotions

VRISKA: I knew it would 8e you!

I can't tell from here if it's her or if it's Ghost (Vriska) but... oh wait. Wait if all the ghosts are here. Could she be confronting, possibly... ACTUAL ghost Vriska with the actual ghost Terezi that reunited with her? That would be a knife-twist she'd learn a lesson from. Clicking further...

VRISKA: You were the one thing missing from this!

D': What a thing to say.

VRISKA: Even if you're just a phantom designed explicitly to torture me, I'mso happy to see-

It's not her like you wanted, is it? And you're the one who picked a path that you thought would lead yourself away from her forever. YOU kicked her away for the sake of your own glory. So maybe it wouldn't be as simple as just seeing her again here and making amends, hm? Let's see.

VRISKA: you...?

Oh this is totally DEFINITELY the ghost (Vriska) that she chewed out in ways that everything she just spent time in The Plot Point showed were completely wrong. The time she REJECTED her inverse shadow self instead of ACCEPTING and merging with all the parts of herself she hated most, showing how and why she was on the path to fighting Lord English and abandoning Terezi instead of finding any sort of true happiness for herself. Let me find the part in Homestuck AND where I talked about it, to link y'all... GOSH without the full text of Homestuck on command-F/control-F it's so much harder to find stuff like "(VRISKA)"...

Yep, "VRISKA" first showed up to see ghost "(VRISKA)" when I wrote this upd8 reaction in June 2015, then went on for the bulk of the conversation over here on my blog, and here in the comic. I explained how she was dressed like a Page, representing her shadow self, her inner Page of Void-- and still on a happier path than the main Vriska who gave HERSELF such an unjustified verbal beatdown for seeming "pathetic". If you want more from back then, look at my posts tagged Vriska from late June 2015.

It completely fits that Vriska would find the disappointment of not having Terezi here, AND simultaneously have to confront herself in this form as the so-called final boss.

Heck... I figured this hell was driven by Vriska's Heart, her ultimate existence across all timelines, but what if (VRISKA) has been having some specific hand in showing the other Vriska how she can finally be happy, like she figured out?

(Anyway that search took like an hour, I'm finally clicking forward now.)

Oh the way the music just STOPS when (Vriska) turns to the camera. THAT'S a sure sign Vriska isn't taking this well. But she's going to be able to figure this one out without any return trips, this time, I'm sure of it. *click*

Oh, THIS music is different from what I expected. Interesting. It's too slow for my mind to figure out if it's a play on Vriska's old walkaround theme.

GOSH SHE'S SO FREAKIN' TINY D':

Clicking... they stare back and forth a bit more...

Aww, Vriska's awkwardly holding her arm. (I'll resist the urge to screenshot absolutely everything.) She may really be catching onto the fact that she has to apologize to herself. Learn from herself-- from ALL of herself. The parts of herself she used to loathe most because she saw her own weakness in them. That's her Jungian Shadow.

And... perhaps it's also in part why we were reminded again of an Ultimate Self's being all of someone just before she dove in.

VRISKA: Alright, fine. VRISKA: Makes sense I'd have to do this eventually.

Yeah, you're smart enough to get it a bit already.

VRISKA: I'm sorry. VRISKA: For all that shit I said to- did to you.

No-- I mean, sure, that's a start, Vriska, but you don't just have to APOLOGIZE to yourself, your shadow, your perceived flaws. You have to ACCEPT yourself. That's more than a quick apology can do.

VRISKA: It was wrong of me to hate you for getting soft. VRISKA: For knowing when to quit.

Holy shit. SHE FUCKING GETS IT. WOW HAS SHE COME SO FAR. This is exactly what we've been saying since nearly a DECADE ago when that argument happened, just like what I said from my upd8 reaction back then to above!

And (Vriska) gives her back an expansive, pained shrug, huh?

VRISKA: HUH???????? What the hell...

Or... wait. No, she couldn't be. That wasn't a shrug was it. Was (Vriska) offering... a HUG?

That's the answer, isn't it? And why we got a Davepeta hug too? That on the inside, when you finally reach a hand out and offer to accept your shadow as an essential-but-not-predominant part of yourself... your shadow is willing to reach back. She was willing to accept Vriska all along if Vriska just tried. But the fear of one's flaws is a horribly hard thing to conquer, to love yourself-- your ENTIRE self-- enough to take that crucial step.

--yeah, that's an offer to hug it out, isn't it? Vriska probably needs a bit to accept that it's really THAT EASY. Because it wasn't. It wasn't easy. Vriska needed to spend ALL those years to really understand enough to do something like this.

And I'm heavily betting that when Vriska and (Vriska) hug, there's a good chance THEY'LL MERGE. Embracing and assimilating the Jungian Shadow, just like the ascent to God-Tier and merging with the dreamself, except this is part of how you become, in a sense-- at least closer to-- your Ultimate Self. Jung-- "while "no one should deny the danger of the descent [...] every descent is followed by an ascent", and assimilation of – rather than possession by – the shadow becomes a possibility." "NANNASPRITE: All the gates do, John. To ascend, each time you must first descend!" Jung-- "We begin to travel [up] through the healing spirals...straight up." Right from the spirograph gates above their houses to their dreamselves and merging to God-Tier, Sburb and Homestuck has been loaded with intentional Jungian psychology references, and this is just the latest instance of the story spelling it out for us.

