#where this one is a full story arc

[reading-writing-dying]

Officially done with first round of edits on the next chapter of The Other Me which means tomorrow whenever I get out of work I just have to type out the edits and finish the minor reworks I've marked then it's posting time!

[originallymarysue]

Uh.. looks like someone broke the ketchup bottle... :/

(DW He didn't kill anyone, the blood is just symbolism)

[foursidecity]

If voltron got the ninjago treatment I genuinly don't know if it would be Worse or Better

[creaturefeaster]

i like cleo.. never seen him before i don’t think! another mime with facial hair… sighs wistfully and happily

Because I've never drawn him before! He's been a background character for a while now but he, like a few other less relevant characters, hadn't gotten a design until recently.

⚠️another mustache enters the arena⚠️

[victimized-martyr]

Do you think Kenny actually likes cartman? I’m not so sure since the reading of his will in s9e4 (https://youtu.be/QGx92r8NLIM)

I feel like nobody likes him but Kyle is the only one who thinks he can possibly get better at all.

I agree on some level with that last statement. Due to Kyle's morals and complicated attachment to Cartman, he would be the only one willing to nurture the potential Cartman has, though I'd say Cartman isn't universally hated as one would assume. I think Kenny and Cartman's friendship deepened off screen since s9. It shows itself strongly in the covid specials and post-covid (not post covid the special, I mean like.. after the actual irl covid and.. ARGH mattrey u make my life so difficult)     

      Kenny was the one to approach Cartman about the fragility of the broship and inspires Cartman to be the one to make sure the gang stays together. That's a level of openness and vulnerability that frankly, I haven't seen him share with Stan or Kyle. Quite the opposite in fact-- When Kenny finally admits he's immortal, Stan and Kyle dismiss him in their own way. Neither have made the move to sympathize with him since, especially at the level Cartman does in the covid episodes. Now, Cartman's "sympathetic" method of coddling Kenny wasn't the best thing to do I'd say, the show was clear  Stan, Kyle and Cartman weren’t handling the broship fallout well, but Cartman definitely proved himself as the “best friend” the show has claimed he’s been in prioritizing Kenny during Covid. We even get a verbal reminder from Cartman and Kyle in Post-Covid that despite it being the literal worst future for everyone, Cartman and Kenny’s friendship thrived. With the opposite lives they lead, it's astounding they remained best friends for forty years.

That level of loyalty is kicking Stan and Kyle in the dirt and laughing rn. Look at Dikinbaus! Cartman and Kenny had a blast “planning the business” (ie living it up as owners and mutually taking advantage of Butters to just pal around) and Cartman once again concedes to Kenny when he lets him work from home. It’s a gag first and foremost, but still, I think it works as part of character analysis lolol. I’m analyzing this a lot from Cartman’s perspective, or at least his actions, but I don’t rlly have much to go by on Kenny’s end and I hope y’all can see why lol. excluding the Mysterion arc and the s22 Halloween episode, he’s a passive character. things rly just are happening to this dude. 

Cartman's attachment to Kenny has grown exponentially since the early seasons ("I hate yew guys/ specially kinny/ ah hate em the most/") whereas we've heard directly from Kenny what he thought of Cartman at the time s9 was written but we don't really know what he thinks of Cartman presently. Now, mattrey have written Kenny's quietness and frequent disappearances as part of the charm of his character--the mysteriousness with a pinch of hidden sadness, maybe a dash of loneliness--and not like, a serious writing pitfall of not knowing what to do with one of your main characters, not giving them the chance to let the audience see their motivations. So the uncertainty surrounding Kenny's true opinions, in this case of his friendship with Cartman, isn't by accident. I'd say it's fair to assume Kenny now views Cartman as a best friend, given how much Cartman has done for him.

I’d also say it’s fair to assume the pity for Cartman hasn’t changed.

