#why am i writing this in class

[misakiisstupid]

Really, Jason?!

Nobody:

Absolutely no living soul:

Jason: *giving thief's and kidnappers tips how to do it better*

[killlerfang1]

The Puerto Rican flag showing up when Rio snaps at Miles for getting a B in Spanish is such a fun little example of the incredible attention to detail in this movie

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[luminique]

Can we get big brother Lighter protecting little sister reader and keeping it secret how he's an Undefeated Champion to not worry her about what he had been doing

OH MY GOD ANON THIS WAS PRE-RELEASE AND SOMEHOW YOU PREDICTED THE FUTURE A LITTLE BIT ????

considering how lighter barely tells anyone about his plans, i believe that he’d do the same with his beloved little sister. he didn’t want her to be worried over him, even if he was bleeding away in some dingy corner of the ring.

he’d come back home with a new bruise, a new scar. but he still had that smile on his face, his calloused hands ruffling through your hair. he placed your favorite food on the table, something that you both could only eat every now and then.

as you both dig in, he’d constantly place more food on your plate. “you can only become as strong as me if you eat well,” his voice filled with pride as he watched you. he barely got a few bites in, believing that his empty stomach would go away as long as you were eating. he tried to keep the conversations between you two rather short, so as to not alarm you with how he was supporting the both of you.

if he wasn’t home for dinner, he’d try his best to be back before you’re asleep. he recalled the last time you stayed up waiting for him and he was only back in the early morning. seeing you asleep on the couch, probably watching the clock until your eyelids felt heavy. he carried you back to bed, your sleepy nonsensical scolding filled his ears. but he couldn’t forget how you called out his name as he was about to leave again for another match.

“will you be back for dinner?” you were as sweet as ever, only caring about his return.

“i’ll try to. don’t worry,” he reassured you, a gentle smile on his face as he pushed up his sunglasses.

your head perked up a little from the pillow, watching him turn his back towards you to face the door. “promise?”

“promise.” his voice faltered just a little, unnoticeable to you but he knew the truth. it hurts to have to lie to you about it, he wished he worked an honest job.

another opponent, another 0 added to the end of his earnings, another bruise, just another day. it was difficult to keep living like this, bad thoughts infiltrating his mind. as he slumped over the front door, he could hear you running up to the door, probably the soft jingling of his keys alerted you of his arrival. you opened the door, a wide smile on your face that was then replaced with horror upon seeing him.

there was blood running down the side of his face, an injury that he ignored in order to get back home in time. that look, that expression, the way you moved back a couple of steps as if you had just seen an ethereal. that was what made him realize that he should care for himself more too. seeing your fear shattered him more than he could imagine. he had already lost so much, he couldn’t bear to lose you all because of his own recklessness.

he walked up to you, removing his shades before falling to his knees. he rarely showed this side to you. his arms reached out for you, hugging you close to him. he didn’t want you to see this side of him. how weak he truly was, how much of a scaredy cat he was, how he had been lying to you this whole time to keep you happy. your hands ruffled through his dark teal hair, just like how he did with yours. if being the undefeated champion meant that you’d look at him like he was monster, then was he any different to one? apologies came out of him, tears welled up in his eyes.

after a moment of silence, you finally spoke up. “promise me, that you’ll be home safe tomorrow.” just tomorrow? that seems possible, he just had to win his next match cleanly.

“promise. i’ll be back here safely,” his voice was still shaky from the tears. he tried to muster up as much courage as he could but this time he couldn’t lie to you. he’ll try his best, to fulfill this promise he had made with you. even if it’s just tomorrow, he knows you want him to return in one piece every day but you both know that he can’t promise that. so you decide to take it one day at a time, one tomorrow after another. a new promise everyday, kept between the both of you.

[skyloftian-nutcase]

Four was honestly surprised how many people were here. It was his first big trip, and it was definitely overwhelming. He was usually a loner, but he had to admit… he was thankful he’d asked a friend to come along.

Legend laughed as he texted someone, face glowing with glee. He elbowed Four mischievously. “We should definitely send pictures to Wars.”

“Is that who you’re texting?” Four asked with a smile, enjoying the cheer from his usually grumpier friend. Legend adored education conferences - his friend was nothing if not a lover of learning and exploring new things.