Anyway, clicking forward. Yeah, Vriska's nervous. She isn't huggy, and this is one of the hardest embraces one can possibly make, whether she realizes it now or not given all the work she's done to get here.

VRISKA: You're asking for too much. VRISKA: You're really going to make me do this? VRISKA: ...

See? It's no wonder this is so hard for her. She was always in the way of herself.

What will you do?

HAH!

Clicking... she hesitates further, of course...

VRISKA: I...

You're so damn close. But that's the reason this is the final 8oss, isn't it? Accepting the shadow is the hardest step. Accepting that she deserves it, that she can deserve to forgive even herself for hurting herself.

VRISKA: I can't.

You can!

And... OH WOW SHE ACTUALLY OLLIES OUTIE?!?!?!??!?!?

It really IS that hard for her to accept herself. I've long covered exactly why it can be the hardest thing of all. Not inverting, but integrating, balancing, accepting ALL of yourself, the good and the bad, your right to make a difference and the importance of recognizing where you may do wrong. Everything Doc Scratch lectured her to fear about herself in part 5.

So she's back at the beach. Clicking...

And that's the end of the upd8. That was... excellent. I loved it.

Seems like we need to wait one more step for her to finally embrace herself. But that's all that's left! Just one more step.

See you next time!

[lesbianabril]

My S6 BTVS rewrite

I know this season has a lot of haters but I actually love season 6, I don't mind the depressing parts (meaning: most of the season) because I think it all makes sense for where the characters are at, and I think that after fighting a literal God having a season where the villain is Life really works storytelling-wise.

Having said that, though, I think that a lot of things could have been handled better and since all I have are correct opinions I'm gonna tell you what those are.

1. Willow's magic addiction

Basically I think they went too far when the magic became drugs in the most basic sense, when they start acting like she's "taking a hit" every time she uses it.

I think all of the important plot points could have been kept while making willow's addiction to magic about her need to be in control of everything (and everyone). Up to Tabula Rasa I wouldn't change anything, her use of magic is wrong because she starts using it to bend the world at her will, empowered by having successfully brought Buffy back to life.

After Tara leaves her she starts using even more magic while being reckless with it, she injures Dawn and she commits to stop using it because she realizes it wasn't healthy for her or for the people she loves.

I would eliminate Rack and his stupid crack house hide out, and everything that has to do with the physical withdrawal of going "cold turkey".

I think this also makes Willow responsible for her actions, while making magic = literal heroin absolves her of the blame, in the end. The fallout of having to deal with her dependence of it would also be way more compelling.

2. Spike's attempted r4pe

I would keep their toxic relationship and everything that led up to that god-awful bathroom scene, my only change is that I would make it so Spike is trying to turn her instead.

Hear me out. It would make a lot of narrative sense because all through the season he's trying to convince her she's a dark being just like him, he wants them to be equals because he doesn't think himself worthy of her so he's trying to lower her to his level. So, after Buffy rejects him again he's not thinking clearly and, in his desperation, tries the only thing he swore himself he wouldn't do since he loves Buffy because of her goodness.

After it happens, Buffy feels betrayed, Spike leaves and decides to try to get to her level, to truly change himself instead of trying to change her.

This is a minor thing too but in this rewrite after Spike leaves we don't know where he went and we don't see him again until the start of s7 when he already has his soul. I know this couldn't be done because of James Marsters' contract but in my dream s6 we don't know what happened to him so when we see him again everything about his sudden disappearence and current mental state is a mystery and we find out along with Buffy.

3. Xander dies instead of Tara

Ok maybe this one is based on my dislike of Xander and my love of Tara but I think this would work really well:

Willow and Tara haven't gotten together yet, Willow is working on her more controlling tendencies and they're just friends right now. When Warren shows up Buffy is in the garden with Dawn and Xander went up to Willow's room to talk to her, so both Buffy and Xander get shot, Dawn takes Buffy to the hospital and dark Willow is born after she's not able to revive Xander.

After that things are mostly the same, only this time we get a grieving Buffy trying to deal with the sudden loss of both of her best friends. She's devastated and a part of her says that yes, Warren deserves to die.

After everything happens and Willow is close to destroying the world, Tara is the one who shows up, she appeals to Willow's humanity and, through her love and compassion, saves the world.

[ashirisu]

hey, everyone!

My name is Ley (pronounced like "Lee," she/they) and I'm a fiction writer/editor based in the PNW. I haven't done a proper writeblr intro in a while, so I figure the new year is a great time to reintroduce myself to the community!

— about me

An important thing to understand about me and the way I talk about writing is that this stuff is literally my entire life. Even outside of work, I don't think I have a single interest or hobby that doesn't relate back to storytelling in some capacity. I'm an avid media consumer and critic, and will hyperanalyze just about anything that catches my fancy for more than a minute.

I love science fiction and fantasy, and my goal as a writer is to take all the genres I loved growing up and create stories that are a little more diverse, inclusive, and queer.

— about the blog

I came to writeblr mostly to share my work, but also to find an active community where I can get excited with other writers and talk shop. Marketing is obviously a really important part of the publishing industry, but I get tired of having to filter every thought I have about my work and experiences through the lens of aesthetic micro-trends just to put it out in the world. Sometimes I just want to pop off about scenes I'm proud of, you know?

