#you can also write to me to discuss other points of this post of course
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padfootagain · 2 years ago
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A quick update, friends!
Just wanted to share a quick update after posting my first fic in a while, and discuss what I'm planning to do, and also ask for your opinion on a few things (a pole is under the cut if you're interested). I'm going to put everything under the cut to avoid bothering people who would not care about this post.
But before that, I would simply like to thank everyone who has read my new fic! I wasn't expecting to do so well on my come back, I've already received requests again... It really feels like I'm fully back, and I'm very grateful. So thank you so much to everyone!
Now, the rest is under the cut :
First thing first, again, thank you so much for the very positive feedback I got for my Sirius fic! It's very encouraging to me, and shows that I can still write good (or at least okayish) fics, despite being gone for so long! So thank you all again!
I've received two similar requests for some Ben Barnes fic (I don't know if it's the same person going on and off anon or just two separate ones that are just oddly similar...), requesting some shenanigans with the Shadow and Bone cast, the request is accepted and already written!
Concerning requests, I just wanted to remind you all that I do not write smut or nsfw content. If you make a request that could include smut, I will thus keep your idea but without any nsfw scene.
Quick update on where we're at! Here is my little list of all my fics that I have been working on or am currently working on :
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You will recognize the first five fics as being the ones already included in my posting schedule that I shared last week (it's still my pinned post, in case you need to check it out again). But as you can see I've been pretty productive this week! Wrote a long one-shot that I will split into two parts cause it's too long, and the request I received this week. Also already working on a chapter for a series.
I am thus seriously thinking about posting more often than what I had originally planned... I don't want to overwork myself, so I don't think I'll go as far as posting twice a week on a regular basis, but I might do an intermediate rhythm... like once every five days or something like that. I don't know yet, I'm still thinking about it. But it's a bit silly that I have so many stuff ready at this point, I reckon. So might let myself post more often in the coming days.
Also, as you might have noticed in this list, there is an awful lot of Ben Barnes content coming (I do not blame myself for it, I love this man with all my heart, have been doing so for way too long to still be counting now, it's really not my fault...). But I am aware that some of you might be interested in other characters ! So, if you have a minute, you can answer this little pole here in order to decide who I should focus next for another one-shot!
I am also thinking about planning an event in the coming month, if things go well, if you're still enjoying my writings and if I'm still productive :) I think it could be a nice way to mark my come back, make you all involved in the creative process again, and it also would be a way to help me focus my energy. Because rn I have so much motivation to write fics, it's a bit overwhelming tbh cause I have lots of ideas and have a tendency to be a bit all over the place. So, organising on an event could help me focus all this energy. It would probably be an event using dialogue prompts or AUs/tropes. I will give myself a few more days to think about it, and will probably ask your opinion again about it through some poles :)
Anyway, end of this very long post, a pat on the shoulder to anyone who's managed to read this post all the way through, and I will keep you updated again next week :)
Feel free to drop by to discuss everything I'm discussing in this post, or if you just want to have a chat about whatever you want :)
Thank you all again, have a nice Sunday!
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mostlysignssomeportents · 21 days ago
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Proud to be a blockhead
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If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
https://pluralistic.net/2024/12/21/blockheads-r-us/#vocational-awe
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This is my last Pluralistic post of the year, and rather than round up my most successful posts of the year, I figured I'd write a little about why it's impossible for me to do that, and why that is by design, and what that says about the arts, monopolies, and creative labor markets.
I started Pluralistic nearly five years ago, and from the outset, I was adamant that I wouldn't measure my success through quantitative measures. The canonical version of Pluralistic – the one that lives at pluralistic.net – has no metrics, no analytics, no logs, and no tracking. I don't know who visits the site. I don't know how many people visit the site. I don't know which posts are most popular, and which ones are the least popular. I can't know any of that.
The other versions of Pluralistic are less ascetic, but only because there's no way for me to turn off some metrics on those channels. The Mailman service that delivers the (tracker-free) email version of Pluralistic necessarily has a system for telling me how many subscribers I have, but I have never looked at that number, and have no intention of doing so. I have turned off notifications when someone signs up for the list, or resigns from it.
The commercial, surveillance-heavy channels for Pluralistic – Tumblr, Twitter – have a lot of metrics, but again, I don't consult them. Medium and Mastodon have some metrics, and again, I just pretend they don't exist.