“Oh absolutely,” Legend replied, showing his phone. “He’s upset because I went to the emergency medicine conference and then went to this one. Personally, I think he’s just jealous because I have a cert he doesn’t.”

“Wait, Wars doesn’t have his CCRN?” Four questioned, confused. He figured Warriors, who had everything in his life in order, would have his critical care nursing certification. It was fairly common for nurses in ICU and ED settings.

“Nope!” Legend quipped with delight, obviously ecstatic that he had something over the military nurse.

“Okay, but important question: where are we going to get dinner?”

“Somewhere it doesn’t cost half our paycheck.”

Four glanced around at the skyscrapers. “Uh… not sure we’re going to manage that. I didn’t think the Hebra Mountains had cities like this.”

“Well, then we can contemplate Brugada Syndrome and complicated EKG rhythms while we starve,” Legend supposed.

“Oh, don’t be like that,” Four laughed. “This is a trip, we shouldn’t worry about the cost too much.”

”We don’t make Time’s salary.”

“But we make decent salary.”

Legend bit his lips, stubborn. Four narrowed his eyes analytically. “This isn’t about how much the food costs; it’s because you’ve blown your budget on coffee, isn’t it?”

His friend immediately flushed, guilty as charged. “They charge ten rupees for coffee! Ten!! This place is ridiculous!”

“I told you your caffeine addiction would come back to bite you someday,” Four smiled. “Or, well, more so than it already has.”

“I swear, if you bring up the SVT episode one more time—”

[verdantcreek]

thinking about the reboot mw games collectively and it’s so sadly unfortunate because like. when put up against the other two, mwiii fails so visibly.

first of all you’ve got their thesis/emotional core, right. for mw19, it’s all about the personal motivation of being a solider, the cost of war on an individual. what it means to fight and discovering the importance of what you’re fighting for. for mwii, it’s about trust. the importance of knowing that your team has each others backs, the weight that it has between individuals. what happens when that trust is broken and how it’s found again through vulnerability, because that’s how you truly know you’re there for each other.

and then there’s mwiii..? you should let your sergeant kill a prisoner illegally so said prisoner, when he breaks out of maximum security prison, doesn’t kill your sergeant 4 years later? you should illegally kill people who piss you off (shepherd)? sure there’s the whole “never bury your enemies alive”, but where does that come in to play outside of the soap/makarov interaction? it’s definitely not a valid reason for price to kill an american general in his own office. they could’ve used it for graves if they wanted to take it a step further, but no— graves doesn’t betray the team again, for whatever reason. we’re expected to consider him just a much a member of the team as anyone else, and the narrative treats him as such outside of a few bristly reactions to his involvement.

secondly i take a huge issue with how characters were handled in mwiii. literally everyone is here, and there is no reason for several of them to be. alex felt like a cameo— you see him actually on screen for maybe 30 seconds. farah’s missions feel forced for the sake of her involvement. not that farah shouldn’t be in this game, but makarov’s flimsy reasoning for targeting the ulf is so clearly an excuse to involve her. it feels very random and transparent as a decision to reuse her character because she’s familiar. again with graves— why is he here? i still genuinely do not understand why they decided to retcon his death. it was a perfect arc for mwii to kill him, and him being alive adds absolutely nothing to the story. he has nothing to do in mwiii and there is zero reason for his involvement other than “people liked him in mwii and he has a cool accent.”

within the 141, it’s mostly rehashing of the growth/personality that each of them showed in previous games. none of them have an arc, except maybe price if you’re willing to call the *post credit scene* where he commits cold blooded murder a completion of an arc. gaz, soap, and ghost are static versions of themselves that simply are just … there for most of the plot. they’re not out of character or ruined, but none of them individually have anything going on that can’t be tied back to price.

i think a lot of it comes down to the way they tried to shoehorn mwiii into the original trilogy’s storyline. people loved those games, and nostalgia sells. i don’t think it’s a coincidence that makarov was a big marketing factor for this game— and that’s not to say that mw19 or mwii didn’t abuse that either, but in execution you can feel the difference. price, gaz, soap and ghost are all their own characters miles away from their original trilogy counterparts. makarov… isn’t. he’s a poorly written villain riding on the success of the original trilogy— he’s scary because he’s *makarov*, not because he’s a real threat. it’s cheap. the knockoff “no russian” mission felt insulting. it’s a callback with no real impact in the story, just simply “look! remember when we did this in 2009 and everyone loved it?”

and all of it culminates into a shit ending with shock factor that it tries to make you feel emotional. i’m not sad over this character death. i’m mad, because it’s unearned and lazy. i realize it’s a lot to ask a multi-billion dollar corporation to actually put effort into their stories, but… it’s such a let down when the previous games actually had at least an ounce of passion. i’m just still so disappointed with this game ruining what could’ve been a really interesting and unique story.