Above all else, I really just want to connect with more writers like myself, ones who got their start in fandom spaces and are working to take their writing from a hobby into a career. I see you, I am you, I love you, let's be friends!

You’ll definitely see me posting and reblogging a lot of stuff that isn’t necessarily related to writing, so be ready for that. My art exists in the context of my personality and the world as a whole, and I simply do not have it in me to maintain a whole separate blog for silly nonsense and memes. Just consider it a way to get to know the writer as well as the writing!

— about my writing

I write a lot, though most of it is disconnected nonsense. Flash fiction and short stories are where I really thrive as a writer. I don't tend to commit to long-form projects, but I have a few projects that I'll occasionally share details about!

I like to describe my style as "earnest and character-forward," which is a fancy way of saying that I like driven protagonists who think too much and are emotional to the point of it being a character flaw.

My goal is to share more of my original writing moving forward, so hopefully you'll get to see all of this for yourself. If I'm totally honest, though, you'll probably see more of me discussing my work than actually writing it.

— about my projects

Here are the things you'll most likely see me posting about:

Agnomen: A sci-fi retelling of Hamlet and Coriolanus, currently in its very preliminary stages. It is literally my Roman Empire, except it's set on a moon of a planet that I'm calling Jupiter as a placeholder (but please note that it isn't actually Jupiter, as Jupiter is a gas giant and therefore a scientifically impossible setting for large sections of the plot).

Alter Ego: A superhero fic in which not-so-mild-mannered reporter Drew Derrick fights for mutant rights and can't seem to get his act together when it comes to keeping the complicated parts of his life separate.

Untitled Fantasy Project: The very first project I ever wrote, and the piece I return to every so often when writing is feeling more like a slog than a fun hobby. I set a lot of one-offs in this world and follow a few key characters around without them having a real plot.

D&D: I write a lot about Baz, my Wild Magic Barbarian. He's a regency noble with a lot of problems, and I care about him very much. I also have various other settings and characters, but he's my most active PC at the moment and therefore gets the most attention.

Short Stories: Sometimes I write these, and sometimes I like them enough to share!

— tag directory

ley rambles: my (often wordy) opinions about things

ley writes: not necessarily my writing, but talking about my writing

my writing: stories, blurbs, and other content I've written

not my writing: reblogs and creative writing that I liked, shared, and sometimes commented on

[punsbulletsandpointythings]

So I've been watching My Hero Academia and like

GOD ALL THE TODOROKI FAMILY BAGGAGE HURTS SO GOOD.

Like damn. What a complicated situation. I love that all the kids are handling things differently. I've already figured out the (obvious) Touya twist and BOY do I hope we get a reverse Darth Vader moment with that.

But also like. Fuck Endeavor with a rusty spork. He's a terrible terrible person. But gosh what a good character. That contrast between being a Great Hero and a Terrible, Abusive Father is a deeply compelling story, is definitely a part of how the show interrogates the idea of heros and the complexities around a society and culture of heros and villains.

We already see that complexity with All Might, and how by becoming a Symbol of Peace he's made it so he can't do anything but destroy his own body and still try to put on the smiling face for the public, and when he forcibly can't do that that anymore, for a few moments, the public turns on him, until he shows he's /still/given all of himself for the "Greater Good". Which is heartbreaking, and fascinating, I hope between him and Deku we get to examine that dynamic a bit more.

But that's like.....the needs of an individual being put aside for the expectations of society and how by being There for Everyone All The Time, All Might unintentionally became part of a system that can't really survive without him, so he can never leave, until he's forced to, and the plot becomes how society deals with that sudden lose of security.

With Endeavor, it's like. How do you come to terms with the duality of this person. He's saved so many lives, and in doing so, in his status rising because of his heroics, he turns around and commits atrocities. But it's not so much society forcing him into a corner like I think All Might is. Yeah societal expectations of heros probably played some part, but I think the larger part is the narrative pointing out how Endeavor's own drive, while I think coming from an initially good place, is corrupted by his own way of viewing the world.

We know he cares for people, he clearly can manage that on wider, impersonal scale. But he can't, or doesn't, apply that to his own family, because his own drive and desire to Be Better Than All Might outweighs everything else when he's not out in hero mode, thus: a Good Hero and at the same time, an Abusive Asshole Father.

And I like that, at least so far, the characters and the narrative won't let him forget that! Even as he tries to "fix things", I like how, as far as his family is concerned, he can't! He can try, but Natsuo and Shota, and even Fuyami, have no reason to trust him, and even less to forgive him, and I like that they say that! Like, good! I'm glad he's trying to be better, but fuck him!

AND I like that we see Shota seeing that juxtaposition of Good Hero v Terrible Father. I love that scene where he straight up says, "Don't pretend to be a good parent in front of my friends. I'm here for Endeavor, not Enji ((that's his name right?)) Todoroki, and I'm only here because it will benefit me and my training."

I don't entirely know where I'm going with this but it's all just! Such a good story! And there are so many other bits I could ramble on about (Fucking!!!! Bakugo???? Listen, as someone who was bullied for uhhhhh most of my pre-uni school life, if this were real I'd have OPINION. But it's NOT it's FICTION and GOD Bakugo and Izuku and their fucked up co-dependant situationship delights me, what delicious storytelling!!!) but I'm currently watching the Todoroki Backstories episodes of season 5 and ANNOYED (Read: delighted, again this narrative is WORKING SO WELL) that I'm so invested in Endeavor and his painfully slow realization of just how badly he fucked up!

