#which isn't writers' fault obviously

[fromaliminalspace]

Got thinking about something during my guitar practice today and now it's haunting me so gonna get it out. As a person who's kinda on the autistic/ADHD spectrum I've been noticing how this daily (well, almost daily) practice is working for me in ways that confirm the message of posts like this. How getting my hands on the instrument gives me enough happy brain chemicals to at least try to do sth about my to do lists, how my feasible progress (no matter how far I still am from where I wanna be skill-wise) helps me not just carry on with my day but sometimes even pull me out of my head and give a little bit of motivation to work on stuff I wanna work on. From just spending a couple of hours tormenting my poor old acoustic with music that is meant to be played on sth capable of emitting way heavier sound than just that.

And I can't help but think how the same thing would explain (not that it needs much explanation) so much about Eddie Munson's excellent guitar skills and his passion about music, especially in context of him also displaying quite a few ADHD traits and having failed to graduate high school twice. And the odds are that he's self-taught so he had the freedom to engage in this hobby and learn this skill in ways that make sense for his own brain, instead of having to conform to how disciplines are taught in ways often colliding with how neurodivergent minds work, instead of having to deal with someone else who'd pressure him into living up to expectations at the expense of himself and scold in case of failure or missed deadline.

No, this is something Eddie learned entirely on his own volition, something he can easily pour entire hours of concentrated effort into, something that reminds him that he's not as much of a failure as everyone else says he is. So naturally it's endlessly interesting to me how exactly him regularly playing music works with regards to his brain chemistry, and alas it's not something I've ever seen explored in fics yet, though it's always fascinating to read how other people write him as having ADHD even without making it intersect with music. Which shouldn't probably be surprising, given how much this niche kind of thing might be tricky to actually write unless informed by experience, but still. It may be niche, yeah, but it has quite a lot of potential for offering some insight for what makes Eddie tick and what exactly this admittedly large part of his life means to him. And this is, again, endlessly interesting to me

[simmonsized]

respectfully asking for those hs2 opinions if u do wanna share !

My opinion of Homestuck^2 is that it is, at the end of the day, glorified fanfiction, and I'm so serious about it. Like, is it impressive that a group of people care so much about Homestuck that they're trying to work within the bounds of the epilogues and the limitations that that world set for them? Yes.

But is it also a group of people who are fans of a work that started in 2009 and has arguably transformed a lot of fandom and internet culture in ways non-homestucks do not recognize, and thus as homestuck fans are also going to bring their own personal shades of experience with years of interaction within the fandom, especially depending on what years they were most active in the fandom? Yes.

Like I won't call it bias but. Yes, yes I will let lol. Fans of a thing are going to bring unconscious bias to a work even if they are invited to work on this by the creator directly or just with the creator's blessing itself.

I think roach said this many years ago but there's no "fixing" Homestuck, and there's no fixing the world created by the epilogues, either.

I admire the endeavor to work within the bounds of a work of fiction not inherently your own.

But tbh, it's still going to be an MSPA fan adventure. Homestuck^2 was always going to be a MSPAFA.

There's nothing wrong with that, but it's just like. The concept of considering it canon at all would be laughable, which is why I respect the decision to call it "Beyond Canon."

Because all fan works, in all their ways, are historically love letters to the original work that exist "beyond" the canon of the story, and I think that's what makes them good. I think that arguing against Homestuck 2 being a fanwork is an insult to the years of effort other fans have put into Homestuck -- the way it is viewed as a whole (good and bad), the ships that are popular and reviled, the popular tropes and headcanons.

And over the years the original Homestuck was influenced so by these things, too, and it shows, and I'm more watsonian than doylist, which is apparent to all who know me (my favorite character has no speaking lines and no canon personality and yet also somehow went from being one of the most popular to least popular characters in the past ten years), which is why I say again, that I don't think there's any shame in calling Homestuck 2 a fan adventure, and pushing back against that is, to me, an insult, especially after being here for 13 years.

Anyway all that to say, the concept of Homestuck^2 is interesting, but doesn't feel like required reading, least of all to me, haha.

[helluvathings]

I've seen a few critiques that the episode is so 'Blitzø apologizing' heavy, without a lot of Stolas reflecting. Which is fair; there isn't much acknowledgment that the Stolitz problem is two-sided. At this point, though, I'm fairly okay with that. Despite being a follow-up to The Full Moon, the episode had a very contained premise and arc, and Blitzø's personal development served as the central focus. More than being a stolitz episode, Apology Tour was about Blitzø seeing where he's gone wrong in the past, getting closure with Verosika, then having an obviously impactful oh moment with Stolas at the end.

There's only so much space in an episode, and I like what this one did with Blitzø's character. I also do think it set up Stolas reconsidering some things. That moment where Stolas compares Blitzø to Striker really stood out to me. He gets sulky. Blitzø emphasizing his status clearly makes him uncomfortable, and he doesn't seem to think Blitzø has any justification in bringing it up.

He clearly hasn't engaged with the stuff behind the 'treating me like one of your little butler imps' comment whatsoever. And the fact that his body language is so childish here, the way Stolas says, "When have I ever-" after Blitzø claims he looks down on him, gets me thinking the writers didn't want him to seem in the right.

Look at this posture. That's not the expression of someone making a good point. He looks like a brat. He isn't taking Blitzø's class concerns seriously, when the writing has put so much time into making that an issue, it's clear the show does.

Then later on when he's singing, there's these lyrics:

Maybe there's something here for us to glean/for you to teach, and me to try to learn

Verosika and Tex come in and shut it down: no, he's a motherfucker. But Stolas's inclination was to ask, was something here my fault? He only embraces the 'he's a motherfucker' line after his questioning gets answered with a resounding negative from his backup singers. I'm not saying Stolas is a bad person for not responding to heartbreak by 'doing the work' on the related class issues. That wouldn't be realistic.

But in addition to all the progress these two made just by airing so much dirty laundry, there are indications the show isn't going to make this a Blitzø-only problem, and that Stolas is going to get development as well. It just might take more time.

[olderthannetfic]

I feel like such a hypocrite reblogging all these posts about how people like male characters more than female ones even if they have similar personalities/roles/wtv, but I read about this stuff precisely because I relate to it. "People think everything men do is cool and everything women do is either weak or Mary Sue" -- yes, it's me, I'm people. It's not like I do it deliberately or I'm proud of it, but I can observe and acknowledge the empirical fact that female characters just produce a very different emotional reaction in me than male ones.

I guess I like the safe distance of projecting onto characters who 1. are more obviously not me and 2. are judged less harshly than me (bc everything men do is cool) and that's not my fault, it's the patriarchy's, but then I can't challenge it. I can't say "women can be just as cool and we shouldn't be judged more harshly", I can only say "yea women suck let me forget I am one" like I'm still in my 9gag nlog tween phase -- or well, I can *say* the former, but I keep *acting and feeling* like the latter. And btw I'm not just talking about consuming media, where all you can choose from is what's on offer; I'm also talking about creating my own fanfics, which are all about men.

--

The reason a lot of those posts are so obnoxious is that they're just people wallowing in guilt and projecting.

The fact is, lots of people do like female characters. There's plenty of fiction about women. There's plenty of fic about women. There is not, in fact, some grand, existential problem where nobody cares about the ladies. If you aren't seeing this fic or original media, that's different from it not existing.

Two, your own fanfics? FFS. If you consume media that is a sausagefest, then of fucking course, your fic will be about dudes.

Just the other day, I spotted a story I hadn't read by a fantastic fantasy novelist. I hadn't looked her up much beyond buying her trilogy, and what do you know: she actually says who she is in fandom openly!

I was entertained to find out that her big thing is kylux. You really wouldn't guess based on her pro work, which is about a harried female doctor taking care of supernatural patients. I remember those books being a refreshing change from my usual diet of nothing but slash fic. It's not just that there's a female lead but that they take a nuanced look at female characters.

Personally, as a writer, I wasn't ready to write much about women until I was better at writing overall, and my more self inserty characters aren't usually going to be women anyway unless they're like Julia from the Hilary Tamar series.

--

If you're uncomfortable with yourself, you can try to change, sure.

But fandom is full of this obnoxious plague where people think that it's the job of each person to make there be more female characters. This isn't necessary. Even if we want media or fic to be more balanced overall, it doesn't follow that each person needs to produce a balanced body of work.

Why should you in particular care about female characters?

--

But beyond all that, oh my fucking lord, I am so tired of that species of post that's like "Gosh, why is slash fandom, where people go to be horny over dudes and/or have self inserty feelings about them, not more full of stuff about ladies? It's so tragic how we all want to get rid of our boobs and wear men's clothing and be addressed as sir, just like all the other girls. What's up with that? It must be misogyny."