[aquiescentmoon]

I am haunted by a memory from my high school, on this fine Wednesday afternoon 😮‍💨 ( Ig, I have to schedule a crying session in my jam packed day)

The day when I am no longer the french teacher's pet. He asked us to fill a questionnaire and he thought I would have written the correct answer (as I was his trusted A+ student) and looks at my answer and goes "There is no word like in this french" in a deadbeat tone, aloud in the middle of the classroom, it was so embarrassing. He didn't stop there and to add more salt to the injury, he goes, "You literally made up a french-looking word, but it's not a french word" bro 😭 stop, I am already crying internally. He looked at me so disappointed, from then he stopped asking me for answers.

The word was 'qont' and it was a questionnaire to file que and its branches. He was one of the good things I looked forward to in hs, after my best friend. He always encouraged me to score more marks in other subjects too, so that i could be a valedictorian but i only know how to disappoint others.

[kunikidasssss]

ig. ya. you got ur wlw representation at the cost of one of the central characters (vi). idk abt anyone else but as soon as they assassinate a character just to have a ship be canon and have fans not scream and cry???? idc abt it anymore man

[le-panda-chocovore]

College Students! Karushuu where Karma is also a semi-famous streamer and Gakushuu is trying his best to not be recognized by his viewers.

Karma posts pranks, challenges and reacting videos on Youtube, and streams bad video games on Twitch. He loves playing the worst games just to rage about them, and people follow him to hear him insult the work of developers. He sometimes talks about his boyfriend but never reveals his name so the chat can only speculate about who that mysterious partner is.

Gakushuu is an Economics Management student who's trying to reach MIT. He doesn't hang out with the other students, doesn't talk much about his life, and has very little social media presence. He's careful to never show himself on camera when his boyfriend is streaming.

One day when he's having zoom class, Gakushuu can't stay in his own room because his neighbors are apparently having some work done, so he goes to Karma's apartment. Someone recognizes the streamer's decor and tweets about it.

Another day, Gakushuu comes to the college with his boyfriend's sweatshirt, and someone realizes it and asks him if he follows the streamers too.

Another day, Karma forgets to turn off the camera and leave the live when he finishes the stream, and the viewers can get a glimpse of Gakushuu's arm when he comes to give his boyfriend some food.

Every day people around him suspect him to be the boyfriend and every day Gakushuu has to dismiss them. When the fans find Gakushuu's Twitter account, Karma feels obliged to tell his followers to please not spam that poor student who simply wants to complete his last year in peace, and pretends that they have nothing to do with each other. Unfortunately, it doesn't work.

Gakushuu can't wait to fly to USA and be around people who don't follow a Japanese streamer.

[lurkingshan]

When this show started it felt like a very knowing and intentional corrective for all the things 2gether got wrong, but as it’s gone on it’s gotten a bit weird and started making its own baffling choices so… idk

[thejadearia]

Speaking of Shimazaki, I learned a lot about myself this week making these terrible memes so I could drop them in the discord chat as I made my friends watch MP100. What I learned was, I have a terrible sense of humor (actually I already knew that, I just didn't realize it was this bad) and that the only thing I enjoy more than watching Shimazaki kick ass, is Shimazaki getting his ass kicked. (I'll have more of these for next week when we get to Serizawa's stuff! Sorry!)

[iwritenarrativesandstuff]

I'm probably going to do a terrible job of articulating myself here but every time I think about the worldbuilding in Hatoful Boyfriend, I think about the implications of having the birds simply have adopted the structure and policies of human society and go insane.

It's clearly originally just for the ridiculousness of it all for the players, but AGH it explains so much regarding the extremely rampant classism/racism/speciesism and how apparently normalized it is. It also, to me, adds a bit of moral nuance to the Dove - Hawk Party conflict.