What do I pay attention to? The qualitative impacts of my writing. Comments. Replies. Emails. Other bloggers who discuss it, or discussions on Metafilter, Slashdot, Reddit and Hacker News. That stuff matters to me a lot because I write for two reasons, which are, in order: to work out my own thinking, and; to influence other peoples' thinking.
Writing is a cognitive prosthesis for me. Working things out on the page helps me work things out in my life. And, of course, working things out on the page helps me work more things out on the page. Writing begets writing:
https://pluralistic.net/2021/05/09/the-memex-method/
Honestly, that is sufficient. Not in the sense that writing, without being read, would make me happy or fulfilled. Being read and being part of a community and a conversation matters a lot to me. But the very act of writing is so important to me that even if no one read me, I would still write.
This is a thing that writers aren't supposed to admit. As I wrote on this blog's fourth anniversary, the most laughably false statement about writing ever uttered is Samuel Johnson's notorious "No man but a blockhead ever wrote but for money":
https://pluralistic.net/2024/02/20/fore/#synthesis
Making art is not an "economically rational" activity. Neither is attempting to persuade other people to your point of view. These activities are not merely intrinsically satisfying, they are also necessary, at least for many of us. The long, stupid fight about copyright that started in the Napster era has rarely acknowledged this, nor has it grappled with the implications of it. On the one hand, you have copyright maximalists who say totally absurd things like, "If you don't pay for art, no one will make art, and art will disappear." This is one of those radioactively false statements whose falsity is so glaring that it can be seen from orbit.
But on the other hand, you know who knows this fact very well? The corporations that pay creative workers. Movie studios, record labels, publishers, games studios: they all know that they are in possession of a workforce that has to make art, and will continue to do so, paycheck or not, until someone pokes their eyes out or breaks their fingers. People make art because it matters to them, and this trait makes workers terribly exploitable. As Fobazi Ettarh writes in her seminal paper on "vocational awe," workers who care about their jobs are at a huge disadvantage in labor markets. Teachers, librarians, nurses, and yes, artists, are all motivated by a sense of mission that often trumps their own self-interest and well-being and their bosses know it:
https://www.inthelibrarywiththeleadpipe.org/2018/vocational-awe/
One of the most important ideas in David Graeber's magisterial book Bullshit Jobs is that the ground state of labor is to do a job that you are proud of and that matters to you, but late-stage capitalist alienation has gotten so grotesque that some people will actually sneer at the idea that, say, teachers should be well compensated: "Why should you get a living wage – isn't the satisfaction of helping children payment enough?"
https://memex.craphound.com/2018/06/20/david-graebers-bullshit-jobs-why-does-the-economy-sustain-jobs-that-no-one-values/
These are the most salient facts of the copyright fight: creativity is a non-economic activity, and this makes creative workers extremely vulnerable to exploitation. People make art because they have to. As Marx was finishing Kapital, he was often stuck working from home, having pawned his trousers so he could keep writing. The fact that artists don't respond rationally to economic incentives doesn't mean they should starve to death. Art – like nursing, teaching and librarianship – is necessary for human thriving.
No, the implication of the economic irrationality of vocational awe is this: the only tool that can secure economic justice for workers who truly can't help but do their jobs is solidarity. Creative workers need to be in solidarity with one another, and with our audiences – and, often, with the other workers at the corporations who bring our work to market. We are all class allies locked in struggle with the owners of both the entertainment companies and the technology companies that sit between us and our audiences (this is the thesis of Rebecca Giblin's and my 2022 book Chokepoint Capitalism):
https://chokepointcapitalism.com/
The idea of artistic solidarity is an old and important one. Victor Hugo, creator of the first copyright treaty – the Berne Convention – wrote movingly about how the point of securing rights for creators wasn't to allow their biological children to exploit their work after their death, but rather, to ensure that the creative successors of artists could build on their forebears' accomplishments. Hugo – like any other artist who has a shred of honesty and has thought about the subject for more than ten seconds – knew that he was part of a creative community and tradition, one composed of readers and writers and critics and publishing workers, and that this was a community and a tradition worth fighting for and protecting.