With a totally straight face.

Every god damn time.

[messymindofmine]

I find it interesting that the people who keep saying that both Hughie and Annie have a right to be angry seem to be ignoring the fact that not only do we not see Hughie get angry at all, he actually apologizes. Sure Annie has a right to be angry at the situation they are in. She has the right to feel hurt and to express it. But that doesn't mean that lashing out at her boyfriend who had also been hurt is justified. And the thing is, her lashing out would still have been ok if she'd recognized that Hughie did not deserve to be the target of her anger and apologized to him. I would have even taken Hughie and Annie lashing out at each other and then apologizing and talking things out. But no, what we got was Annie lashing out at Hughie for something that was not his fault. You can't just pin this on misogyny and say that people just don't think Annie should be allowed to have feelings and the audience just doesn't like that she's lashing out at their male fave. That's just disingenuous. Especially since Annie is the only one who was allowed to express any hurt or anger in the show itself and got to be portrayed as being in the right.

While the blame obviously goes to the writers for this, let's not pretend that Annie as a character doesn't deserve criticism for her behavior. And this isn't the first time either. Back in s3 when Hughie was doing Temp V, Annie was right to be upset about and was portrayed that way. But Hughie's actual reason for taking the V in the first place (which was the trauma he'd been experiencing nonstop and the feeling of helplessness in the face of supes who could kill him without lifting a finger) was reduced to him just being a toxic male. And then too, we got him apologizing to Annie and Annie saying "I told you so" with no acknowledgement that Hughie's feelings were valid even if he went about it the wrong way. So yeah, while I lay the blame for how Hughie has been treated at the feet of the writers, I'm not going to be mad at people who are upset with Annie and accuse them of being misogynists or call them freaks, idiots etc to which I have seen too many people doing. I love Annie as a character but I'm not going to pretend that she is above criticism.

[fashion-foxy]

You know something that's odd to me? How weirdly the child of the Beauty and the Beast get handled in media. (Obviously, my only examples are EAH and Descendants, but walk with me on this.)

The Beauty is someone who will, for better or for worse, always see the best in everyone. They are kind and good-natured but is usually someone who still holds people accountable for their actions and intentions, not what the Beauty thinks their intentions are.

The Beast is someone who typically does not look past the surface level of a person out of stupidity or willful ignorance. The Beast is also very selfish ,closed-minded , and stubborn. Unfortunately , that means in retellings, the Beast is the only one to go a character arc, and the Beauty comes off as judgmental or too forgiving.

Both characters being foils means that it could be a bit challenging to portray a character that is a result of both of those personalities, but if done right, it creates a very interesting character!

So, what did EAH and Descendants do with what they were given?!

Well, for starters, a bad job, but you already knew that. Let's take a look at Rosabella Beauty and Benjamin Florian No Last Name Given. (Idk most Descendants characters don't have last names)

Rosabella is judgemental, which could definitely actually be a super cool thing that she got from her dad, but based off the fact that she didn't go on an arc and it didn't get presented as a character flaw, I suspect this was accidental. Which is real shame. It would've been a really cool concept to explore Rosabella actually being the Beast.

She is also, by not getting any meaningful character development, giving off major 'I could fix him' vibes with Daring. Except, she's ignoring what's actually wrong in his life and looking at surface level interpretations of what she thinks he's like. Then, deciding he's a self-centered narcissist who she needs to fix so he meets her standards. Hey, wait a spell. She kind of seems to embody more of the Beast characteristics than the Beauty's. I wonder if the writers might have had other plans but were forced to change her into something else or perhaps Mattel wanted to sell a doll of her and Daring so they had to awkwardly force a relationship and not use their original plans?

Ben is way too forgiving. When we first see him, he says that he wants to give the Isle kids (kids who were born to villians who've been trapped in a magic prison all their life) a chance at a normal life, which is great! It's probably one of the best things a 16 year old king could do. So when's the next time he forgives someone? When he tells Mal that he knows she drugged him. So, it's at this point where you kinda realize that he isn't being too forgiving he's trapped in an abusive relationship. Once he sees that Mal realizes the implications of that, he goes back on it, and he tells her that it's not that big of a deal that it's ok that he still loves her.

When's the next time something like this happens? When Mal tries to erase some of his memories after catching her lying about using magic. He obviously yells at her because that's a fucked up thing to do. She downplays the situation and makes excuses. Shortly after, she runs back to the Isle. Ben, assuming that she had the best intentions, blames himself and ultimately gets kidnapped and then drugged again. All of these interactions are all portrayed as 'his fault' and that he'd deserved everything that happened to him because he was holding Mal responsible for her actions. In the third movie, he even stops doing it. Hades asks him why an Auradon kid gets to be excused and why everyone on the Isle doesn't, and he looks at Mal but ignores the question. Mal doesn't answer because she's the reason this Auradon person (Audrey) is hurt because she ruined her life and is currently being excused by everyone, including the writers, but Audrey won't. Ben definitely won't.

So, aren't these the best portrayals of the Beauty and the Beast characteristics? Because mixing the traits incorrectly. If Ben was given more Beast characteristics than just roaring sometimes. Mal wouldn't be abusive if their were actually moments where Ben was being unreasonable and too quick to draw surface level conclusions.

Rosabella wouldn't come off as rude and judgemental if she was given more Beauty characteristics. If Daring was actually self-centered and Rosabella considered others and thought about others instead of drawing conclusions.

[chaifootsteps]

hb could have actually worked Stolas in to the 'Blitz needs to believe people can love him so he won't die alone' plot without it being so disgusting and yucky

OK so hear me out - everything plays out the same up to Ozzie's

then in s2-4 instead of doing The Circus and making Stolas the main character, we stay with Blitz. if S1 was about who he's hurt in the past s2 is the point at which he begins trying to mend fences, but actively instead of the writers just forcing him to do it because he realized in Ozzie's he doesn't like how things are now

have the 'crashed Moxxie's anniversary' actually pay off with M&M being frostier than usual and Blitz being afraid he's about to lose them too. have Loona be annoyed when Blitz is overbearing when she's trying to make new friendships and accidentally sabotaging them with his over-protectiveness

have it be a story of Blitz simultaenously trying to make it up to people from the past (not all of whom forgive him) while he's trying to avoid repeating the same mistakes in the present with his new family

have the circus accident be more directly his fault - maybe he's practicing a stunt to win his father's love and causes the fire that way, even though he obviously didn't mean to

and have him begin to be emotionally vulnerable in small ways and he feels it pay off when others respond in kind instead of mocking or hating him like he fears. Trash 'Oops' as an episode but keep the emotional beat of Fizz forgiving him being the turning point for Blitz forgiving himself a bit, too, because Fizz's forgiveness is the thing he's secretly longed for during the entire show (next to Barbie's, who should also get vastly more screentime). have arcs to handle each of the main cast and flesh out IMP first and foremost

then as he begins to heal and treat people better, return to the Ozzie's plotline. have it be a thread throughout s2 of following Blitz's perspective of the fallout, not Stolas'. Show how confused he is by what Stolas is doing and why he's so happy to avoid him for those months off. have him make small comments to the people in his life about how deeply unhappy Stolas makes him and have them actually notice, because Blitz hated himself so much before he just rationalized what was being done to him as something he deserved

have the full moon argument play out as-is, but instead of what happens during apology tour, have Blitz think what he needs to do is apologize to Stolas to complete his character growth and love someone. Except make it clear to the audience that he has nagging doubts about all this - especially when Stolas pulls the 'I can't believe you didn't ditch taking your daughter to the doctor's office to come save me despite sending your employees to help because I fundamentally don't value your family or your time' card

And then right when it looks like he's about to cave and give Stolas what he wants - he doesn't.

He tells Stolas now he's learnt to love himself and he has people in his life again who've proven to him that he can be cherished and his worst self won't be rejected so long as he puts the work in to make things right when he screws up. He tells Stolas he used to think the owl was the closest thing to real love he could ever have - feeling used, abused and degraded. But he knows better than that now and he isn't about to let a pompous self absorbed royal bully him into being the perfect consort he wants. He goes further than that, even, telling Stolas he was bought to be his friend and pitied him from the start - and even now he wouldn't trade places with him even if he could

Because Blitz has rebuilt his life by looking in the mirror, holding himself to task and trying to be better. Meanwhile Stolas - who has had every advantage Blitz hadn't and could have chosen every step to do things differently - has actively pushed away both Via and Blitz with his 'never my fault, promise to do differently while getting worse all the time' behavior

Then Blitz walks out of his life for good, because now he has regained a sense of self worth he can see that he deserves better than the "love" Stolas was offering

and the one person he does apologize to, besides Barbie/Fizz/Moxxie/Verosika/etc? Striker. He apologizes for calling him a supremacist (still happens in this rewrite but as a sign of how hard Blitz is trying not to think that Striker has a point about Stolas) and that he isn't interested in fighting with him any longer

And Striker just responds with a smile, because he knows it means what he hoped all along would happen, has happened. Blitz is finally free from Stolas - and when he's ready he can move on to a love who respects him instead of just wanting to use him

I want this. If we can't have this in canon because Viv is Viv, I'm glad we have it here and now.