(Long post under the cut. I'm so sorry I just kept going.)

First off, I'm obsessed with the concept of the birds becoming sapient and simply... taking over a society that was not structured for them. It leads to difficulties in universe! Bird wings are not made for doing tasks that human hands can do naturally - there's a couple instances where the characters ask for Hiyoko's assistance or express envy since she can just do the task more easily than they can. The birds are outright disadvantaged in certain areas of life, and yet, the society is in such turmoil due to the newness of it all that there still aren't really any workarounds for stuff like this.

Not that there haven't been any suggested solutions, such as the Labor 9 series, put forward initially by the Dove Party. Yeah, you know, that one throwaway line about how the party that up until this point have been the "good guys" wanted to take still semi-conscious human brains and make robotic slaves out of them Cyberman-style? What the hell. And what gets me is that Shuu was able to find the initial proposal, which he really only made tweaks to, which means that the project was at least close to being finished on the conceptual/planning/design phase before somebody went "hey this is a little fucked up actually".

The Dove Party wants peaceful coexistence with the humans, while the Hawk Party wants to eliminate humanity entirely. But we don't really go into how these two lines of thought evolved. I believe I have a suggestion for at least one part of the puzzle though.

Of all the birds in Hatoful, who enjoys the most privileges and the highest status? Fantails, it would seem. A breed of pigeon that is popular as a pet, considered beautiful and sought after, and achieve high accolades in shows and competitions - for clarity's sake, fantails were valuable in human society, and this status appears to have transferred when birds became sapient and took over. Conversely, which birds are ranked lower and often blocked from entering certain higher class places? Rock doves, who, in human society, are given an unfairly bad reputation, and considered anything from unclean and dirty, to nuisances, to pests. Again, this status transferred over when the birds took over.

So, while we don't know too many of the birds who make up the agents of the Dove and Hawk Party, let's take a look at who we do know of.

Fantails (Yuuya, Dove Party) are considered valuable over other doves and pigeons for being specially bred for their striking tail feathers

Cockatiels (Leone, Dove Party) are some of the most popular and beloved companion birds, kept as pets and considered very friendly

Rock doves (Ryuuji, Hawk Party) are considered unclean pests who receive a bad reputation, and are generally not treated with respect or appreciation <;- notable thing to mention here is that Ryuuji actually does like humans - I think he was only Hawk affiliated for the grant money and research facilities, which... fair enough man.

Chukar partridges (Shuu/Isa, Hawk Party) are game birds, specifically bred and released to be killed and eaten, and considered a delicacy

...do you... see what's going on here?

(I haven't mentioned Tohri as he's a special case. Give me a minute and I'll get to him!)

The birds we see in the Dove Party are those birds that were already viewed in a more favourable light by humans, a favourability that transferred over to their new society. Of course they are more likely to advocate for coexistence! They have less to lose, overall. And the Labor 9 series, and how that could've ever been suggested in the first place, suddenly makes a lot of sense. For many of these birds, society the way it exists now benefits them. Some of these high ranking Dove Party folks may be less about actual peace and justice (like Yuuya or Leone) and more about maintaining the current order of things - humans coexisting under their control, while they get to maintain their status... which is itself a product of human invention.

The birds we see in the Hawk Party, by contrast, are looked down on or hunted. Historically, even before bird sapience, they did not have a harmonious relation with humans - and it's likely this status carried over to their new society also, with many of these birds being more likely to have been disenfranchised. Their goal of elimination is therefore reactionary towards perceived threat. After all, the people who suffer when things go wrong aren't the ones at the top - it's all the people who sit at the bottom of the social rung; the vulnerable members of society who do not enjoy the same advantages as others.

Of course, the Hawk Party has built itself up into such a powerful group that they may have lost touch with this starting foundation - the only thing that remains is likely that reactionary fear. After all, people caught up in the actual conflict - Nageki, Hitori, Ryouta, and Hiyoko - see this kind of horrible bloodshed firsthand (firstwing?) and just want it to stop.

Again, it's not usually the people in these political factions who are the ones caught up in their conflict. It's the individuals who lack power or influence.