One of the most important and memorable interviews Rebecca and I did for our book was with Liz Pelly, one of the sharpest critics of Spotify (our chapter about how Spotify steals from musicians is the only part of the audiobook available on Spotify itself – a "Spotify Exclusive"!):
https://open.spotify.com/show/7oLW9ANweI01CVbZUyH4Xg
Pelly has just published a major, important new book about Spotify's ripoffs, called Mood Machine:
https://www.simonandschuster.com/books/Mood-Machine/Liz-Pelly/9781668083505
A long article in Harper's unpacks one of the core mechanics at the heart of Spotify's systematic theft from creative workers: the use of "ghost artists," whose generic music is cheaper than real music, which is why Spotify crams it into their playlists:
https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/
The subject of Ghost Artists has long been shrouded in mystery and ardent – but highly selective – denials from Spotify itself. In her article – which features leaked internal chats from Spotify – Pelly gets to the heart of the matter. Ghost artists are musicians who are recruited by shadowy companies that offer flat fees for composing and performing inoffensive muzak that can fade into the background. This is wholesaled to Spotify, which crams it into wildly popular playlists of music that people put on while they're doing something else ("Deep Focus," "100% Lounge," "Bossa Nova Dinner," "Cocktail Jazz," "Deep Sleep," "Morning Stretch") and might therefore settle for an inferior product.
Spotify calls this "Perfect Fit Music" and it's the pink slime of music, an extruded, musiclike content that plugs a music-shaped hole in your life, without performing the communicative and aesthetic job that real music exists for.
After many dead-end leads with people involved in the musical pink slime industry, Pelly finally locates a musician who's willing to speak anonymously about his work (he asks for anonymity because he relies on the pittances he receives for making pink slime to survive). This jazz musician knows very little about where the music he's commissioned to produce ends up, which is by design. The musical pink slime industry, like all sleaze industries, is shrouded in the secrecy sought by bosses who know that they're running a racket they should be ashamed of.
The anonymous musician composes a stack of compositions on his couch, then goes into a studio for a series of one-take recordings. There's usually a rep from the PFC pink slime industry there, and the rep's feedback is always "play simpler." As the anonymous musician explains:
That’s definitely the thing: nothing that could be even remotely challenging or offensive, really. The goal, for sure, is to be as milquetoast as possible.
This source calls the arrangement "shameful." Another musician Pelly spoke to said "it felt unethical, like some kind of money-laundering scheme." The PFC companies say that these composers and performers are just making music, the way anyone might, and releasing it under pseudonyms in a way that "has been popular across mediums for decades." But Pelly's interview subjects told her that they don't consider their work to be art:
It feels like someone is giving you a prompt or a question, and you’re just answering it, whether it’s actually your conviction or not. Nobody I know would ever go into the studio and record music this way.
Artists who are recruited to make new pink slime are given reference links to existing pink slime and ordered to replicate it as closely as possible. The tracks produced this way that do the best are then fed to the next group of musicians to replicate, and so on. It's the musical equivalent of feeding slaughterhouse sweepings to the next generation of livestock, a version of the gag from Catch 22 where a patient in a body-cast has a catheter bag and an IV drip, and once a day a nurse comes and swaps them around.
Pelly reminds us that Spotify was supposed to be an answer to the painful question of the Napster era: how do we pay musicians for their labor? Spotify was sold as a way to bypass the "gatekeepers": the big three labels who own 70% of all recorded music, whose financial maltreatment of artists was seen as moral justification for file sharing ("Why buy the CD if the musician won't see any of the money from it?").
But the way that Spotify secured rights to all the popular music in the world was by handing over big equity stakes in its business to the Big Three labels, and giving them wildly preferential terms that made it impossible for independent musicians and labels to earn more than homeopathic fractions of a penny for each stream, even as Spotify became the one essential conduit for reaching an audience:
https://pluralistic.net/2021/03/16/wage-theft/#excessive-buyer-power
It turns out that getting fans to pay for music has no necessary connection to getting musicians paid. Vocational awe means that the fact that someone has induced a musician to make music doesn't mean that the musician is getting a fair share of what you pay for music. The same goes for every kind of art, and every field where vocational awe plays a role, from nursing to librarianship.
Chokepoint Capitalism tries very hard to grapple with this conundrum; the second half of the book is a series of detailed, shovel-ready policy prescriptions for labor, contract, and copyright reforms that will immediately and profoundly shift the share of income generated by creative labor from bosses to workers.
Which brings me back to this little publishing enterprise of mine, and the fact that I do it for free, and not only that, give it away under a Creative Commons Attribution license that allows you to share and republish it, for money, if you choose:
https://creativecommons.org/licenses/by/4.0/
I am lucky enough that I make a good living from my writing, but I'm also honest enough with myself to know just how much luck was involved with that fact, and insecure enough to live in a state of constant near-terror about what happens when my luck runs out. I came up in science fiction, and I vividly remember the writers I admired whose careers popped like soap-bubbles when Reagan deregulated the retail sector, precipitating a collapse in the grocery stores and pharmacies where "midlist" mass-market paperbacks were sold by the millions across the country:
https://pluralistic.net/2021/07/04/self-publishing/
These writers – the ones who are still alive – are living proof of the fact that you have to break our fingers to get us to stop writing. Some of them haven't had a mainstream publisher in decades, but they're still writing, and self-publishing, or publishing with small presses, and often they're doing the best work of their careers, and almost no one is seeing it, and they're still doing it.