[blueskittlesart]

Lore questions huh? What do you think about dark link and what he represents? (Oot or otherwise)

HI. I LOVE YOU. this is long as hell but it's your fault for asking me about oot

so dark link is the mini-boss fight in oot's water temple. this is the 6th dungeon in the game overall and the third out of 6 in the adult segment of gameplay, meaning it comes when adult link has already experienced the time-switch and is about halfway to ganon. One of the things that makes this battle so immediately striking imo is the fact that the room it takes place in is immediately aesthetically different from the rest of the dungeon, which isn't something we see basically anywhere else in the game. the reason for this, materially, is because everything in that room is a symbol that the writers want you as the player to notice and take in.

the opening of the fight goes like this: link enters a room within the water temple that appears to be an endless foggy void, with a thin layer of water on the ground and a single dead tree in the very middle of the room. there is a distant door on the other side of the room. When link passes the dead tree on his way to the door, his reflection in the water disappears, and when he turns back around he's ambushed by dark link--a reflection of himself. Dark link will be semi-transparent for about a minute at the beginning of the fight but will eventually materialize enough to land hits on link, and will mimic link's attacks while dodging any attempts to hit him. Dark link's health is based on the player's heart containers, meaning the stronger Link is, the stronger his reflection becomes. Gameplay-wise, it's extremely difficult to defeat dark link using the master sword because he can counter almost any attack from it, so most players will use a different weapon that he can't counter in order to beat him.

so let's unpack the symbolism there. first, the room itself: an empty, foggy void with a single dead tree in the middle. This room is pretty obviously a reflection of link's psyche, and link is a kid who grew up in a lush forest, surrounded on all sides by living trees. link was RAISED by a tree, a tree which is now functionally dead, an event which he likely still blames himself for. And since this temple comes chronologically after the forest temple, link has recently learned that everything he thought he knew about himself and the environment in which he was raised was a lie. that dead tree in an open void is representative of link's trauma regarding his childhood--it's the opposite of the security and safety he believed he had in kokiri forest. the tree is slowly rotting away as he slowly loses faith in both himself and the people who raised him. he loses his reflection as he passes the dead tree, functionally losing himself, unable to rebuild his self-image after learning that his entire life thus far has been one big lie.

gameplay-wise, this fight is generally pretty difficult to beat using the master sword. (it's possible, but hard.) i think this is also intentional. The master sword, within the greater narrative of oot, is representative of adulthood, but it's also representative of the childhood that was stolen from link. If he'd never claimed that sword he would have been able to grow up like a regular kid, but because he did, the adults in his life decided that his feelings mattered less than keeping him out of ganondorf's hands, and they took the opportunity to grow up naturally away from him without his consent. when attempting to battle back what is essentially a manifestation of his pent-up trauma and fears, of course it's going to be difficult for him to win using a weapon which was basically forced onto him, representative of a stolen childhood he can't get back.

tldr: dark link is everything everyone ever did to hurt you coming at you all at once. he's link's fear of failure, his resentment over what's been taken from him in service of a greater good he never agreed to, his anger and his trauma. feelings which it's natural for him to have, but which he HAS to work through and understand in order to keep going. it's an unusually violent therapy session basically

[queermania]

Wait wait wait. Jensen picked the writer who gave Dean a lesbian best friend and made him a nerd to be the show runner for his little fixit fic show? This is amazing!

when you look at robbie's run of episodes (that he wrote specifically, not produced or was the executive story editor on), a very specific version of supernatural and dean starts to emerge and it is insanity-inducing. here's a very brief rundown of the episodes robbie wrote:

slash fiction -swayze always gets a pass -dean singing air supply -"it's like eating self-righteousness' -the creation and introduction of frank devereaux -"applications for sainthood" -dean letting sam go

time after time -"what are you gonna look up more anime or are you strictly into dick now?" -dean being a nerdy little fanboy about eliott ness (and checking out a dude in a uniform but that was probably jacting joices) -dean getting excited about dressing up in period clothing!! -understanding that rufus matters and that family isn't just blood -original sam is milf!bait (and he's into it) truther -actually writing grief in nuanced ways -dean is smart and resourceful actually! -your future is "covered in thick black ooze" (which i know is just a very lucky coincidence but i don't care!)

the girl with the dungeons and dragons tattoo -CHARLIE!!! he gave us charlie. he said "actually what if hardcore fans were cool and fun and GAY and they were dean's new best friend" -charlie/dean/security guard flirting split screen -"she's kinda like the little sister I never wanted." "how does a high-school dropout become one of the brightest minds…" -basically this entire episode is just "be gay, do crime" and i love that for me specifically

bitten -not my favorite episode but as @ilarual says "it's very fun in how it illustrates Robbie's willingness to play with form, since it's all done as found footage" -and as @doctorprofessorsong says it "has the concept of monsters aren’t always bad guys" -and apparently it contains a brokeback reference? my memory of this episode is hovering at around 1% tbh but you get it

larp and the real girl -dressing dean up in little outfits AGAIN -and he likes it!!! -and he likes being a nerd! (dean is getting into it and sam is the one who is unamused mr serious guy!!!!) -and charlie is dean's new best friend! -"belladonna" "the pornstar?" -"did you break up with someone too?" -honestly you already know all of it. this is a fan favorite for a reason. what more can i say about this episode??

goodbye stranger -yes robbie was the first writer to try to give us a destiel love confession -cas practicing killing dean over and over and over and still not being able to do it when it comes down to it -"what broke the connection?" gee i wonder -first episode writing cas and he nailed the sort of unintentional deadpan humor that makes cas so lovable ("would it kill you to watch a movie? read a book?" "a movie, no, but with a book with the proper spells—yeah, it could theoretically kill me.") -"if he's so sketchy then why are you praying to him?" -pizza man reference -"do you really think we can trust megstiel?" (we get both megstiel and jealous!dean) -dean quoting lord of the rings (because he's a nerd! and he reads!) -meg roasting the shit out of sam for the amelia stuff -etc

pac-man fever -charlie reading the carver edlund books -charlie and dean being besties/getting a montage -dean telling charlie that what happened with her parents wasn't her fault/understanding the guilt she feels -"i love you" "i know" -"what about castiel? he seems helpful, and dreamy" -again, putting dean in little outfits -charlie knows how to shoot/aim a gun

slumber party -dorothy!! -oz!!! -look, is this episode cheesy? yes. but it's fun and it's so obviously a love letter to the oz source material and i love that about robbie. he does his research and he commits

first born -cain!!!! -drowley team up!!!!! ("friends. besties, actually." im sorry but drowley means so much to me personally and this is the start of their beautiful bromance) -"this is by far the dumbest idea you've ever had." "yeah, well, it's early" -cas liked pb&js!! jelly, not jam. he found jam unsettling!! -"you have a guinea pig? where?" -"you're a terrible liar?" "that is not true. i once deceived and betrayed both you and your brother." -just. sastiel shenanigans (and hugs!) -"she only asked for one thing." "to stop" -anyway. you get it.

meta fiction -dean and cas phone call smiles!! they LIKE each other -metatron media dump -"what makes a story work? is it the plot, the characters, the text? the subtext? and who gives a story meaning? is the writer? or you?" -i think it's important to note that robbie who wrote gabriel faking his own death -cas noticing something is wrong with dean pretty much instantly and then discovering the mark of cain

fan fiction -i mean. come on. -"although we do explore the nature of destiel in act two." -"you can't spell subtext without s-e-x" -sam being such a younger brother and trolling dean about "destiel" -"BM scene" -dean "you know they're brothers, right?"-ing the w*ncest stuff but just being flustered about the destiel stuff ayyyy -dean casually referencing andrew lloyd webber -"transformative fiction" -"i want you to put as much sub into that text as you possibly can" -dean quoting rent -the samulet is back! -"i have my version, and you have yours." -"he took away our own free will" <- about john!! -THE RETURN OF CHUCK!