But that's just the political groups themselves. On an individual level, it's kind of interesting to look at and theorize where along the spectrum our core cast falls based on their species/breed.

Ryouta (rock dove) is actually rather indifferent towards humanity as a whole - he just likes Hiyoko. However, his witnessing of the Heartful House tragedy led him to abhor violence and unnecessary loss of life, and I'd imagine his mother's later illness solidified this. Ryouta doesn't seem overly interested in political struggles or the broader implications of a lot of things - he's actually a rather self-oriented character when it comes down to it (this is not a judgment, nor a bad thing! I love my boy!). Ryouta just doesn't want to lose people, really. A conflict would mean more loss, and rock doves seem to have to struggle enough as is.

Hiyoko (human) is the daughter of two diplomats, but interestingly, we don't get to see much of her political views on things - perhaps because even if she expressed them, it wouldn't really matter - she's not herself a diplomat, and humans are the lowest of the low - her going to a fancy school doesn't really change that. Social-wise, except with her friends, she is tolerated, not accepted. Yet, it's safe to say that Hiyoko strongly disapproves of people who flaunt their status - she's quick to not take crap from Sakuya, to get angry on behalf of Ryouta and herself over the gull clerk's assholery, and also to defend Miru and Kaku as living beings worthy of respect. Interestingly though, she also uses Okosan's status as a fantail to get Ryouta to let go of him and let him do whatever he wants so... it's kind of unclear what her firm beliefs are. Perhaps, as a human, she still values fantails more highly. I don't know honestly. Implicit bias?

Sakuya, Yuuya and Okosan (fantail pigeons) may share the same breed, but their experiences are highly different. Sakuya is largely separate from the human-bird conflict, as he is unlikely to be directly affected by it. As such, a lot of his story and development has to do with actually learning and un-learning about the world outside of the limitations of his "father's" classist views, which he simply mimics without understanding the larger implications. Yuuya and Okosan, on the other hand, may be fantails, but are also looked down on and often treated as inferior - Yuuya for being a "half-breed" and for his reputation, and Okosan for being closer to feral than a lot of other doves. Interestingly, these two show more interest and respect for the individual than Sakuya does, who often makes sweeping generalizations based on status - which makes sense to a degree, as they've been on the receiving end of this kind of treatment, whereas Sakuya hasn't. Okosan believes that each person has their own "wonderful names" (read: identity outside of breed or status), while Yuuya is a genuine fighter for justice who is able to get to the heart of people, especially in Holiday Star. However, even though they have experienced classism, they still have certain privileges with regards to species/race - take Okosan's shock when Hiyoko and Ryouta are barred entry from his favourite store. None of them are quite as out of place in everyday society as some of the other birds here, and it's notable that "diverse" St. Pigeonations still apparently has a significant fantail student population.

Shuu (chukar partridge) is really interesting, as he doesn't particularly care for the politics of the Hawk Party, and yet his role as a killer/hunter of both his fellow birds and humans is an interesting reversal of the chukar being a game bird. Shuu also has a disability (his semi-paralyzed right side) which hinders him in bird society even more than most. His extreme, yet coldly logical solution to kill all humans to stop the fighting between them, could be as much his rationality, as his joy in the sadistic, as a reactionary survivalism (remember he was caught up in a human terrorist attack as a child - while overall he considered this beneficial to him, he also did lose much of his colour vision and the use of his right side, so it did leave him weakened). Shuu attains control by "flipping the script" as it were.

Tohri (golden pheasant) starts out in the Hawk Party, but much like his colleagues, doesn't seem to care much for their politics. Golden pheasants are game birds whose eggs can be eaten, but are more often bred and kept for their plumage - they're not prey, but they're not exactly pets either. All this puts Tohri in this interesting position of being somewhat in the middle of this conflict, and indeed he goes on to be a part of (found?) the Crow Party - an opportunistic group that seeks to benefit from the overall conflict. Golden pheasants are birds intended to be admired for their beauty and intelligence more than anything else, benefitting in some ways from humans without a strong connection or a reliance, and Tohri's opportunism fits nicely with that. (As an aside, our sole crow character, Albert, is also something of an opportunist, being an assassin on the fringes of society.)