Because we aren't engaged in economically rational activity. We're doing something essential – essential to us, first and foremost, and essential to the audiences and peers our work reaches and changes and challenges.
Pluralistic is, in part, a way for me too face the fear I wake up with every day, that some day, my luck will run out, as it has for nearly all the writers I've ever admired, and to reassure myself that the writing will go on doing what I need it to do for my psyche and my heart even if – when – my career regresses to the mean.
It's a way for me to reaffirm the solidaristic nature of artistic activity, the connection with other writers and other readers (because I am, of course, an avid, constant reader). Commercial fortunes change. Monopolies lay waste to whole sectors and swallow up the livelihoods of people who believe in what they do like a whale straining tons of plankton through its baleen. But solidarity endures. Solidarietatis longa, vita brevis.
Happy New Year folks. See you in 2025.
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gin-juice-tonic · 5 months ago
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So, for Starters: Book Of Bill Spoilers warning. Another opinion from me below. This new one is about the lost journal pages again, of course.
Originally, I wanted to make a super big crazy essay about all the reasons I think the journal pages in BOB (The Book of Bill’s given name) are fake, and show off my super-cool totally completely sound deductive reasoning techniques in the process.  
Unfortunately, knowing myself I’m not sure I’m actually capable of accomplishing such a feat. You all know how I tend to post things in parts, sometimes out of order, often never finished. However I would like to share something in particular that’s been eating at me that I’ve seen… partially discussed, but only partially. And certainly not the part that I would like to discuss. 
It’s about the rats.
You know, the rats.
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I saw these rats being talked about since before I was even able to have a look at the book myself. 
But before I get further into it all, I would like to start off with a joke: 
Why did dead rats, eggnog, a land orca, shrimp colors, It’s a Small World After All, and an Anti-Cipherite Suit cross the road? 
Well, that’s easy. To get to the other side. 
Of the book, that is. 
If you’re anything like me, you probably skipped right to the journal pages upon contact with the book. And if you’re even MORE like me, you were probably left a little confounded by them. Not only did they seem… wrong somehow. But they also felt random. Full of odd choices of subject that didn’t make a lot of sense. Could these pages really have come from journal 3? If so, why do parts of them feel so… completely out of context? 
And this is where the rats come in. As I mentioned before, I saw many people discussing them. In particular, they were noting a connection to this passage from earlier in the book:
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Many of the related discussions also felt odd to me. Though I lacked the knowledge to be able to articulate why at the time. UNTIL, I read the book for myself from start to finish. That's when I realized something:  This is not the only time something from earlier in the book connects back to the journal pages. In fact, it happens many, many times throughout the earlier passages. (Here is a small collection of them for your perusal.)
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And then it started clicking into place. The reasons the pages felt like they were so abnormally out of context… is because they WERE lacking context!
Now, before you can finish saying “Gin, you’re an idiot.” I would like you to ponder these three questions: 
1) Why, if these pages were taken from Journal 3, should they require context from outside of it to be able to be completely understood?
2) Why is it that this context can be found in what Bill Cipher has been writing in the preceding passages up till now? 
3) If you put food in a mogwai’s mouth at midnight EST but drive it over the CST time zone line back to 11PM before it can swallow, will it still transform into a gremlin? 
Okay, you caught me, that third one is unrelated. But the first two I believe require further thinking. So let’s delve a little further into the idea. Consider this the real third question: 
3) Are we to seriously believe that these, the only pages of J3 still lost to us, just so happen to tie into the new topics from the rest of the Book of Bill over and over like this?  
And since you’ve done so well thinking thus far, I’ll ask a fourth question: 
4) Are you aware of the concepts of Watsonian and Doyalist analysis? 
Assuming you don’t and you won’t google it, I’ll skip to the important part. Watsonian analysis is to analyze a story from within it, as if you yourself were Watson making deductions in a Sherlock Holmes novel.  
Now, from a Watsonian point of view, what happens when we try to answer our earlier questions? Why should it be that the Book of Bill provides so many of these points of reference to the journal pages? 