Anyway, I'm gonna need so Todoroki Family Time Travel Fix-It aus please, because I want Rei and All Her Children to not get Backstory Trauma, so if anyone has recs (or like. MHA recs in general) HMU!

[thelaurenshippen]

How much of an impact has writing and consuming fanfiction had in your writing career?

I ask about fanfiction specifically because it's such an open communication sort of media, it's so easy for author and reader to interact. Do you think you'd write differently if you'd never been in the Fanfiction community? What do you think has carried over from those works and interactions into your current works?

ooh, such a fun question! I've never really thought about this before!

so I will admit, while I have been reading fanfiction since 2006, I never actually wrote fanfiction until 2018 (and then didn't share any of it until 2021). so I think those specific relationships affected my writing in very specific ways.

from a reading perspective, I think fanfic really showed me that a story can be anything, told in a million different kinds of ways. the two fandoms that I was deeply entrenched in/reading fic in were sherlock (lol) and the winter soldier (I stand by it). both of those fandoms - TWS especially - did a lot of very interesting stuff when it came to story structure, multimedia storytelling, etc. while of course there's great published fiction that does the same (I've been a huge David Mitchell stan since I was 20, I read House of Leaves for the first time a few years ago, A Series of Unfortunate Events is such a great example of this tbh), I think there's a lot of freewheeling experimentation in fanfiction that encouraged me to do things like write Some Faraway Place as a mix of journal entries, reddit posts, letters, and tumblr posts.

it's also interesting to me that you bring up the author/reader interaction, because you're right, it is such a huge part of fanfic and a part I rarely thought about for a looooong time. I'm a socially anxious lurker by nature, so I would leave comments (show your local fanfic writer some love!) and I would follow a lot of those writers, but I'd never, like, interact with them directly. and my comments were usually along the lines of "I'M FLINGING MYSELF DIRECTLY INTO THE SUN" rather than openings to conversations lol.

but that changed significantly when I started writing fic. the first fandom I wrote for was SO small and the ship I was writing for even smaller (I'm responsible for over half the fics in that tag), so there wasn't really any interaction there. but then I started writing in a different fandom - still small but much more active - and joined a discord and everything. I'm not really active anymore, but I met someone who now has become one of my best friends and who is a huge reason why Desperate Hollow, my queer outlaw novel, finally got fucking finished.

so being in fanfic really affected my writing in the sense that I found a writer friend who - like a lot of other writing friends - has had a profound affect on me as an artist. but more broadly, writing fic for that fandom - about 200k words of it in eight months - taught me some very important things:

how to write a lot of words very, very quickly

how to let go of something being perfect - no one knows who I am on ao3 and people are just happy to have fic for a small fandom, so it doesn't have to be GOOD

how to write physicality - this is very hard for me, even now. I'm an audio first person, I rarely think about what people look like, how they move their bodies, etc. writing fic is so helpful, because if you're using canon scenes, you don't have to come up with the blocking, you just have to figure out how to describe it.

dialogue/character voice - learning how to mimic a writer's style is good from two perspectives: one, you learn more about style and voice by having to unpack someone else's. two, as a writer working in a scripted medium, you often are trying to write to an established style, because you might be in a writer's room for a world that you didn't create.

this is a less tangible effect, but writing mature works for a fandom that has mostly morally gray characters helped me get more comfortable with being bolder in my own work. Desperate Hollow is about two men in the wild west, one of whom has killed a lot of people, and both of whom are career criminals. the show I'm working on currently has the messiest found family dynamic and it will only get messier. I think in the course of writing TBS, I sometimes got scared of doing the wrong thing, or of leaning too hard into the darker parts of the story, and I'm trying to let my characters and stories be deeply imperfect now.

I hope that answers your questions!

[bucchus]

Honestly it just feels like 911 has been going in circles for a while now. During season 5 i was already kinda getting bored and frustrated with some aspects of it so i only watched season 6 sporadically when they then moved to abc i was like I’ll give it another chance… liked the opening disaster and was then positively surprised by bi buck. But looking at the show now… literally every character seems to be in the exact same place they were years ago there is nothing really new happening anymore i feel like I’ve been watching the exact same storylines over and over again. There are hardly any new faces popping in that could freshen it up and if they do the side characters are gone again after a few episodes. Bobby and Athene have communication problems every season and Athena is a cop that gets some copaganda shit to do. Henren always have drama when it comes to expanding their family and hen‘s job. Chim never has a storyline outside of his wife and maddy is only needed when something regarding abuse pops up. Buck just recycles through wanting to find love and being dumped (now with the addition of male love interests but they still can’t even say his sexuality on camera) and Eddie is still finding himself and trying to heal. It‘s getting so repetitive i kind of wish they will end the show after season 8 because it seems to be getting worse and worse.

i agree mostly. i think tim really meant it when he said characters shouldn't change. i just took it to mean that their core characteristics should be kept intact while still growing into better versions of themselves. it's weird that tim seems to have forgotten about that part. recycling the same issues over and over doesn't make for good storytelling, imo—it just gets boring. the outcome is always the same—it seems like a given character has finally found the answer or made peace with themselves, only to circle back a season or two later. it's exhausting.