[cream-and-tea]

pallas in book one is definitely at it-cannot-possibly-get-worse-than-this ABSOLUTE rock bottom but god. there is such a specific flavour to their despair in book two that only happens because of the realization they have at the end of lay me down. like. how do you move on after admitting that everything you believed in was a lie. how do you live with what you’ve done (with what has been done to you). is it possible to pull yourself up out of the pit you’ve dug. what do you do if it isn’t. what do you do if it IS. and once you look at the damage how do you stop looking. past the first layer of hurt there’s just more and more hurt and you were used by the one person who was supposed to keep you safe to cause even MORE pain and no matter how deep you go none of it means anything! it never meant anything at all!! motherfucker your worst sin is that you have destroyed and betrayed yourself for NOTHING!!!!!!!!!!!!!!!!

[goldentigerfestival]

Yuri's dialogue (JP) is so fascinating to study, like... the repetitive use of certain words/phrases that others use sparingly but he uses constantly. the way it feels like his vocabulary is more expansive than what he uses, but he defaults to a "comfort" level of speech. the way it mixes in with his sort of "street talk" words and the sheer level of informality. the way his "street talk" phrasing is contrasted by the tone of his voice (on that note, people I know who also know JP are also very endeared by these aspects of him so I KNOW IT'S NOT JUST ME!!!).

'cause the thing is, he uses phrases that yeah, other people do use, but he uses a handful over and over and over (contrast to other characters' sparing use of repetition). it's actually... really refreshing? it sounds more relatable and less "video game/anime/JRPG/RPG" writing or something, idk. like closer to how a real person would speak.

I do my best in my translations not to make things sound too stiff across the board, but Yuri makes it so easy. it's why I'm so interested in translating all his lines in Vesperia, like... the actual, original tone for him with his original wording because it's smth Eng only players don't get to experience ('cause even if you listen with JP audio, if you don't know the language, ofc you're gonna miss out on context. it's nobody's fault for not knowing, just... they unfortunately miss out). the thing is, there are a lot of times when the lines in and of themselves are not contextually incorrect in the English ver (usually the situation for smaller scenes, because they altered the text outright for more important stuff which was the stuff that originally set me off, but there were also plenty of cases of just vocal tone shifting with the correct context that still gave off the wrong impression), but Yuri's tone is shifted away from the original in Eng even though it's completely and perfectly translatable.

I am by no means about to translate the entire game because let's face it, I really don't care that much for Vesperia on the whole. I'm kinda stuck with it because Yuri's there lo and behold I actually am WAY more engaged in his stories in Rays, Link and Asteria because it's an amazing character put into circumstances where he actually gets to shine and feels more alive, which Vesperia did not provide nearly as well with its very disjointed story. also, Tales gachas have banger stories that are arguably better than the mainline games, and they regularly make Yuri a very central character to the gachas. Crestoria was also about to do it until they pulled the plug on that game and I'm pretty confident something interesting has been lost to the world. also I just generally don't have the energy or motivation to do that, so... I'll only be focusing on Yuri's lines, especially because his stuff is where the bulk of the messing around was. he's just insanely fun to translate for and I love burying myself head first into his speech.

will I actually finish this project? dunno. will I get around to posting it? whatever I get done (so all of it if I complete it), and if I decide to call it quits then I'll post what I have at the time I decide that. will it take a long time? probably, but I can always mention stuff along the way...

[secrettreestuffidk]

folks are on about a/b/o having ass babies but like??? It’s obviously a cloaca

[jacquelinemerritt]

Dragon Ball Z: Abridged Episode 48 Review

Originally posted June 3rd, 2016

Guys, the climax is supposed to be at the end.

I should probably be in love with ��Advanced Geometry.” Semi-Perfect Cell is an absolute delight, Tien gets to swoop in and kick some serious ass, and Goku performs one of his funniest Deus ex Machina in the entire series. And on a purely visceral level, I do love this episode, but that doesn’t mean that “Geometry” is not without a rather glaring flaw: Tien draining himself and being nearly killed by Cell is the climax of the episode, and there is still one third of the episode that follows it.

Now, I’m not one for strict adherence to the “three-act structure,”1 but even within the that broken paradigm, there is an incredible wisdom to only having a relatively small portion of the story to follow the climax. It certainly would’ve been unsatisfying to end this episode with Tien on the ground before Cell with no knowledge of what would happen to him, but ending immediately after Goku rescues him? That would’ve been completely satisfying, as that Is where the story of this episode ends.