One possible line of thought could be that Bill wrote the earlier passages of his book *around* the idea of what was contained in the pages, but I think this doesn’t work for a few reasons. For one thing, the purpose of the book is to get the reader to make a deal, not to take a whole novel to set the stage for a 3 day mini Ford adventure. For another, not all of what I described prior is really fit to be called “context”, is it? The rats, the “Small World” cassette, and the Bill-Suit are one thing, but Eggnog? Shrimp colors? Land Orcas? I certainly wouldn’t define them that way. If anything, they’d be better suited to being called “references”. And unlike the more contextual ideas, there’d be no real need for Bill to sneak mere references to the pages into his grand story.  And lastly, there are a great deal of Bill pages that have nothing to do with the content in the journal pages at all.
So what exactly am I trying to say here? 
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If we do intend to think of the callbacks outlined above as references, the only logical conclusion within the story is that the journal pages themselves are referencing back to the Book of Bill, not the other way around.
But… how? And why? Something Ford has written in the 80’s shouldn't be able to reference something Bill is writing post-weirdmageddon certainly. 
That’s because “Ford” isn’t referencing it at all!
And as for why… Well, have you ever noticed when you're writing a story on the fly, things you wrote earlier all come crashing back to you as you try to wrap things up? I believe personally that the journal pages are not pages actually written by Ford, but more a strange endcap on Bill’s crazy train of thought! That Bill is the one writing them, and the "references" are just fuel that further the pages creation. Almost as if, to quote someone much more knowledgeable than me on this subject…
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(This single paragraph has been inserted a good deal after the original writing of this post.) I would like to clarify, I am not trying to claim the ideas presented in the pages have no basis in reality whatsoever. Ultimately, what I'm saying is I think Bill wrote them, and they should be taken with suspicion instead of as complete fact. "Did this event happen exactly this way?", "Does some of this feel distorted?", "Did this part even happen at all?" I think those are questions worth examining with the events detailed on these pages.
In the end, all I've described above (as well as other aspects of the pages I've not mentioned here) leave me with the impression the pages are not real.
As I stated only a bit earlier, the idea that these pages, the only pages of J3 purported to be lost, should be so connected to the rest of the book is beyond coincidence to me. Not to mention that in order to take these pages as total truth, you must give credence to several other passages of Bill's book as well. And I'm not too keen on having to trust him that much.
To all who have read this far, even to those who may have scoffed at the ideas in here or think I've only written up nonsense. Thank you for reading and considering my thoughts.
I am not saying anyone must agree with me on this. I know some people have found the pages to be important and meaningful to them, and I do not wish to give the impression that I think my view is the end all be all correct one, or that I think lesser of those who believe them to be Ford's own writings. I only want to share my own thoughts on them. And to anyone else who found the pages to feel "off" somehow, possibly validate their feelings too.
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hiveswap · 1 year ago
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Summary of The Cat of The Year poll atrocities of 2023/2024
I'm sure that most people on this side of tumblr have seen the Jellie vs. Nefarious Anglerfish poll going around with like 60k votes at this point, and I'd really like clear up some of what happened since I was around for the whole thing.
Url blocked out for op's privacy. They have already left but don't look for it if you haven't seen it/don't harrass them if you already have.
1. The previous round (preparation)
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I discovered the poll in its previous round, needless to say she beat Jort's ass severely. This was around the 3rd of january, meaning that this round finished before jellie's passing with only about 7k votes. Op did add their own piece of propaganda from their main:
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...which was FINE. (except for stuff we'll see later) Of course running a poll while biased isn't ideal but I for one didn't even know they were the op until much later. I also added my own piece in a separate thread, and they didn't interact with it at all. There was no drama.
2. The Finale
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Jellie unfortunately passed away right before the starting of this poll, which was the catalyst for what happened next. Op did exactly as last time and added a slightly more mean spirited encouragement to vote for the other contestant. This is the point where I believe that i fucked up personally.
I added this thinkpiece accusing op of associating all mcyters with Dream (who we all hate for the record) despite them not alluding to him at all. This is because tumblr has a history of disimissing all mcyters as... everything that dream was been accused of. Op did allude to not caring for mcyt. but they didn't say what i accused them of. This is important to point out because this reblog of mine is still being spread. Jellie was in the lead at the time, but not by the time i woke up next morning.
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I won't be including anyone else's additions because I don't want to put blame on any specific person. Just felt like clearing up mine.