that said, it does remind me of real life in a way. people often think they've learned a lesson, only to end up repeating the same patterns over and over again. it takes tremendous self-discipline to change how we approach things, since we tend to stick with what feels most comfortable. so, in a way, i get why some of these characters fall back into the same habits—it's realistic. but here's where this argument falls short—as oliver likes to point out, this show is not a documentary. it doesn't have to reflect real life 1:1. honestly, who wants to watch characters constantly go in circles? it may work for a little while, but there comes a point where you have to know when to stop. i think buck's had enough failed relationships to have learned how to navigate or fight for one. i think bobby and athena have had enough conversations about difficult topics to understand that it's better to approach the situation in a healthier manner.

i'm not saying these problems need to disappear completely. i'm saying that it'd be nice to see the impact of the previous situations on the current one, with a character actually drawing from past experiences and trying to do better. it doesn't mean the character has to suddenly be perfect in that aspect—just that they're clearly trying. it'd be enough, and i think it would make for some compelling storylines. and once that's done, why not introduce some new challenges? why stick to the same tried-and-true approach? sure, it worked in the past, but that absolutely does not mean it's still the best option moving forward.

and don't get me even started on henren—or on CHIMNEY. who's chimney outside of being maddie's husband, jee's father and a paramedic? because i don't think even the writers know. that's why he's missing for like six episodes in season 5. maddie's gone, and suddenly no one knows what to do with him anymore, so they just write him off.

and when it so happens that chimney, maddie, eddie do get individual storylines, they’re always tied to the same past we’ve already revisited a thousand times. i get that it’s part of who they are, obviously, but is that really all there is to those characters? how about creating something new for them to go through and then exploring the repercussions of that instead? not just pretending the arc is over and leaving the consequences behind? seriously, is it really that hard?

[comicaurora]

Hello! I wanted to send my appreciation to you as a longtime fan of OSP and Auroura! I am an English Major with ADHD and your content always makes me inspired and my English Lit. Brain very happy with how good your storytelling is.

My question is what stories inspire you to write or make you want to sit down and tell a story? Your content makes me want to work on my projects, but my Adhd only last as long as I am not disturbed (i.e. need to eat or get up and move). You have always been upfront about your Adhd so my second question is how do you keep focused on your story and not burn out? (Talking as someone who is writing a novel as their thesis)

You have been a great inspiration over the years and someone I look up to as a storyteller! I wish you focus and luck! => 💝

Woo! Interesting questions!

When it comes to inspiration, I haven't really found a pattern for what works and what doesn't. The majority of the time, only new experiences/stories I haven't seen or read before work for me - rewatches and re-reads, while much more comfortable for my brain, don't tend to translate into creative inspiration for me - but it's not like a specific genre, or even a specific kind of relaxation, consistently work for me.

The way my brain works is a bit "no take only throw", as it were. I want to just sit down and make solid, steady progress in a predictable environment with a routine, but what I need is to try new things, go outside, take risks - because all those things give me new material to work with and refill the creative gas tank. When I'm stuck, I can't just hit the gas and punch through the block - I need to back up and try a new angle.

The good part of all this is that whatever engine that's running my subconscious is actually pretty good at signaling what it needs. The ADHD brain will be repelled by activities that aren't working for it and drawn to the things it needs at the time, whether that's creative energy or exercise or cleaning or doodling or listening to music or suddenly binge-watching a show that's not even all that great, and once it's got what it needs out of it - whatever that is - it'll be repelled again, either spitting out a sudden burst of creative energy or retreating to its den to chew on whatever it got out of the experience for a more slow-building reward. Little bursts of motivation and creativity pop up all throughout the day, and if you can pivot to the activity in question - or at least note down the idea you just had - you'll be able to harness that pretty nicely.

This "system" really only works for me because I have an extremely unstructured schedule and nobody relying on me to be consistent moment-to-moment. If I'm following the creative needs of my inscrutable Better Writer In The Back Of My Head, I can't be worrying about things like a consistent lunchtime or classes or a 9-to-5. All of my observations are caveat'd by the fact that I am ridiculously lucky to have the kind of freedom of movement and schedule that I can focus entirely on getting to know my brain better.

When it comes to staying focused on any one project, I've reluctantly concluded that the only way to win is not to play. Creativity needs time and diversity to recharge, and when you stall out in any given work session, it's usually because you're out of gas. This is why I maintain several projects in varying stages of "for my eyes only"-ness - a sketchbook, private writing projects, patreon doodles, music practice; even in the large-scale projects like the channel and the comic I have multiple angles of attack at any given time, where I can as needed switch between scripting, research, drawing frames, storyboarding more plot onto the end of the comic's current draft and lining/coloring/background-ing the finalized pages of the comic chapters earlier. This lets me maintain semi-steady progress on average, even if any one facet of the process is left by the wayside for potentially even weeks at a time.

If you're working on one writing project, one novel, I'd recommend giving yourself some time to do small-scale side-hobbies. It won't feel like they're helping, but they are.