Continuing after Tien’s rescue also does a thematic disservice to the sacrifice he made in fighting Cell as effectively as he did. Beyond the Senzu bean recovery removing any narrative consequence to the sacrifice (thanks Toriyama), it’s also very disappointing to see the narrative focus on the return of two Super Saiyans not two minutes after we’ve been shown that true heroism is telling Cell, Super Saiyans, and power levels to fuck themselves and giving everything you have to holding the evil back, even if your efforts are ultimately futile.

Despite Cell’s insults towards humanity, Tien (and Krillin before him) has proven that it doesn’t take fulfilling an ancient alien prophecy to do some modicum of good, and having to listen to Vegeta rant about his power increase after that is incredibly dissonant with the stated themes of the first two thirds of this episode.

Rating: 3.5/5

If you enjoyed this review, consider supporting me on Patreon.

Stray Observations

1One of the things I love most about anime as a genre is how it consistently flies against the ideas propagated by Western storytellers about how stories should work, especially in regards to the three-act structure. Now, this isn’t true for all anime, but a lot of shows in the shonen genre actively avoid structuring individual episodes with three separate acts, instead choosing to showcase a fight over multiple episodes with each “act” of the fight given an entire episode, and while that can and does cause pacing issues, it also makes each encounter more dynamic, giving it room to breathe and develop far more naturalistically than it might with a three act structure.

By the way, I define “act” in this context as the section of a story wherein a character makes a specific and irreversible choice, and it is entirely possible for individual fights to have multiple acts inside of it.

Krillin Owned: 32, because he didn’t think to stop flying towards a moving plane.

“Booby-bomb!”

Chiaotzu: “Died? Yes. Jesus, we’ve literally all done it.” Chi Chi: “I haven’t.” Chiaotzu: “Give it some time, you’re hanging with the right crowd.”

“Ki-ko-fuck yourself.”

Does… does Goku see the world like it’s a Wes Anderson film? Because that sounds amazing.

Vegeta: “I am finally stronger than you!” Goku: “Neat!” Vegeta: “Fuck you!”

[fordtato]

Ford's arc in the Book of Bill is literally how he overcame the trauma of the abusive ex-partner who ruined his life, and how Ford learned to not be consumed by that fear through the help of his family and IF I NEED TO BE THE ONLY ONE WRITING TUMBLR THINKPIECES ON IT, I'LL DO IT, BUT WHY AREN'T MORE PEOPLE TALKING ABOUT THIS?!?!?!?!?!

Bill literally lays out how he preyed on Ford's insecurities and his quirks, how he saw Ford as the perfect candidate for Bill to take full advantage of, and how Bill purposefully did what he could to convince Ford that NO ONE ELSE WOULD LOVE HIM if he got rid of Bill, that he was nothing without him.

And it's the story of how Ford overcame, how Ford shot Bill with a shotgun and spat on the ground where he stood, how Ford does everything he can to warn the reader before realizing that Bill is not an all-powerful being to be feared, but a sad pathetic man. Bill is charismatic, but he's not a god. He's just someone Ford can leave behind.

It's not even subtext, it's text. It's a story told with queer undertones, with the language of abuse built in. AND NO ONE IS TALKING ABOUT THIS?

[giveamadeuschohisownmovie]

Ways I can think of that “DanDaDan” differs from other shonen series:

* Female MC is as important as male MC

* Canon romance gets consistent development through the series. I think that’s part of the reason why the MC ships with the rivals (Aira, Jiji) aren’t as popular with the fandom for once. The main ship is actually getting good development, so the fanbase doesn’t have to make up headcanons to fill in the space.

* Flips the found family trope on its head by having the main group despise new people whenever they show up and they even actively try to kick them out. The new people only end up staying because they keep lingering around to the point that the main group just gives up and lets them stay.

* The rivals aren’t emo or angst-ridden. Aira is a delusional tryhard popular girl while Jiji is a himbo drama queen. I’d even go as far to say that the MCs are the ones who are emo and angst-ridden.

* Supporting cast is more than just important, they become integral to the story. I’d say that the further you read into DanDaDan, the more it becomes an ensemble cast where everyone is a protagonist in their own right.