Hitori and Kazuaki (button quails) are somewhat interesting. It would be both expected and understandable if Hitori held hatred for humanity after the Heartful House incident, or even before then, considering they were all war orphans. Instead, he doesn't seem to harbour any particular ill-will - he seems totally fine around Hiyoko, and her being a human has nothing to do with his reticence with letting Nageki hang out with her in the shrine universe. Kazuaki, too, doesn't seem to mind Hiyoko being human and isn't afraid of her any more than he is anyone else. While quails are game birds, with both meat and eggs being eaten, button quails are too tiny for that and are mostly kept as pets - they are considered cute, silly, and entertaining, though a bit too jumpy to be outright companion birds. The quails don't seem to experience too much in the way of speciesism (except arguably with the whole mistaken identity of Kazuaki's corpse... there may be a bit of an "all quails look the same" thing going on perhaps). At the very least, they are able to occupy teaching positions at a renowned school as respected intellectuals, and did go to university. Still, it's kind of a known thing that you don't put button quails with bigger, more dominant birds, since larger birds will often pick on them or even outright try to kill them simply because they're small and shy - this may, in hindsight, explain some of Kazuaki's demeanour.

Nageki (mourning dove) and Anghel (luzon bleeding heart dove) are the two who are uncommon bird species in Japan. Nageki is another war orphan, who would be forgiven for harbouring resentment for humanity, but instead is appalled at the violence and made a huge sacrifice to get it to stop. It's kind of unclear how Nageki fits into this society, as mourning doves are not prey or pets - they're wild birds. They live on the outside of the human world, and while Nageki exists within current bird society, he likely doesn't have a designated status within it. Nageki is unfortunately also alienated from much of the action due to his illness and later his untimely death - this is why a lot of Nageki's thoughts are somewhat from an observer's perspective, with his most emotional moments being derived from his rare direct experiences - specifically the Heartful House tragedy and the human killings he was forced into, which solidified a really firm stance of not wanting anyone to suffer like that. Anghel is another outsider, this time genuinely a foreigner, as opposed to Nageki. Again, Luzons are wild birds, not prey or pets, and so it's a bit unclear what his status is. This might explain why Hiyoko repeats Sakuya's remarks towards him without apparently realizing they're actually insults - Anghel is removed enough from the conflict she is familiar with that it seems she doesn't quite... get it. Again, Anghel's role is as this strange kind of omniscient observer, whose perspective is closer to the player's than to the rest of the cast. He definitely frowns on the Hawk Party's overall goal - the Demon Spores are evil to him, and his main objective is to stop them from spreading, as they would cause damage to both birds and humans. I attribute his morals to his mother having raised him right lol. The lack of a clear status for both of them may be why they appear to take the stance of judgment based on individual actions, but are not heavily involved in the conflict itself - while humans tend to like mourning doves and luzons, there isn't much interaction that goes on between them. Nageki and Anghel are simply less embroiled in bird society's human-derived status conflict, which makes them both outsiders and observers.

As a bonus note, Azami, Rabu and Kenzaburou are all species of birds that can be kept as pets (java sparrow, budgie, parakeet), which may account for some of their friendliness towards Hiyoko, and Kenzaburou's willingness to hire her. Kenzaburou is even a bit old-fashioned it seems - he sleeps in a cage, which implies his ancestors were probably pet birds themselves. It's likely he, in particular, has more positive views on humans.

...Please tell me I'm not the only one who spent ages thinking about the implications and workings of a fictional post-apocalyptic bird society. Also I hope this made sense I kind of went off the rails here.

[cockroachparty]

i love to write. it is my most favorite hobby. talking is really fun too. i love sharing my thoughts and opinions and while also hearing others thoughts and opinions. writing is a safe haven, a quick way to share my thoughts with others. the words flow effortlessly from my brain down to my fingertips, with such quick succession.

except when its an assignment.

give me a roleplay prompt and i'll write it within 5 minutes. tell me to give a funny review for an amazon product and i'll have it down in 10.

but giving me a paragraph assignment? on a chapter of a book i dont care for?

end of the world. end of my life. end of my schooling career. cant do it. no i cant. suddenly every single word and vocabulary term i once knew is vanquished from my mind and i can no longer form a coherent opinion or sentence. might as well just give me the F now. take me out back and shoot me i guess do it in front of a live audience too, why not. who cares.