I've started to think of inspiration rather similarly to the way I think about nutrition and digestion. It's a somewhat arcane process that, despite being a part of me, I don't exactly understand what's going on under the hood. If you eat only one thing, no matter what that one thing is, you're going to end up sick because you're lacking all sorts of niche micronutrients. If you parcel out a specific space of the only things you're allowed to eat, you might not get sick (as quickly) but you're likely going to become increasingly miserable as you think of the things you're not allowing yourself to try, or slowly build up highly specific forms of malnourishment by avoiding certain things entirely. But if you start listening to your body and try eating what it says it needs at any given time - oh, I could go for a rice bowl right now, oh I don't think I'm feeling something sugary today, man I could really go for some grapes - you're likely to hit a broadly good balance of health because you're hitting a broad range of things your body needs, even if you don't know all of their names or calorie counts, and your body is putting those resources to good use without your conscious input. Between my brain and my stomach, I only trust one of those to actually understand what a stomach needs to do its thing - and between me and my creative brain, most of the time it feels like I just work here.

I hope there was something helpful in all this!

[i-guess-im-into-this-now]

The Apothecary Diaries

S1E19 First Watch

Here's where I watch The Apothecary Diaries for the first time and give my thoughts, analysis, predictions, and occasionally I stumble into a joke.

To start at the beginning:

Episode 1

My character/locations cheat sheet

Suiren - Jinshi's attendant

Lakan - strategist. Maomao's biological father.

Lihaku - the military officer who took Maomao out of the Rear Palace

Jinshi is thinking about the conversation he had with Maomao about meeting Lakan. He looks so concerned; he can't stop thinking about that look in her eyes. Things are in such an uncertain place between the two of them. The gulf has widened, and threatens to widen further.

Jinshi is hiding so many things from Maomao, he likely thinks he's protecting her, but what he must do to keep those secrets threatens to drive the two further apart. Sharing his secrets would also drive them apart. And the current situation is not tenable. Disaster looms for Jinshi and he knows it.

Gaoshun tries to redirect Jinshi's focus to a ceremony that he's required to perform later that afternoon. Maomao figured out Jinshi has been doing something ceremonial during her time here, a purification ceremony, I think she said.

Lihaku has learned to turn to Maomao to solve mysteries.

Lihaku: We've got a problem on our hands.

Do we? It's funny that he thinks she has any responsibility in this. I mean she will certainly step up to solve this, but she in no way is obligated to.

Something about the Maomao-Lihaku dynamic is really entertaining to me. Maybe it's because their interactions are so transactional. They are each a little disgusted by the other, even if they sort of respect one another. But they can really only connect on their desire to solve a mystery, which Lihaku presents now.

Various seemingly unrelated misfortunes have befallen the palace in the last year. Everything could have been leading up to the theft of some ceremonial items, and the only clue is the presence of a tall court lady (or man).

Maomao: When many coincidences manifest one on top of the other intent emerges in the overlap.

I happen to remember the presence of a suspicious man who was around at the death of Sir Kounen and the poisoning of the court official who oversaw the warehouses. So perhaps we will get some answers about who this man is soon.

I also can't forget that Lakan investigated the warehouse fire and found that ivory pipe that started the explosion. He also was the one who got Gaoshun to look into the poisoning case of the palace official who ate toxic seaweed. Given how astute he is, Lakan is either involved, or has this mystery figured out and is letting things play out for some motive that I can't determine. Also, it seems that Lakan would like Maomao to solve this case. But why? What does he gain from that? Having her involved puts her in danger. Is that what he wants?

Because Maomao is stepping into a real conspiracy now. It's about as dangerous position as she has ever been in this show.

Jinshi shows up. LOL. He's scary when he's jealous, and Lihaku has no trouble reading the situation, so he books it out of there. Maomao on the other hand doesn't bother to try to read into Jinshi's behavior and proceeds as normal.

And it occurs to me now that the storytellers are being a bit meta.

Maomao: When many coincidences manifest one on top of the other intent emerges in the overlap.

Because they gave us this quote from Maomao right after they just got done telling us Jinshi is about to perform a ceremony, and that someone has stolen some ceremonial items. A coincidence? Not likely. The larger conspiracy that Maomao is trying to solve right now, was all for the purpose of getting to those ceremonial items. That's a whole lot of work to do if you aren't setting up something big. Something like trying to murder a prince maybe? And I may be back on my bullshit again, but I don't think so. I don't know who or why or how, but I can feel it in my story-loving soul, someone's aiming for our beloved male lead!

Actually there are any number of people who could be after Jinshi. He's in a terribly vulnerable position. By birth he is in the line of succession to the throne, but due to some deception he was removed. Anyone who discovered his identity and wants him out of the way could be behind this. He's got all of the vulnerabilities of being a prince, but not all of the protections. Or this could have to do with his duties as the palace manager. He presides over cases and hands out judgements, perhaps someone feels he did so unjustly and wants revenge? Or it could be anything, this is a fricking palace intrigue story, after all!

Lakan is an obvious suspect, but I don't think it's him. He maneuvered Maomao to get involved in this. Why would he do that if he were behind it all? It's more likely that he wants her to unravel it. Why not just expose this conspiracy himself? Is he actually trying to help Jinshi? This is such a twisted up tale.

Jinshi: What was the nature of your rendezvous with that office?

That Jinshi sees Lihaku as a romantic rival will never not be funny to me. There is just nothing at all between the two.

Maomao offers to tell Jinshi about what she discussed with Lihaku. I'm so glad she offered! Last time she solved a mystery she didn't share it with Jinshi, and they've been in such a weird place, I really wasn't sure she would want to do this. Is she taking pity on Jinshi because he's acting jealous, or does she want his thoughts on this mystery?