3. The Fuckening
Some time later op made this post to their personal blog:
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which is insanely shitty because, as other people have pointed out, the "lame ass youtube cat" didn't die to inconvinience op or ruin their fun, and people would have probably voted for her anyway because jelly is universally beloved in the mcyt community. This isn't anti democratic. This post was added to the poll with a caption saying op should not be running this poll, and it took off. Op later went on to say that this was a joke:
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This apology was not taken well by people, (including me) because "you were not meant to see it" isn't an apology and they still very much made fun of someone's pet dying. Safe to say this did not make the drama stop and only added fuel to the flame. I believe this was the point where the conversation of mcyt fans being unjustly sent hate to was reignited.
We should discuss that! it's a real thing that happens often and is equal to childish bullying. However, in this case, OP was the only one getting sent hate to my knowledge. The notes were mostly saturated by mcyt fans, and even now i can only find one or two hateful stance towards us under the whole 20k notes post.
4. Conclusions
Op posted a second apology to the catoftheyear blog to try and calm people down (i believe this is comprehensive and a lot better than the previous one) The blog was deactivated shortly after, so i only have my phone screenshots of it that i also added to the poll itself at some point:
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(Edit) Here's proof that op did not write the justification they got criticised for, from the notes of the original poll:
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This apology didn't get seen, or get accepted by enough people, so op made this statement on their personal:
Needless to say I am deeply dissapointed (and guilty) that it's come to this. Yes, op said tasteless things that made us all angry, but telling a human being to commit suicide is worse than being insensitive about a stranger's pet dying. Even after I posted about the blog being decatived i had someone come into my notes to wish that "they never find happiness" i mean wtf. This isn't like shipping where we can do whatever without the content creator's input. this is fucking harrowing and i can't imagine how i'd feel if this was done in my/my pet's name especially after losing them as recently as a week ago.
I hope no one from hermitcraft who is on here (let alone scar holy shit) learns about this like they did with previous lighthearted tournaments. If you truly respect the creators you claim to be a fan of as people, you do not tell people to kill themselves over them. And finally, let Jellie fucking rest, guys. she had a long, good life. I hope op can come back and also avoids behaving like this if they ever wish to do so. I'm angrier at mcytblr, though.
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supersoakerfullofblood · 10 months ago
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Point of View: the Biggest Thing You're Missing!
Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.
Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.
Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.
Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:
“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.
With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:
“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?
Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."
This is a lot of info, so let's synthesize this into easy bullet points to remember.
Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?
Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.
Here's another way to look at it!
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This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!
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ughdontbeboring · 5 months ago
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pain relief
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Austin Butler x WoC Reader (can be read by anyone)
Reader is trying to hide her chronic pain from her man
warnings: chronic pain (migraines), insecurities, smutty
THIS FOR ALL MY CHRONIC PAIN GIRLIES!!
notes: WOW even with all the Austin wips in my notes this is my first one to be posted, wow idk makes me nervous 😅 yall I hope I did our sweet boy justice.
No description of ethnicity one comment of complexion that’s it but reader when I write is always written with myself in mind. It’s soooo self indulgent.
this is SUPER self indulgent, So I first thought of this from his interview with Jimmy Kimmel when they asked about the migraines as an excuse not to have sex and of course his response was spot on he said “I don’t know what a migraine is” and Jimmy said “of cour you don’t” lmfao bc idk if I’d even turn him down if I had one!
I had a really bad period of back to back migraines for a couple months and this is what my brain rewarded me with in between one. I really don’t know what this is yall lol so don’t ask idk if I’m actually happy with it but yea lol
I put x reader but idk I guess it can tell be read that way, I don’t have the energy to re write it y’all so
now that I’m starting to feel better I will be catching up on my other wips.
if you like it, love it, fuck with it leave some love. I DO NOT give permission for my shit to be used anywhere by anyone.
🤕
Don’t focus on the pain, don’t focus on the pain she repeated over and over again in her head from under the safety of the soft cool cotton comforter as if it would keep away the pounding pain, protect her from it. 
It would not. 
Even with the house dead silent, the fan on for a little noise and all the black out curtains drawn that her boyfriend insisted he buy when he learned about her diagnosis from childhood- she knew relief would not find her. She shifted trying to readjust and find a more comfortable position to lay in, the little pocket above her head letting much needed cool air into her little bubble. 
She knew a few weeks ago she should have reached out to her neurologist but she’d just been so busy it kept slipping her mind and the aspirin had been holding her over but this? no this one was a monster and it was full peak right now. It started almost a day ago after the LA screening for The Bikeriders and had not gone away.