* World-building is all over the place, but in a good way. Most other shonen are pretty consistent with what kind of world their characters live in. MHA is superhero-based, Naruto is ninjas and magic, Bleach is spirits, and so on. DanDaDan feels like the author just throws whatever cool shit they can think of into the story. That’s actually the reason why I wrote in a different post that DanDaDan reminds me more of Marvel/DC than any other shonen series, it manages to capture the catch-all insanity of those comics.

* Doesn’t rely on hidden power-ups. The main characters either have to outsmart the villains or they have to train to get better with the powers they already have.

* The pervert comic relief guy is actually endearing for once. Not because of his pervert tendencies, but because he’s so oblivious to how socially inept he is that it’s kind of funny. This is gonna sound strange, but he sorta reminds me of Thor in Thor Ragnarok. Full of himself and oblivious to how dumb he can be. He’s Thor without the good looks lol.

* Flips the “nerdy outcast loser somehow gets a harem” trope. Instead of making Okarun cooler than how he actually is, the story emphasizes that the women who fall for Okarun are as weird as him. Momo is a weird outcast, Aira has main character syndrome, Vamola doesn’t understand how to human because she’s literally not one, Rin thought Okarun was a vampire (and wanted him to be).

* Flips the “elderly figure in charge of the teenagers” trope. I don’t really get motherly figure vibes from Seiko Ayase, I get more “cool wine aunt who is stuck with her niece” vibes. In fact, there was the arc where Okarun showed up to her in spirit mode to get her help with fighting off the alien invasion and Seiko’s response was, “Well, I’m not in the area and I have other shit to do, so you kids figure it out.”

* The series takes the piss out of the trope of mystical/magical items that the group acquired to get their powers. I mean…the main mystical MacGuffin in the series are Okarun’s balls.

* Okarun was about to go into an “I’m weak / I wish I was stronger / I want to get stronger for my friends” breakdown, but Turbo Granny told him to shut up and keep fighting.

* Not afraid to put the “cool girl” in as many funny situations as possible. Off the top of my head, the series built up Momo as this cool, tough girl who doesn’t take shit from anyone…then several chapters later, Okarun found out she got a job at a maid cafe.

(Feel free to add to the list!)

[meejijis]

ah yes today is the day where one of my most hated manga moments of all time gets animated and I’m already just salty just thinking about it

[kidcaroline]

There are endless examples of stories where the protagonist is not the most popular character, or where a side character steals the show, or where the protagonist simply isn't as deep and interesting as some others in the story. And some of those are still good stories, the main character doesn't *need* to be the "best" one. But Aang isn't an example of that. He has as much depth and as long an arc as anyone else, and yes, that includes Zuko. AtLA is crammed full of great, nuanced characters, from the protagonist on down to small parts in single episodes.

[ffverr]

How to read X-Men?

For the dear X-Men fans that came in through 97 (or the movies) and are confused as to where to start the comics! Don't let the internet fool you, there is only one way and it is by starting with Giant size X-Men #1 (1975). No I am not kidding, it truly is the only right way to get the full story😭 (unless you want to go ALL THE WAY to 1963, I don't necessarily think it's that vital)

This is me trying to keep ppl from making the same mistake I did, starting with wheadon's astonishing X-Men ☠️

Here is a very useful pic of what to read next 💞 good luck!

This is to get ALL the context and major story arcs still referenced today. So I believe it to be vital for the other eras. (I don't know how you can fully understand jean and Scott's relationship today without having read inferno or dark phoenix for example)

Now, If you just wanna read for one specific character, that's a different story! Character specific reading guides that concentrate on the important issues across time exist! Look for those they're very useful <3

Guide made by: https://www.reddit.com/r/xmen/s/z1xNhqPXtv

https://www.reddit.com/r/comicbooks/s/ChkpOJbXED

[symbologic]

currently going through the Wano arc with @brovado, and maybe it's because i'm still in Act 2, but i honestly don't understand how Matt Owens can rank it as B-tier??

the story is SO ambitious and has a lot to chew on. it reminds me of this dense, classic novel with lots of intrigue, a rich cast of characters that are all thematic parallels and foils to one another, and TONS of dramatic irony. also, the visuals? are a damn treat, since it leans so heavily into Edo-period aesthetics and art

[physalian]

How To Make Your Writing Less Stiff 5

Movement

Dredging this back up from way back.