there's no place like home -"i forgive you dean" "yeah well i don't" "i know, kinda your move" -"you hurt my friend" -"you lied to me" "you lied to yourself. that's kinda your move." -i mean. robbie just gets it, ya know?

book of the damned -cas being a huge bitch (love that) -sam being the excessively codependent one -cas and charlie get to meet! -found family goodness if only for a little bit!!

angel heart -ahhhhhhhhhhh!!!! -"i got it at the hot topical" (and claire keeping grumpy cat) -no seriously. dean and cas went birthday present shopping together for claire and they did it at a mall -castiel feeling guilt for what he did to the novak family (and amelia recognizing that cas has changed/grown) -"you were both troubled teens. you speak her language." -"bring your daughter to work day" -"i'm saying she might be stronger on her own." which is a controversial line but i think it says something really significant about how dean feels about his childhood "in fact you're not anything to her except a constant reminder of someone that's gone." -mini golf!!!!!! dean and claire bonding!!!! -the introduction of the grigori, a class of angels which may or may not be important at some point -claire roasting the shit out of dean with "you seem pretty old" <3 -"happy birthday. don't shoot me."

baby -do i really need to explain anything about this one? -"okay first of all, never use swayze's name in vain, okay? ever." -"mistakes were made" -dean having a dream about john teaching him to drive but under normal and appropriate circumstances -werepire…. ghoulpyre… -honestly just the whole episde. you know what i'm talking about. the unique perspective. the insight into their day-to-day lives. the moments that live in between.

into the mystic -eileen! my best friend eileen! -dean x mildred otp -remembering sam's lucifer/hell trauma -the whole "follow your heart" speech -"banshees go after the vulnerable, so why'd it go after you?" -dean recognizing there's something off with cas -but really the most important thing here is EILEEN

safe house -bobby and rufus!!!! -i repeat BOBBY AND RUFUS!!!! -"were you ever nice?" "1985. worst year of my life." -robbie just really GETS that this show is more fun when it's not centered entirely on the brothers. -bobby referring to sam and dean as his boys -timey wimey shenanigans -there were some interesting implications in this episode too but i'm losing steam here so i'm gonna let you rewatch and figure it out lol

don't call me shurley -the reveal of chuck as god!!!! -bisexual chuck -dean does sam's laundry (sometimes with beer) -chuck is a shitty egotistical writer -he also plays the guitar and: "i like front row seats. you know, i figured i'd hide out in plain sight." -"i thought if i could show my sister that there was something more than just us, something better than us, then maybe she'd change. maybe she'd stop being… her. but every time I'd build a new world, she'd destroy it." -"the world would still be spinning with demon dean in it but sam couldn't have that though could he?" -"you were gonna choose amara over me."

so. yeah. jensen chose THIS GUY to helm the winchesters. bold move, sir. full respect.

also, this tweet always makes me crack up

one of us! one of us! one of us!

[amee-racle-ofmyown]

Hey, Amee!! I hope you’re doing well <3

If by any chance you’re up to it, could you please write a fic about Heist Mark being super jealous of Yancy because he and Y/N clearly seem to be into each other?? I LOVE your art and writings and I couldn’t get this idea out of my head <3 (Obviously no pressure, though!)

I'm so happy to hear you enjoy my work, thank you🥺💖 and thank you for your request! it got me out of a terrible writer's block. on that note, sorry this took quite some time, I've been in a bit of a funk of on and off general creative block, and unable to finish any writing at all for even longer. this was a pretty fun challenge! I myself view Yancy platonically so I wasn't quite sure where to go with this initially, and I had to fight every urge to just make this heist mark x y/n dfsjsjsv. that said, it did end up being more heist mark-centric than maybe you intended? in which case, I'm sorry, I couldn't help myself😔 yancy is there but very briefly haha

Don't you tell me that you never even thought, 'maybe we could run'

2,603 words | Read on AO3

‘We're all gonna be rehearsing tomorrow so youse best get some sleep.’

You nod as you close the gate to yours and Mark's shared cell, stifling a yawn.

‘Goodnight, Yancy.’

You hold each other's gaze for a moment, before he turns and heads off, a tattooed hand over the back of his neck and a sweet smile still on his face. You watch as he disappears into the outer hallway and a guard appears to lock up your cell for the evening.

Your long-time accomplice and friend stands at the edge of your vision, arms folded.

‘Having fun with your new boyfriend, buddy?’ he asks, sounding unimpressed and slightly strained.

‘Oh, shush, Mark,’ you chide, but your stomach flips at the notion.

‘Yeah… Well, while you were busy playing Broadway,’ he glances to either side of the cell outside and continues in a lowered voice, ‘I've been hard at work hatching our escape. And I'm telling you, it's foolproof.’

‘Uh huh. As foolproof as your other three failed plans? I really don't wanna get thrown in solitary again.’

‘Please, that was one time! — and I don't see you bothering to come up with any ideas. Even though you pretty much got us into this mess.’

That accusation ticks you off, but you're quick to retaliate.

‘Are you seriously still hung up on that? How is this my fault? You couldn't fly a helicopter, why would you assume I can? You shouldn't have even presented it as an option!’

Your exclamation earns you a couple looks from other inmates slowly filing into their cells for the night.

‘Nevermind that now,’ Mark says, infuriatingly placatingly, ‘do you wanna hear the plan or not?’

The thread of uncertainty that you've been avoiding coils tight in your chest and you pause, wondering how to bring up what's been nagging at you for days.

‘Um, so, I've been thinking. What if… what if we don't try to escape?’

‘Ha ha. Funny joke, pal.’

‘I'm serious, Mark. We could just… stay here and wait out our sentence, if we play it safe we might even get our time reduced on good behaviour. We could be gone in like a decade. Or a few years! Maybe. Probably. Maybe.’ Wishful thinking, perhaps.

He scoffs, as if the idea isn't even worth considering.

‘There is no way you're genuinely telling me to just wait it out. Maybe you haven't noticed since you've been in la-la land lately, but we're not on vacation, we're in prison,’ Mark spouts, voice growing thick with agitation. ‘What was supposed to be the heist of a lifetime, would've set us up for decades to come, is still on the line! And we're on a bit of a time crunch here — I don't trust that warden guy one bit with the Box, or in general,’ he sneers. ‘I mean what kind of name is Murder-Slaughter? Ugh, do we even know for sure if he still has it?’

‘Yancy mentioned seeing it in his office the last time he was there, which was earlier today, so yeah, probably.’

‘Ugh, there you go again about Yancy. It's always Yancy this, Yancy that, blah blah blah, Yancy!’

‘Wh– I was just answering your question!’

‘Y'know what? I'm sick and tired of being the only one taking this seriously while you act like it's all a big party.’

He places a hand on his hip, the other poking a finger towards you as he speaks. It would be comical, if he wasn't acting like a jerk.

‘What's up with you?’

‘What's up with me? What's up with you? You seriously wanna stay in this— this shithole, ‘cause of what? Some pretty face you've known for all of like, less than two weeks??’

‘Oh my God, Mark, it's not that terrible, and Yancy is actually my friend, he's been nothing but welcoming and kind since we got here, and—’

‘Oh, did you forget that he tried to beat you up when you first met? Real interesting, how you let that little detail slip.’

‘We just got off on the wrong foot, he's really—’

It's then that you see it — something in the slight hunch in his gait, the furrow of his brow, his pursed lips and tense jaw — and you wonder why you hadn't noticed before. It's not just anger and frustration, it's something bitter and personal.

‘Mark… are you jealous?’

Bingo. His eyes only widen a sliver, for a fraction of a second, but you're so used to reading him that even the most imperceptible of reactions on his usually very expressive face have become familiar to you.

‘Psh. I'm not jealous.’

‘You so are jealous! Oh my god, you're super duper jealous,’ you say with a grin, revelling in this new information.

‘Shut up, why would I be jealous?’ he protests, trying to sound nonchalant. But it's too late. You've already seen through it.

‘Is that what this is about?’ you say with a laugh. ‘You just want my attention back or something?’

He stares blankly for a moment.

‘Are you serious right now? You actually think the only reason I'm mad is because some random dude just waltzes in and starts acting all buddy buddy with you and you fall head-over-heels,’ he jeers with his hands either side of his face, fluttering his eyelashes mockingly. ‘Hook, line and sinker.’

‘Mark—’

‘I mean, never mind your partner, right? You know, your best friend who you've known and worked with for years? Who cares what he thinks?!’