It didn’t help that they also just got back from the UK press tour. All the flying, the red carpets, the flashing lights and noise was starting to take its toll. Recently her boyfriend of just a little over a year revealed to her how much he enjoyed having her accompany him and how he loves sharing those moment with her. Hence all the traveling she’d done recently at his side. 
They still believed in healthy space but they truly enjoyed being together as much as they could. 
Usually she’d fly out every 2 or so weeks to wherever he was since her job was more flexible, their relationship was long distance since she was still living in New York. Which they’d also discussed changing that status but they both agreed to iron out the plans once the tour was over and he had a few weeks of down time. They figured the actual move would happen after he filmed in NY the end of summer. Knowing summer was her favorite time to be home, ever the thoughtful boyfriend. 
Though she was nervous to tell her family. They adored Austin but they’re a very close family and not seeing them everyday would take a lot of time to adjust to but it was important at this point in their relationship to actually be together. He even mentioned he’d love to look for a New York apartment which she had thought was unnecessary they could just stay with any of her family members when they visited until he reminded her she wouldn’t want her family to know she was his pretty girl who got cock drunk and loud when he fuck her stupid. Yes their own place was necessary. 
She felt a sharp pain at her temple and groaned. It was like her brain was telling her to stop thinking about all the stress and think about the pain she was in, which she didn’t want to do either honestly. She wish she could sleep it off but it was impossible. 
She flipped her pillow to the cool side and once again tried to empty her brain. Deep breaths girl deep breaths, the pain isn’t forever. 
She heard the front door slam shut up, which made her curl up even more in a fetal position and the deep smooth voice of her favorite person calling out to her. That voice was her favorite in the whole world but right now she needed silence. She had hoped the migraine would have been over by the time he got back but she wasn’t so lucky. Now she would have to face the music.
She had been telling him the past couple weeks it was just little headaches nothing serious, he knew she got migraines but hadn’t experienced any with her so far. The past 2 years she hadn’t needed to be medicated, the doctor couldn’t tell her why they suddenly stoped and why she was only getting little headaches every once in a while. This is why she was so unprepared and completely out of her medication she hadn’t needed in so long; she truly thought they had finally stopped for good. 
She couldn’t have been more wrong with the pain that was throbbing in her head. The front of her skull a constant ache and the back at the base of her skull and neck a wicked throbbing. The pain in her neck and shoulders unbearable even right between her eyes a sharp pain. She felt like she was dying. The fatigue of the attack her body was under was starting to catch up to her. She was trying to hold back the tears but the sound of boots pounding up the stairs along with the call of baby had her on the verge of a tearful melt down. 
She wanted to avoid the conversation that would surely come after this, when he would witness her in a peak migraine state. She felt horrible because she knew he’d feel like it was his fault for encouraging her to come with him to all the press events but it wasn’t his fault. 
She was an adult and she should have addressed this weeks ago with him and her doctor when the headaches started and not try to hide it to avoid worrying him. 
She should have been honest and though she has no reason to be she was scared to tell him.  She was scared he may think she wasn’t able to handle this kind of life. What if he wanted someone who didn’t need to recharge so often? Or someone who could just do anything with him at anytime not be laying in a bed sometimes for more then a day in pain and grumpy. Someone who couldn’t be touched in this state or be the prefect girlfriend. 
She also knew she sounded ridiculous that wasn’t who Austin was but it didn’t stop the insecurity she had about her migraines and how they held her back from life sometimes. Held her back from being fully emerged into his lifestyle. The guilt wrecked her. 
She knew she was mostly feeling insecure about her migraines because of those comments. She wasn’t normally insecure but recently she had read some comments which usually don’t bother her, about her and Austin’s relationship and how unhappy she looked being on press tour and if she was so unhappy why not just leave so he could be with someone who was happier with him. Those people obviously ignored the photos that were not taking at events that showed how happy they were but not knowing or they probably didn’t care she couldn’t be happier than she was, she was just suffering from more frequent migraines. 
So of course they’d focus on the bad, not all the fans but some. A lot of fans, who she felt were real fans could simply see how happy Austin seemed again. She knew how that felt, she met Austin as a fan and all his relationships and flings after Vanessa seemed lackluster and without any real connection, so she got it. But some of the comments were really getting to her at this moment. Especially the ones about how he looked happier with Kaia (which she knew was a lie from hell, she heard all about that relationship from Austin, his last ex) and then the ones about Vanessa looking happy ALL the time, which was funny because Austin spoke to her about their relationship also and if fans only knew it wasn’t always perfect, yes they loved each other but still there was a lot of hurt in that relationship for Austin. 