Actually, I think Maomao does her best mystery solving when she works with Jinshi. He is encouraging and supportive, and she thrives with that. Perhaps, this mystery has her really stumped or worried, and so she's relieved to bring it up with Jinshi. And it feels so good to watch these two working through this together! It's like watching a simpler time from and earlier episode.

After presenting the facts to Jinshi, Maomao quiets. Jinshi thinks it's odd that she isn't eager to solve this case. I do too.

Jinshi: You're not excited by this?

Maomao lets out a frustrated sigh, like he's not picking up on something, and gives the following explanation, though it sounds like a begrudging recitation, rather than honest:

Maomao: I am but a humble servant, I fear. I exist only to do as I'm told.

Jinshi gives an almost exasperated response.

And then Jinshi seems to have an "a-ha" moment right after that, and offers her an incentive for taking the case... I'm thinking Maomao is angling to get something she wants out of this. Perhaps Maomao took Suiren's words to heart last episode.

Suiren: You may appear apathetic, but you're keen. You know where you stand, and how to play the game. Suiren: If you view everything in terms of status, then you'll miss opportunities.

It seems Maomao is eager to solve this case, but she's not going to do it for nothing this time. It's an opportunity for her to gain something she wants.

And Jinshi is almost giddy to make an offer to Maomao. He knows she's going to love what he has in mind. Maomao is comically over the top when it comes to her enthusiasm for medicinal ingredients, and she freaks Jinshi out when she climbs up on his desk and laughs maniacally in his face. Gaoshun has to pull her off. Jinshi and Maomao are so delighted with themselves and each other, it's a beautiful moment of harmony, which Gaoshun isn't sure is better than having them at odds.

Serendipity (coincidence or something more?) has landed Maomao in the records archive with exactly the person who can help her solve her mystery. Because this particular court official knows all about the Board of Rites that oversees ceremonies, he used to work on that board. Yet another one of the "coincidences" that Maomao is looking into has a connection to ceremonies. Seriously, that's a lot of foreshadowing, something bad is about to go down at this ceremony, huh?

It seems that someone went to an awful lot of trouble to take out two officials who oversee the ceremonies and stole some of the ceremonial equipment. Plus this official in the archives was demoted when he raised questions about the safety of these ceremonies. "An accident waiting to happen," is how the official described it. What a convenient way to take out an important person and make it seem like a coincidence. Maomao remembers yet another coincidence that involves the three brothers who work at the metalsmith that creates ceremonial items. This has to do with that ceremonial tool that had me worried from a couple episodes back no doubt. The one Lakan made sure to bring up to Jinshi. I don't have the details figured out, but Maomao does, and she's starting to worry now.

No, she's not worried, she's terrified. Someone has had a plan in the works for over a year, to assassinate a high ranking noble Jinshi (she, like me, already knows it's him, even if she won't admit it). And Maomao only just figured it out. She's not sure if she will be able to get there in time to stop it, but damn it she's trying! Girl is about to bust open a huge conspiracy!

Run Maomao! Run! Go save your prince!

Ah shit. Her status means she can't enter. But! Jinshi is in danger, right now! She can't back down.

Maomao: I'm just a servant with no authority to speak of. But if something happens it'll be too late for anything but regret!

Oh brave Maomao! This guard is threating her with his giant cudgel but she's not giving up. And what an image! Little Maomao on the steps standing up to the big armed guard who looms threatening above!

She accuses him of being in league with the saboteur. And that does it. He bashes her in the face! Oh shit! That guard comes down the stairs and I'm pretty sure he's trying to kill her. The other guards think so too, because someone is able to stop him. Maomao meant to provoke him, as a means of creating a commotion, but it's not enough to disrupt the ceremony. And Maomao is pretty messed up from that blow to the head.

Maomao is pushing through by sheer force of will, unconsciousness threatening to take over. She ignores the pain, and the danger, and stands back up because she needs to save someone's life.

Maomao is a goddamn hero, y'all. This persistence in the face of overwhelming odds, in pursuit of a noble purpose; it makes for great characters. And in a love story it's romantic as fuck.

But no matter what she says or does, it's not enough. She doesn't have the status to disrupt this ceremony.

But Lakan does.

Friends. I can't breath. This is peak drama.

Lakan is pretty intense for a moment with the guard, when he says:

Lakan: You have hurt her.

Maomao doesn't turn around, claims she doesn't want to see who it is. But she knows it's Lakan. And she knows his presence here is not a coincidence, as nothing in this episode has been. But there isn't time for that, she needs to move quickly. She is permitted past the guards, but how to stop the ceremony without being executed for it later?

There isn't time to think it through, she sees the disaster is moments from happening and she simply runs and tackles the officiant of the ceremony out of the way, as the giant apparatus comes crashing down.

I am so here for this moment.

Maomao realizes that she made it in time. Realizes her leg is injured. But she is addled from the blow to the head, because as soon as she sees Jinshi she asks for the ox bezoar that he offered. Girl, this guy is going to give you his whole life.

And of course it's Jinshi. It had to be! Maomao looks a wreck, with her face swollen, her nose bleeding, and her leg broken. But she's alive, and because of her brilliant mind, and bravery, so is Jinshi.

Jinshi is in shock. Trying to comprehend what the fuck just happened. Perhaps only moments from losing his shit, once he knows which direction to lose it in. He sees the state Maomao is in and he's on the verge of tears. So am I.