‘Mark, I—’

‘In fact, he can get punched through a wall for all you care! You won't even bat an eye, as long as there's a random spontaneous musical number immediately afterwards, it's all in good fun!’

‘Ok, that's not fair,’ you push back. ‘Of course I was worried! But I was also surrounded by violent criminals at the time, we've been over this!’

‘Oh, so they're “violent criminals” now? But they're simply “hurt, misunderstood souls” when it suits you?!’ he shoots back, making air quotes to emphasise his point.

‘They're people, Mark! They're allowed to be… multi-faceted!’

‘Lights out, everybody,’ comes a guard's voice, ringing through the hallway as it suddenly becomes dark, save for the glow of dim lamplight emanating from one or two of the other cells.

‘Whatever, let's just get some sleep,’ Mark grumbles under his breath.

‘You always do this!’ you whisper harshly, but inadvertently let the volume slip back into your voice as you feel your blood boil. ‘You try to cut things off and act like the “bigger person” just to get out of an argument that, newsflash, YOU'RE LOSING.’

‘Oh, whatever, what-f*cking-ever!’

‘You're being so damn overdramatic, Mark! It's not like I'm trying to break up our team.’

‘Yeah, well– well maybe we should!’

You don't know why it jolts you like a gunshot when he says it, but it does. His words, the force and resentment behind them, pierce you to your core. It stops any quick-fire response you had at the ready in its tracks.

Regret immediately flashes across his face, but he quickly attempts to cover it with a steely, hardened gaze. ‘Clearly, we want different things. So maybe it's for the best.’

‘Hey!’ one of the guards calls out from across the hall. ‘Lights out means quiet, you two. Don't make us separate you into different cells.’

With a frustrated huff, you reluctantly traipse off to bed, yours being the lower half of the bunk while Mark settles above you.

It really is a rather decent bed. The mattress is nothing special, but comfortable, and the soft blanket is accompanied by an oddly luxurious, fluffy pillow. Definitely above what you'd expect is probably average prison standards. Frankly, you don't know what Mark's problem is with this place. It's honestly not half bad. As far as you expect jails go, it surely could be a lot worse.

You lay back and let your breathing even out, trying your best to allow some of the bubbling anger to die down. Eventually, you hear the guards leave.

Time passes, it could be minutes or hours; it's not like the passage of time has felt right at all to you since that last heist.

It's silent, save for the sound of your breaths and Mark's above you. You're still upset with him, but the sound of him breathing nearby has always been oddly comforting. The two of you have had plenty of close calls as a pair — even times when you had to patch each other up after jobs that went particularly badly. If you got injured on a heist, you couldn't simply call an ambulance or show up at a hospital in an emergency and risk having your whole operation blown. That was simply the nature of your line of work.

At the worst of times, as long as you could hear those steady, even breaths, you could tell yourself he would pull through, and things would be fine.

You idly watch the mattress above you, letting the rhythm of your friend's breathing become a gentle white noise, and think.

You think about that heist and the Box. Ancient, coveted, mysterious. Sitting atop its perch in the museum vault, in all its glory and allure, practically asking to be stolen. The gleam of the gem encrusted in its surface. You wonder if the prize held within would be worth all of this, if you managed to get it back.

You think about Yancy, a little rough and a little troubled and not seeing much point in trying to kick old habits; but fun and soft and sensitive and full of remorse. You think about the feeling of your hand in his when you practise a routine with him, how his whole face lights up when he's excited or falls when he's sad or pensive. You think about how he has made this penitentiary into a home, and these inmates into a family.

You think about Mark. Silly, stupid, steadfast Mark, snarky and thoughtful and loyal. Who isn't actually as dumb as he lets on. Who is resourceful and quick-thinking when a plan needs to be formed. Who makes bad puns and trusts you whole-heartedly, and who always lets you decide which course of action to take, no matter how much he disagrees, simply due to his unwavering faith in you. Mark, your co-worker, your friend, your partner in crime. Who is maybe a little enamoured with you, despite you trying to ignore it. Who you half-heartedly agreed to go on a date with, not having it in you to turn him down, nor prepared for the guilt that would be eating away at you now.

You think about one of the first things he told you when you landed yourselves at Happy Trails: About how he doesn't belong here, but maybe you do. What if he were to leave and you were to stay? The thought breaks your heart a little.

Then, a whisper from above into the quiet, gently interrupting your thoughts.

‘Hey, you still awake?’

‘...Yeah.’

You hear his voice, soft-spoken, but clear enough that you can hear the sincerity laced into it.

‘I… I'm sorry. I didn't mean to get so worked up.’

‘Yeah, I'm sorry too,’ you reply, matching his volume.

‘And I didn't mean it,’ he says, and you think you hear the slightest tremble in the statement, almost as if he's fighting tears, and for a second you wish you could see his face, ‘what I said before, about uh, splitting up. I know I joke about that kind of thing all the time, and not coming back for you… But you know I don't really mean it, right?’

You've certainly had your doubts in the past, but those moments seem so far away now; footnotes in a slowly unfolding tale, stepping stones on the journey the pair of you have taken together as you worked your way from theft to theft to get to this point. As much as you'd butt heads over the years, you could always count on each other and you always stuck together.

‘Right?’

‘Yeah, I know…’

‘...And, alright, your lack of interest in breaking out aside, maybe I am kinda jealous.’

‘Ha! I knew it.’

‘Yeah, yeah.’ He sighs. ‘It's just… it took us a while to be like we are now and yet, you're suddenly so close to him when it hasn't even been that long, it just doesn't feel fair. I dunno, it's stupid.’

‘Nah, I get it. I'm sorry if I made you feel left behind.

‘And I'm sorry if I ever made you feel pressured into something you're actually just not all that into.’

You feel a bit of tension leave your chest as a small smile appears on your face. ‘I appreciate that.’

In some ways you're grateful for the small bed separating you and preventing you from being face to face. You think it makes this easier for both of you.

‘I don't want to lose you, y'know? I mean, we're supposed to be partners. Ride or die, remember?’

‘Oh, Mark… You know I still trust you with my life…’ You pause, considering your words. ‘For the first time in ages, things feel a little more complicated than just being about us.’

A beat, then you hear him inhale, and he says your name, foregoing any of his usual nicknames.

‘...Are you… happy here? Does he make you happy?’

‘There's things I miss about freedom, sure, but it's not so bad here. And let's face it, our crimes were probably gonna catch up to us eventually, one way or another, right? And Yancy…’ You let out the smallest huff of laughter, smiling to yourself once again. ‘You're right, it hasn't been very long… There's just something about him, I guess. I know he might be a little much at times but I enjoy being around him, and he honestly seems like he wants to make up for things he's done in the past by being here. Maybe nothing will come of this but even so, in a weird way, he kind of makes me want to do better?’

Mark breathes a good-natured huff of laughter as well, and the two of you take a moment to muse on the irony of that sentiment.

‘I just– I can't handle being stuck here,’ he finally says. ‘But you're right, nothing I've tried so far has worked, anyway.’

‘Y'know… Yancy knows all the ins and outs of this place. He could probably help us if we wanted it.’

‘Do you want it?’

Do you want to leave or stay? The real question beneath it all.

You're quiet again, and it feels as if every possibility is laid out before you, only obscured.

‘I don't know,’ you say eventually. ‘I need more time to think. I just don't want you to think I'm making a choice between you or him, there's so many other things I need to consider. That we need to consider.’

‘That's fair… Just don't take too long, ok? Not like we can pause or rewind time, haha.’

‘Right… In the meantime, could you at least try to get along with Yancy and the others? You might like them if you give them a chance.’

‘... Fine, I'll try,’ he acquiesces.

You raise a hand to your mouth to cover a yawn. A far more comfortable silence falls over the room, and you start to feel sleep overtake you.

‘... Hey, Mark?’

‘Yeah?’

‘We're still partners.’

If nothing else, you hope this will reassure him.

‘...Ok. Sweet dreams, partner.’

[justsome-di]

Hi! Wanted to let you know that I really love your take on Nano and the evolution of it through time. I also quit the whole thing for the same reasons around 2016 after two years. I was curious: what are your expectations for a healthy writing community? I've seen that a lot of people want different things and conflict happen because nobody really talks about it. The most people are willing to say is the obvious don't be an asshole (although obviously that doesn't stop some), but I rarely see people say things like "I don't want to share my writing but I do want to share the efforts of it" or "I want to talk about every details of my stories and brainstorm with others" and things like that. So what are your thoughts on it? P.S. I started following you and then I found out you're also into MDZS XD Love that!

Hi!!