[the-moon-will-mourn]

now i haven't finished the dream thieves yet (i'm like,,, 7 chapters away from finishing) and i think this may contain spoilers???? but i'm not too sure yet. i'm basically gonna word vomit. i'm sorry for not using any quotes, i wish i could but i only have the ebook version and a very limited storage space on my phone where i can only have ~two books downloaded

like a normal person, i enjoy listening to video essays, see what creators want to explain to their audience and leave with a certain view, try to come to my own arguments about certain points in the videos, see if i can apply some points to other aspects of my life etc etc. (this was the type of shi that helped me with my eng lit essays rip i miss alevels) and like a normal british citizen i looked up stuff about classism in the uk. in the end, i found a video essay about classism in general and how the ultra rich try to mimic being poor to get away from their hard issues that comes with being rich (which, frankly, is probably a lot less compared to someone who is working class).

recently, i was talking to my friend about specifics in the book about certain characters and i remember we went onto the convo of making music playlists for the characters. they said "it's gonna be hard for adam [...] cuz his whole thing is about being unknowable" and it always struck me with how unknowable he truly is when reading his character because his character is intrinsically linked to his working class background. (context: i'm a middle class child of immigrants who built themselves in the uk)

it's very clear the kind of social commentary stiefvater wanted to make using adam's character with how isolating and alienating it can be coming from a working class background trying to assimilate yourself into a society of those protected and privileged enough to not have any problems with accessing opportunities. how class is a huge obstacle between interpersonal relationships and feeling safe enough to be vulnerable with your issues with being working class. how difference in class can cause one-sided shame because of the meritocratic society we're living in. how, no matter how much money you earn or how many connections you can make, your attachment to your working class identity can be enough reason to aim for something supernaturally larger than yourself.

it's evident that other characters overlook adam's social class because he's a "self-made man" (or smth) and mainly because he's their friend: adam. however, when we get a chapter in his pov, class is a driving factor in how he interacts and views everyone. we can see the privilege gansey and ronan have for being able to not even consider class as an intimidating aspect about themselves to a normal person, but it's everything to adam in the sense that he feels like his earned money doesn't give him access to a similar respect.

now that i truly think about it, it was a good idea for adam not to join them in monmouth manufacturing because it just feels like they're... mocking him in an indirect way? they have the ability to choose to live in a nice place and instead chose to live in a random, run-down building because it seemed aesthetic. adam was forced to live in a rundown trailer because that's all they could have afforded. i know gansey had good intentions for wanting adam to join them, but everything that he likes as an aesthetic (monmouth manufacturing, the run-down camaro, eating mint leaves instead of gum) can seem like he's flaunting the fact he can choose that lifestyle without any consequences.

back to the point of the meritocratic society (which we usually assume in books that take place in a similar world as our own) creating shame because of their class: the assumption that because someone has worked hard to earn what they have gives them a right to be proud. but this is the opposite for adam as he fights with the fact that he could have maybe be seen as even more equal to gansey if he had just been born with wealth.

we can frame it as, maybe, despite gansey's desire to appear working class, it only broadens the distance between him and adam. it only worsens adam's difficult relationship with his class shame despite probably wanting to be more relatable or even laid-back.

when reading the second book after his sacrifice, i was confused as to why adam was so un-adam-like. i mean, in the first book i didn't really understand him because of his huge insistance that his class makes him inherently inferior to everyone he surrounds himself with and i don't see class as an issue myself.

however, his sacrifice basically was watering the seed of ambition that was planted when he decided to aim for aglionby. it becamse clearer to me how much this opportunity to be superior, even if it's supernatural and terrifying, is important for him understanding in what he thinks he lacks. by those thoughts of what he lacks, he thought that this chance to be cabeswater's channel could be a way to compensate for his inferior social class. or something.

anyways, thank you for coming to my ted talk. this is not proofread, and my sister keeps nagging at me to shower. also i simp for gansey do not think this is me trying mischaracterising him i'm just trying to understand the theme of class in this series and having gansey as a figure to compare to is literally integral.

[shy-sapphic-ace]

Guys should I write a Dracula musical. Should I???

[uncanny-tranny]

I know this is a very unoriginal observation (much like any other), but I'm finally reading The Great Gatsby, and even I wouldn't describe men the way Nick does.