Make sure your characters move, but not too much during heavy dialogue scenes. E.g. two characters sitting and talking—do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them…

Gesture

Wave

Frown

Laugh

Cross their legs/their arms

Shift around to get comfortable

Pound the table

Roll their eyes

Point

Shrug

Touch their face/their hair

Wring their hands

Pick at their nails

Yawn

Stretch

Sniff/sniffle

Tap their fingers/drum

Bounce their feet

Doodle

Fiddle with buttons or jewelry

Scratch an itch

Touch their weapons/gadgets/phones

Check the time

Get up and sit back down

Move from chair to tabletop

The list goes on.

Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t—what does that say about the both of them? This is where “show don’t tell” really comes into play.

As in, you could say “he’s nervous” or you could show, “He fidgets, constantly glancing at the clock as sweat beads at his temples.”

This site is full of discourse on telling vs showing so I’ll leave it at that.

Epithets

In the Sci-fi WIP that shall never see the light of day, I had a flashback arc for one male character and his relationship with another male character. On top of that, the flashback character was a nameless narrator for Reasons.

Enter the problem: How would you keep track of two male characters, one who you can't name, and the other who does have a name, but you can’t oversaturate the narrative with it? I did a few things.

Nameless Narrator (written in 3rd person limited POV) was the only narrator for the flashback arc. I never switched to the boyfriend’s POV.

Boyfriend had only a couple epithets that could only apply to him, and halfway through their relationship, NN went from describing him as ��the other prisoner” to “his cellmate” to “his partner” (which was also a double entendre). NN also switched from using BF’s full name to a nickname both in narration and dialogue.

BF had a title for NN that he used exclusively in dialogue, since BF couldn’t use his given name and NN hadn’t picked a new one for himself.

Every time the subject of the narrative switched, I started a new paragraph so “he” never described either character ambiguously mid-paragraph.

Is this an extreme example? Absolutely, but I pulled it off according to my betas.

The point of all this is this: Epithets shouldn’t just exist to substitute an overused name. Epithets de-personalize the subject if you use them incorrectly. If your narrator is thinking of their lover and describing that person without their name, then the trait they pick to focus on should be something equally important to them. In contrast, if you want to drive home how little a narrator thinks of somebody, using depersonalizing epithets helps sell that disrespect.

Fanfic tends to be the most egregious with soulless epithets like "the black-haired boy" that tell the reader absolutely nothing about how the narrator feels about that black-haired boy, espeically if they're doing so during a highly-emotional moment.

As in, NN and BF had one implied sex scene. Had I said “the other prisoner” that would have completely ruined the mood. He’s so much more than “the other prisoner” at that point in the story. “His partner,” since they were both a combat team and romantically involved, encompassed their entire relationship.

The epithet also changed depending on what mood or how hopeless NN saw their situation. He’d wax and wane over how close he believed them to be for Reasons. NN was a very reserved character who kept BF at a distance, afraid to go “all in” because he knew there was a high chance of BF not surviving this campaign. So NN never used “his lover”.

All to say, epithets carried the subtext of that flashback arc, when I had a character who would not talk about his feelings. I could show you the progression of their relationship through how the epithets changed.

I could show you whenever NN was being a big fat liar about his feelings when he said he's not in love, but his narration gave him away. I could show you the exact moment their relationship shifted from comrades to something more when NN switched mid-paragraph from "his cellmate" to "his partner" and when he took up BF's nickame exclusively in the same scene.

I do the same thing in Eternal Night when Elias, my protagonist, stops referring to Dorian as "it" and "the vampire" instead of his name the moment they collide with a much more dangerous vampire, so jarringly that Elias notices in his own narration—the point of it being so explicit is that this degredation isn't automatic, it's something he has to conciously do, when everyone else in his clan wouldn't think twice about dehumanizing them.

—

Any literary device should be used with intent if you want those layers in your work. The curtains are rarely just blue. Whether it’s a simile with a deliberate comparison or an epithet with deliberate connotations, your readers will pick up on the subtext, I promise.