When I think of a healthy writing community, I think about two 12-year-olds sharing their grand story ideas and their original characters that are master-level wizards at age 19 or famous detectives at 15 and the two 12-year-olds gush over each other's ideas and draw their characters and help each other come up with names and ideas and titles.

I think writing communities really thrive when people are encouraged to share their ideas and can get a positive response. There's times to critique works and times to just hype people up--and I think people really do not know the difference.

I've noticed a few, consistent issues:

Competition: I think some writers get competitive over how fast they write, how much, how often, etc. And I've been in some Discord servers when a person is suddenly getting praise or recognition, and you can tell there's tension. Suddenly people stop talking and log off. There's a lot of battle of the egos.

Different skill levels in one space: this is a big issue, though it's not anyone's fault. I've noticed that some writers in some servers are well-experienced with great writing and then other writers are beginners. It's not a big deal, really, but it does hamper feedback. Beginner writers get discouraged and overwhelmed when well-experienced writers offer more detailed critiques. And likewise, experienced writers probably aren't getting super in-depth critiques they need. Not to say people are unsupportive, but it's just not the most productive set up!

Selfishness: I'm not sure if that's the best way to phrase it, but I've noticed that often people will share their writing in servers but not interact with other's writings.

These are pretty limited to Discord which imo isn't a productive space for large writing groups anyway. But unfortunately when a lot of people move to Discord, it's hard to find a sense of community on tumblr or other sites.

But I can't just bitch and not offer suggestions so:

Keep online communities alive. We can't limit ourselves to Discord servers. Post your writing. Engage with other blogs. Reblog. Reply. Send in asks. If you're reading something someone wrote, let them know. Say something in the tags or send in an ask.

Be a hype man: We should encourage each other to continue writing--not everyone is looking for critiques all the time

Know your place: I've seen way too many people shit on ideas for events or special blogs. If you see something that you don't like, just leave it be. If you're not interested in something, it's not for you. Let the micro-communities do their thing and find their people. You do not need to be involved in every facet of the general writing community.

Post. Your. Writing. Or post stuff about your writing. It's hard to find other writers when they don't share! I can't hype up your story if I don't know about it!

I often see a lot of suggestions get vague. Like you said--"Don't be an asshole." Okay. Great. But what does that mean? And how does it get enforced in moderated communities like servers? What if the mods of the servers are assholes?

Or I see "support each other!" Okay, but we need an actual game plan for getting early-2010s level of community back. We need to bring back ask memes and character memes and ask culture. Because people back then weren't just twiddling their thumbs waiting for an interaction, there was effort put into all of it. People were designing games and events and taking time to engage with each other.

I don't think people understand that healthy communities need to be nurtured and inclusive. And this is definitely glamorizing the internet of 10-15 years ago. There's always been bullying and toxic people. But I think we could definitely build on what used to be and make something that's mature and welcoming to everyone.

I'm hoping with NaNo on their steady decline through the past couple of years really encourages people to rekindle other online communities. I think a lot of people have been nostalgic over the past few days, and a lot of people have taken the initiative to coordinate their own events. It's starting to bring back some of the unconditional support that used to exist.

(I love mdzs so much omggg and I'm reading through tgcf too and I aaaahhhh I'm very normal about it)

[pessimisticpigeonsworld]

https://www.tumblr.com/rise-my-angel/740720343328686080/the-new-hotd-trailer-has-reminded-me-how-badly?source=share.

1. Jaehaera was not raped...

2. Rhaenyra was having a breakdown on Dragonstone after learning about Luke's death when she received Daemon's letter stating that he would avenge Luke (the letter doesn't even explain how he would avenge Luke). How is that her fault?

3. Aegon is also a rapist in the books, it's not an invention by the writers.

"Who are you?" [Helaena] demanded of the two. "Debt collectors," said Cheese. "An eye for an eye, a son for a son. We only want the one, t' square things. Won't hurt the rest o' you fine folks, not one lil' hair. Which one to you want t' lose Your Grace?" Cheese warned the queen to make a choice soon, before Blood grew bored and raped her little girl. Strange to say, the ratcatcher and the butcher were true to their word. They did no further harm to Queen Helaena and her surviving children. (Fire and Blood: The Dying of the Dragons - A Son for a Son)

You're right anon, Jaehaera was never raped, it was only threatened to hurry Helaena along. I don't understand why TG stans want to add to this event so badly, it's already horrific. It's actions like that which show how GRRM is once again choosing to have morally gray protagonists. TB is in the right about the Dance and who they're supporting, but that doesn't mean their heroes or even morally good in their actions.

It's interesting how op decided to complain that Aegon might be portrayed as incompetent. Aegon was incompetent in the book, so incompetent he was murdered by his own supporters. He's remembered as being one of the most useless kings of Westeros. Saying they're going to dumb him down to make Rhaenyra look better shows how op has never read the book, or even Aegon's wiki lmao.

Further proving my point is the stupidly blind argument of how Aegon "isn't a rapist in the book". The delusion of the TG stans is neverending.

I think the most incredible take in this post is how apparently, in the eyes of op, Criston isn't an incel in season one?? Did we watch the same show? Criston makes the immediate turn to hating Rhaenyra and literally killing people associated with her family after she rejects him. He makes hating her his entire personality for the whole ass show once she refuses to run away with him. He thinks he's entitled to Rhaenyra's entire life and body just because she slept with him once. He's the definition of an incel, go cry about it greenies.

B&C was done without Rhaenyra's knowledge or approval, as you said. Daemon acted on his own (he is a true gray character). She was separated from Daemon when he made his choice, so she had even less control over what he did. Added to that is how Rhaenyra was busy with other fronts of the war and negotiating, how can she be expected to micromanage her husband?

Now, while the original post was written I think before Condal started teasing the whole "people will want to switch sides", the reblog definitely wasn't. Condal has revealed that he plans to make the audience sympathize with the greens more this season. Which is why it makes no sense why the poster who reblogged believes they will make the greens appear worse. They're already making excuses for Aegon raping serving girls, trying to make Alicent be completely innocent of her team's actions, and making Aemond "accidentally" kill Luke.

The show is already so obviously TG, they even aged up Rhaenyra and aged down Alicent to control who the audience sympathizes with. TG stans are just bitter that even the intense white washing can't cover up how in the wrong TG is.

Alicent is totally at least partially to blame for B&C. In the book, she was the head of the green faction and constantly plotted to usurp Rhaenyra, thus causing the war. In both the show and the book, Alicent raised her children to view their nephews as subhuman. She instilled the hatred of them into Aemond long before the Driftmark incident. She's the one who constantly affirmed to them that Aegon is the rightful heir and Rhaenyra is a murderous whore. Alicent bears the blame for what happened to her family just as much as Aegon, Otto, and Aemond.

[boyfridged]

Do you have any more thoughts about Alfred and how to make him a more interesting character? And there's this tag "Alfred Pennyworth is a Saint", got any opinions about that? And what about some different portrayals like the Gotham Tv version, the multiple versions from comics (usually either harsh, sarcastic and emotionally repressed stoic or openly affectionate, offering actual advice and kind), or the super nice and kind ones from the various movies (live-action and animated)?

there's a lot of contradictions when it comes to alfred's character, even within the scope of individual works (that including current canon... post-mortem too): he's supposed to be both harsh and kind, extremely competent and yet - out of picture to a degree, both fundamentally against the idea of batman (mocking it at times) and supportive of it, professional and a parental figure, conservative in appearances but progressive in acts... most importantly, he plays a role of a "sage" -- he is supposed to be simply right.

but you probably already know -- i'm very interested in characters being wrong.

and i'd say the best angle to approach alfred is simply based on the question of who he needs to be in bruce's story for it to work at all. and one of these requirements is that he is not really there. he cannot enter the action too often, even if writers want you to believe he's invincible. he cannot truly make the residents of the manor a family -- there ought to be some distance, because it's bruce's job to be a father (this is interesting in moench's pre-crisis run also... where it is very clear that alfred leaves raising jay to bruce.) and, most importantly, for bruce to become batman -- alfred ought to fail him to some degree.

and i reckon that's why we don't see much of bruce's childhood. there are some conflicting narratives irt leslie and alfred, even in the 80s - on the one hand, it is suggested that they *both* do not know how to handle bruce as a child; on the other hand, you're supposed to believe that there was no way to do that (and to absolve them of their fault). but i'm interested in a compromise... in acknowledging that none of them were equipped nor ready to take that responsibility, but also realising that there was more they could do. because i think that, for example, alfred's conservatism did intrude on the task of providing care. for example -- in some versions of bruce's childhood (isn't it fascinating that we don't even have one official version at this point in canon... it's always so elusive. but that's a topic for another post) he is sent to a boarding school. and that works. he's an old british guy, of course he'd think sending a child even at age 8-10 would be not only normal but also a good idea.