Maomao: I don't understand. Why is Master Jinshi here?

I'll allow her this confusion right now because she just got smashed upside the head, but later when she's recovered, she's not allowed to deny who and what Jinshi is any more. It's too fucking much at this point.

Maomao is disoriented, but she's done what she came here to do, and now she can let herself fall unconscious. After all Jinshi is here, he looks awfully sad, but he's capable and kind, he'll take care of her.

Jinshi is so distraught to have her fall unconscious in his arms. He does call her "Maomao," this time, as he begs her to stay with him. That lost little "please" at the end is going to stick with me for a long while.

Every person in this room, is useless in a crisis. There are at least a dozen people standing around doing nothing.

Jinshi leaves with Maomao in his arms. He doesn't acknowledge anyone, including Lakan, who looks rather shocked. Shocked because Maomao got hurt, when he didn't intend it, or shocked because Jinshi responded differently than Lakan expected? Or did he think she died? In any case, one of Lakan's well planned strategies didn't work out how he intended. I don't know if Jinshi is even able to spare a thought as to why Lakan might be here, or what his role in this whole event might have been. To me it seems, Lakan knew what was going on, but that he wasn't behind it. Perhaps his interest in bothering Jinshi was to try to help him? I don't know. I'm sure we will find out more about Lakan's role soon enough.

There are a lot of people that saw Maomao force her way into the building and save Jinshi's life. And a lot of those same people saw Jinshi walk out with her in his arms. And everyone of them showed Jinshi deference as he left. Too bad that Maomao missed it. Will it matter that people saw this, does it mean anything in this setting?

Is there symbolism happening right now? Probably! I also wish I knew what the lyrics to this song were.

Maomao is bleeding and broken, unconscious, but without her actions, it would be Jinshi who is hurt, or more probably dead. A trail of Maomao's blood trails behind as Jinshi leaves with her in his arms.

Jinshi has to be thinking about how Maomao ended up being there just in time to save him. If it truly were just an accident, then there would have been no way for her to know about it, which means the crashing apparatus was planned. That someone tried to kill him. Jinshi has to know that there are people who would like him dead, perhaps people have even tried to come at him before. And for much of this show we have seen Jinshi try to keep Maomao away from the more dangerous parts of his life. Today, what he feared has happened. Maomao was injured, because she got tangled up in the danger that is Jinshi's life. But if she hadn't he would have died.

So what will Jinshi do? Will he push Maomao away to keep her safe, so she doesn't get hurt again like she did today? Or will he let her in now? Tell her his secrets and keep her close? How can he best protect Maomao, by pushing her away or pulling her close?

And what will Maomao do when she wakes? She can't deny who Jinshi is any longer.

Also, will whomever is behind this be discovered? Will they try again?

To start at the beginning: Episode 1

Next episode: Episode 20

[mcchipisfried]

I'm watching Hannibal for the first time and I'm not gonna lie I had my doubts. (Currently on Seaon 2 Episode 11)

(ALSO SPOLIERS BELOW though I think I'm the last person on tumblr who HASN'T seen Hannibal)

My forefathers forgive me, I had doubts. So so many doubts. I wanted to go into this show decimating everyone's reasoning that Hannibal Lecter and Will Graham would work as a couple (romantic or otherwise). I wanted to be fed a story about murder, deception, manipulation, betrayal, and maybe even a little but of cannibalism. And don't get me wrong I have gotten this, but I've also been fed a romantic comedy.

I went into this show not wanting to find reasons to want these two together, I wanted to think "Oh the people of tumblr probably pieced a bunch of subtext together and I probably will as well but it'll hardly be anything that I could write about to my friends who haven't seen the show"

I was so fucking wrong.

Really it should have been the moment where Alana and Hannibal were having a ✨️moment✨️ while Will and Margot were also having a ✨️moment✨️ so the way the whole scene played was very. Well. Not what you would expect from a guy that should have every reason to shoot Hannibal on sight. The fucking framing and cinematography got me to send a 3 minute long vm at 2 am to my friend who really doesn't care about Hannibal.

Or maybe it should have been every single time tweddle dee and tweddle dum are even remotely alone together and decide to start eye fucking each other while also making death threats.

But no what got me was when Alana described what was done to Freddie Lounds' body the second time around as a demonstration of a courtship (best way I can phrase it without just explaining the plot that led us here)

Really, its such a small moment.

But the way the two idiots are standing there looking at each other and Alana shouldn't have been as funny as it was nor should it have instantly reminded me of an early 2000's movie where the couple is secretly dating because they just can't help it and some third party, maybe even one the main couples friends discovers them while trying to NOT make it a Big Deal™ because they are in public except y'know, this is happening over the body that Person A burned to a crisp and sent rolling in a wheelchair while Person B got said body after the funeral and made it into an effigy.

Anyways TLDR: I thought the Hannibal x Will stuff was all very insignificant subtext but actually it was just text and it was screaming. I would also like to thank my film, cinematography, scriptwriting, lighting, and storytelling college classes because as it turns out you did do something for me. You made me realize that whatever is happening between Hannibal and Will is not platonic and I will be consulting AO3 to further expand my understanding of these characters as soon as I finish watching the show.

Also yes I know at some point someone says Hannibal is in love with Will. But now I'm starting to believe that.