also -- alfred at times comments on bruce's inability to perform house chores, which is obviously a comic relief. but it's interesting because it's alfred who raised him. if bruce does not do his own laundry, or can't cook - that's quite literally on alfred. and again, i do believe it is plausible that alfred would not teach him any of these things. once more, the reason for that is his conservatism.

what i just said does not negate that alfred is a father to bruce and family to other children raised in the manor. however, i think that his own realisation that it is the case should come with some regret... &that his biases and the role of bruce's enabler are flaws that could make him interesting if it was take seriously.

however, there's still plenty of gaps that are hard to fill - for instance, why alfred is a butler at all, given his background (there were obv some attempts at explaining it -- i wouldn't say they were very successful). i know some of it is simply a matter of editors and writers throwing bits of amusing/surprising lore into the story without really considering the wider picture, but it is frustrating. his development was, after all, quite strange -- if you read first issues of batman/tec, you will notice he himself was mostly a comic relief. the whole concept of his links to military, for example, came later... so i had quite high hopes for pennyworth (the show) in that regards, but it did disappoint me. i wish we simply got a well-written mini?

a complete sidenote -- i also quite like how close alfred & damian grow to be. it makes a lot of sense (i do think alfred would be partial to the "biological" child + the way alfred carries himself & the routine he sticks to would be comforting for damian i think...)

[xerith-42]

Stop blaming characters for bad writers

Seriously, stop fucking doing this. While this is a post that could certainly be applicable to MANY fandoms, I'm mainly directing this whole rant at my target audience which is mentally ill minecraft obsessed freaks.

If a character is written badly, gets badly fumbled by the creator, or has the ball dropped in regards to their arc in some way, a lot of people will blame the character, as if they're a real conscious person making these decisions. When they aren't. They're a block man literally being controlled by two people who just aren't very good writers and one or both of them are incredibly sexist, kind of racist, ableist, and just bad writers in general.

Yeah, Laurance does some pretty shitty things through out Season 2 of MCD, actively crossing lines he wouldn't have previously crossed. We as fans can cope by saying something something calling, or just saying Laurance is a bad abusive person, but the reality is that the writers wanted to force the series to fit a specific vision and as a result were willing to do anything to get the series to that point. In order to make Aaron the most favorable suitor for Aphmau, her previous suitors need to be out of the picture, or clearly inferior options.

Garroth suffered the out of the picture, being mostly absent outside of a few cutscenes here and there until episode 81 of season 2, but episode 81 is the culmination of the writers goals to make Aarmau happen. By the time Garroth has returned to the series, the damage has already been done. He's not getting the life he wants. And Laurance is written out of the picture as well, but only after being shown to be inferior because Jesson were pushing an agenda.

Laurance didn't deteriorate as a person due to neglect of his physical and mental well being after a severely traumatic experience. He deteriorated as a character because the writers stopped giving as much of a shit about him and instead were using the series as self indulgent fanfiction of alternate versions of themselves. That's not Laurance's fault.

And this applies to any character who was completely fumbled in MyStreet due to this similar focus on wish fulfillment from the writers. Jess has stated that the relationship between Aphmau and Aaron in Phoenix Drop High is reflective of her relationship with Jason, we all know this. This means that any characters who come off as total fucking creeps in that series (namely Gene), are not actually acting on the whims of their own autonomy or desires as characters. They are acting in service of telling a predetermined story that they are retroactively being added into for author fulfillment.

In this regard I fully support fandom cope and say that you should rewrite your little guys to your hearts content. But if you're going to criticize these characters for their actions, don't criticize them. They didn't do anything wrong. All characters are just puppets in service of the story or themes a writer is trying to push. If a character acts in an objectively terrible way, especially a way that isn't in line with their previous characterizations, that is a failing of the writers, not the character.

And I feel like largely a lot of us can and frequently do this. We're actively criticizing Jesson for being terrible low-key bigoted writers all the god damn time, it's like half of the content here. But when we get into character discourse I feel like some people cling onto bad actions of the canon too closely and I've seen more than a few posts presume some pretty terrible interpretations of characters based on these actions. Obviously Laurance is a character I and a lot of others are fixated on so a lot of discourse revolves around him, and it was seeing some... interesting takes on him that prompted me to start writing this post.

But this happens to everyone. Quite personally based on the character I was shown in MyStreet, it feels really weird that Garroth would make an insensitive comment about his brother's weight. Yeah siblings poke fun at each other and often cross lines, but if that was something Zane was seriously insecure about (which it seems like he might be) then it does make Garroth come off as a really insensitive brother, which just doesn't gel with how hard he tries to bond with Zane despite their tense relationship. And I don't think Garroth should be criticized for making those comments.

Whoever wrote those lines (Jess and/or Jason) should be criticized for writing a scene where a character is mocked by their older sibling over a physical insecurity even if said sibling would not normally do that. It's not Travis' fault that Jesson never decided to give him more of a character beyond "funny pervy guy" that's not funny in every anime they've watched until Season 5 of MyStreet. It's unfair to try and say Travis should be scrutinized for his borderline sexual harassment of some characters when it's not his fault that happened, he was written by writers who don't think this sort of behavior isn't all that bad if they make it out for comedy and punch him in the face.

And god dammit it's not Laurance's fault that his jealousy became the most prevalent emotion he felt. Laurance has always been a character to give into his vices and yet fight against them at the same time, it's what makes him compelling. If they were going to pull on those vices in order to make him a less appealing love interest, he never had a chance to really be his own character after a certain point. Because at a certain point in Season 2, Jesson stopped caring about the character they had been writing for over a hundred episodes at that point. They just wanted to canonize their self insert ship and were willing to do anything to get it.

Laurance isn't an abusive angry person who would have killed Aphmau if they got together. He's a flawed character being handled by incredibly flawed writers who are prone to making some of the worst decisions you have ever seen a creator make in regards to their character writing. He was caught in the crossfire of the adoration he received from a very dedicated fanbase, and the creator who would rather pretend he and his previous arc didn't exist for the sake of her fun. It's not Laurance's fault his arc was stilted, jerked around, and ultimately ended with him completely face planting. And yet still reliably dragging his bloodied body up at just the slightest glimmer of hope (Void Paradox).

It's deeply poetic and tragic that I can describe his character in universe and in the meta-textual sense that way, but we should never blame Laurance, or Aaron, or any other characters for things being like this.

They didn't write the show. Jess and Jason did.

[izzyspussy]

and now for more of the exact same thing.

late s3 canon divergence au in which we all live in a world of sunshine and daisies where mickey is allowed to a) be more three dimensional and b) have positive character development that isn't directly connected to his relationship with ian and also it happens when i say it does even though it's kind of really unrealistic and probably slightly ooc but again it's a world of sunshine and daisies and also it's been literally a full ten years since i've so much as heard his voice. cough.

uh so. yeah. late s3 canon divergence au in which mickey fights with ian about how unfair ian is being re: terry + svetlana + mickey staying closeted-ish + etc. idr the order of things but lets just say for the concept's sake that the divergence happens before the whole ian: you love me -> mickey: kicks him in the face thing because. *megamind voice* listen i don't really know where to go with that.

anyway so mickey tells ian to shut up and listen for once in his fucking life and then goes tf off about how marrying svetlana, claiming yevgeny, and staying closeted-ish (for now) is The Right Thing To Do, for various reasons. his own safety first, which it's pretty fucked up for ian to seemingly not care about, and ian's safety too, which is possibly even more fucked up for ian to seemingly not care about.

and then we have like four(?) options going from there.

so option 1 mickey's like: and also hey, he said he wanted to make sure mickey was okay but then three fucking seconds later started berating him. yeah, mickey was being stubborn and cold or whatever but jesus christ. and on that note, why was it so easy for ian to Be There for mandy when this happened to her but not mickey?? and then ian maybe is like that's not the same/that's not what happened (because it really seemed like he didn't realize that. it is the same and that is what happened. and like lmfao from later stuff in the show that we will simply pretend to have not seen, i know that's mainly because the fucking writers don't realize it is the same and that is what happened, and you know what they probably would not give a shit even if they did LOL. but i'm not bitter about it or anything. and since i'm ascribing to murder in real life death of the author here, we're going full watson here and. ian doesn't Get It because lots of people don't - obviously lmao - but he will!!!)

anyway so mickey is visibly devastated by ian saying this, and then he's bitter (just like meeee- wait i mean-) and laughs without humor about how ian is such a hypocrite. about how oh saint ian doesn't have any internalized homophobia. and ian is like what the fuck does that have to do with fucking anything, and mickey tells him oh nothing of course mickey is just talking shit like always since he's sooooo morally inferior and/or stupid and he definitely doesn't understand any of this. but hey! just as a totally unrelated thought experiment, why doesn't ian picture it with lip in his place and mandy in mickey's and with a male whore instead and just see what he thinks is so different/what he thinks happened then. and ian does and mickey sees in his face that he's realized, but he still wants to know. so he asks again why ian cares about mandy more than him. and ian is like well first of all i definitely do not care about mandy more than you and second we should talk apparently talk about this for real for real let's go upstairs for some privacy. and they do and it doesn't solve everything but by god does it help.

okay well that one's not really about anything being The Right Thing To Do, but you know. it's important to me! like i totally get that ian was going through multiple crises at the same time and dealing with the same traumatic event as mickey and also having an actual legitimate clinical mental break and experiencing a state of mind he had never dealt with before. it's not his fault. BUT. even tho it wasn't his fault he was still being completely unfair and none of any of that was mickey's fault either and it always bothered me that only ian ever got to be angry about it. but i digress.

now back to actually the sunshine and daisies unrealistic positive character development (but honestly like........ not really THAT unrealistic. To Me. like the only really unrealistic part is for mickey to be like. Informed enough for this. i think. but like. maturity and self awareness and honesty and courage and a moral code, all that is just maybe a little bit early to arrive here. i think it's an optimistic but not completely unbelievable divergence is what i'm saying! anyway).

so option 2A is like: instead of talking about What Happened and how much ian does or doesn't care, mickey starts talking about The Baby (who at this point is of course not born and i think probably too early along to be gendered let alone named). he's like what do you want me to do man. be just like your piece of shit parents and just abandon this kid because i don't want it? you want to be with a guy like that? and ian's like well it's probably not even yours, considering all the Factors. just get a paternity test and then you're off the hook. and mickey says, "don't be a fucking hypocrite, ian clayton gallagher." and ian's like damn. i want to but i absolutely cannot argue with that huh.

option 2B is more hurt/comfort than that and it goes: mickey starts talking about The Baby. and he's the one to point out it's probably not technically His or whatever. but. the chances that it's still a milkovich are. basically 100. and he points out if he marries svetlana, and he's on the birth certificate, and all around is legally the kid's FatherTM, then terry can't get his fucking hands on it. mickey has full parental rights. he couldn't completely keep the kid safe from terry, not without causing everybody - including the baby - a whole lot more danger right now, but he'd have so much more power to protect it than he otherwise would. he could make sure terry can't be next of kin if something happens to svet and mickey. he could make sure teachers and doctors and whoever else know not to leave the kid in terry's "care". even if terry himself changes his tune later for whatever fucking reason, if svet and/or mickey piss him off and he tries to take their kid away as punishment, or if he just fucking decides he wants another victim/pawn, or whatEVER, and he's the one to demand a paternity test, or if any other random john does, even if it ends up legally documented somewhere that mickey isn't the biological father as long as he and svet are The Parents from the start he would still retain custody and parental rights.

so. mickey marries svetlana. he's put on the birth certificate. he is legally the baby's father until such time as he and/or svetlana decide otherwise and a judge agrees. svetlana gets a marriage visa or green card or whatever the fuck and is now a legal resident. they stay married long enough for her to get naturalized as a us citizen. they get divorced, mickey no-contest hands over full custody to her, she moves to fucking socal or some shit and they never ever ever ever have to fucking see each other again. all her problems are solved, and none of the horrible shit terry put the rest of them through ever has to happen to the baby.

he can't let terry have the baby, mickey says. he can't. it's not fair, he says. it's not right. nobody deserves to be terry milkovich's kid. and sure mickey doesn't want it. he doesn't want to have to sleep next to his- you know, and no doubt svet doesn't want to have to do that either. but even though the baby may or may not be a result of. That. it didn't do it. it didn't do anything. it's just a baby. and mickey's voice is all raised - he's angry, he's scared, he's fucking righteous about this. it's just a fucking baby! its only fucking crime is being born wrong!

and. well. that kinda takes the fucking wind right out of ian's sails. mostly cuz it sucks all the air out of the room altogether. and mickey realizes too, right after he's said that, why he's so. uh. passionate about this. i mean not all the way, or just... he doesn't want to look directly at that yet. but ian can see it on his face that deep down he knows. ian can see it on mickey's face that what sounded like to him is exactly what it was. and maybe he breathes out the softest italicized oh (non-romantic) that has ever been spoken while mickey cringes a little bit and looks away, looks down, ducks his head enough to hide his face, enough to muffle his voice slightly against his own chest. he mumbles, "it's not his fault." he whispers, "he can't help it."

and what thee fuck is ian going to say to that? no? no, i won't support you protecting an innocent kid out of the long-buried goodness of your heart that i always knew was there and reparent yourself in the process? no, i refuse to be involved with you while you make an agonizing sacrifice in the name of kindness and healing, the way i've been demanding you do in my favor for months? no of course not.

but wait hang on i can fix this with the romantically-tinted option 2C, which goes like: mickey says he can't back out, he can't come out. he has to do this. and ian rolls his eyes or scoffs or both or gives mickey the fucking chin or whatever he does to indicate he thinks the reason mickey "has" to do this is because mickey's a fucking pussy and the only other option is to stand up to his dad. and mickey snaps that actually he has more than one (1) fucking motivation dickhead. and ian challenges him, all oh yeah like what. and mickey gets nice and right up in ian's face and gives him the fucking rundown.

i'm doing this because of you, he says. and ian scoffs again of course, but this time mickey just ignores him and steams right on. he says i'm doing this because you are. fucking self-righteous. and spiteful. and controlling. and fucking sadistic. and ian's like is this supposed to make me less pissed off. but mickey goes on. and you're kind. and generous. and god damn chivalrous, for fuck's sake. and so fucking brave. which finally shuts ian and his very, very loud facial expressions up.

so, mickey says. i know that you couldn't give less of a shit right now if svetlana has her kid taken away, gets deported directly into a russian prison, and never sees the fucking sun again in her life. maybe you even wish that on her. maybe i kind of do too. but i also know that if it hadn't happened to you, if you weren't there... if we were friends, and i didn't do this, we wouldn't be friends anymore.

he says, yeah, i love you, you love me. big fucking whoop. that happens to the fucking worst of us.

he says, i want you to like me.

he says, i'm just trying to grow the fuck up, okay? i don't want to be a fucking shallow selfish stupid god damn teenager for my entire fucking life like our piece of shit fucking parents. i want to be a man. and i- even if it's too late or this is too much, i want to be the kind of man that you would like.

so obviously ian is struck completely dumb. he just stares, wide-eyed and amazed and so absolutely wooed, while mickey finishes his fucking. grand speech. while he adds, quiet and exhausted and somewhat resigned, i'm not fucking ready, if i was ever gonna- but. it has to be done. she can't do it by herself. and there's no one else.

and. i mean really the inherent romance of "i want you to like me" and "i want to be the kind of man that you would like" would have been enough. but now here's this killer finishing move too. because you know fiona is ian's hero. and isn't that exactly what she did for all of them? with one fucking choice, mickey has already become the kind of man ian would like. and beyond! he's become the kind of man that ian respects. that ian admires.

and yeah, he'd like to still be angry. he'd like to still be exactly the selfish teenager mickey has decided he no longer is. and they are teenagers, still, so really that should be their fucking right! and also ian's fucking brain is on fire and he doesn't know what the fuck is going on!! but. well. he doesn't want it to be too late. he doesn't want this to be too much. he wants to grow up too, he's always wanted to grow up, to be a man. to be a good man. an honorable and reliable man. he doesn't want to be like- he doesn't want to be like their parents either.

and he wants mickey to like him too.

anyway. i think i'm clinically insane.

[cyaerandom]

FAQ

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ART BLOG @cerberusmahou I'm mainly into ATLA 🪃👣 + 🌾🌊‎ , but I draw whatever and this can change any day. Take this into consideration before following. Mute #riya reblog for art only and check the other stuff I'm into to curate your space. Alternatively, you can install XKit and turn on the feature Show Originals. Art only tag Scribbles tag (cw: suggestive content) Ask me anything, or give me ideas to draw! Unless specified otherwise, I don't take art requests. However, I'm always on the lookout for inspiration, happy to read about your headcanons and talk about our mutual interests. As a general rule expect me to reply by text, but if any prompt gets my brain gears turning, I may draw it.

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