Then when those things would pop up she’d think what she’d say to her mans ex’s if she ever met them or if she’d just ignore them. 
Her head throbbed hard from all the unnecessary thinking and stress she was bringing onto herself, things she normal never paid any mind when the bedroom door swung open. 
Baby? He called again, steps coming to a slow stop halfway into the room when she assumed he noticed the state of the room; all the curtains drawn, the TV and lights all off, no noise but the fan she placed near the bed even though the central air was on and the pile of blankets on the bed covering her balled up body. Not a single part of her visible as she quickly stuck her hand out the air pocket at by her head careful to not let any light in and weakly waved at him. She could hardly speak let alone move her head to acknowledge him anymore. 
“Baby you still in bed? It’s 10” He asked as he walked closer, not that he cared it was just unusual for her and caused a bit of concern to form in the pit of stomach. 
He watched the head or he’s assuming area of the blanket shake in a yes motion. Even with the black out curtains there was still just enough light to make out everything in the room. 
“Baby what’s wrong” he asked in a soft voice from the edge of the bed, his hand running gently up and down some part of her body under the blanket. Her body coiled away from his touch. He tried to shake away the slight sting it caused him.
“uh migraine” she whispered weakly, if he wasn’t mistaken he could hear the underlying embarrassment in her tone. What could she be embarrassed about? 
“Oh shit baby, you need anything? Anything I can do?” He genuinely asked in gentler tone, though she couldn’t see how his eyes soften knowing she was probably in an immense amount of pain. 
He felt useless. 
“Uh no, just gotta be left alone for a while” this time there wasn’t any embarrassment in her tone just guilt. 
Austin tried to school his own face and tone of disappointment. He know he couldn’t do anything truly to make it go way but he wanted to help, wanted to be there for her like she’d been there for him on all his overwhelming days and nights from filming and traveling. His sweet girl deserved that. Then he thought back to this one thing he’d came across when he was reading online about migraines when she first told him she got them pretty frequently in the past. He quickly dismissed that idea, a slight blush creeping up his neck, he felt a little embarrassed himself for even thinking to suggest that, who says that to their partner Austin? He thought. She clearly needed to be alone. 
“Ok I’m just head downstairs then, call me if you need anything”  
He took another moment eyeing her blanket fortress before turning and slowly heading Towards their bedroom door.
“Austin?” He heard her call shyly, her voice still muffled from the layers covering her.
“Yea?” His own tone was laced with curiosity.
“Uh…there…there is one thing you could probably do for me…if you don’t mind..if you do it’s ok-“ 
He was quick to be at her side, slipping out his shoes, ready for whatever. His stomach burned a little thinking she may ask what he thought of just briefly a moment ago.
“Anything” 
He watched her baby blue fresh set of nails slip from under the blanket and her hand reaching out for his. His own large hand was in hers before he even registered it moving. She tugged him lightly, his body following gently. He was careful not to touch her as he laid next to her, his chest near where her head was, he remembered her saying how she didn’t like to be touched when she was having an episode, everything felt more intense and for some reason it usually amplified the pain. 
“Can I use your hand for a while?” She asked shyly still under the safety of the blankets, he could hear her clearer through the hole she left at the top. 
He felt guilty at the blood that rushed his cock.
“Of course” He said squeezing the right hand that held his left one. 
He allowed her to maneuver his hand so that his left hand was under her head, she placed his fingers at the base of her skull, thumb on one side and his fore finger and pointer finger on the left side.
“Can you keep your fingers like this and apply as much pressure as you can? This are some of my pain points and the right kind of pressure can ease the pain a little, usually I tie a scarf but it isn’t always helpful” she mumbled weakly. 
He was confused. 
“Oh ok..I..I thought-“ 
This wasn’t something he read, though he seen something about heat compress. He was confused because he thought she was going to ask for his hand to give her an orgasm. That was something interesting that he had came across. It said it didn’t work for everyone hence why he was slightly embarrassed to suggest it, he didn’t want her to think he was only thinking with his dick. 
He applied the pressure anyway, happy to help anyway he could.
“Is that good baby?”
“You can press a bit harder” 
He did as she said, feeling her body adjust just the tiniest bit next to him. A soft sigh leaving her lips.
She soft voice thanked him. He hummed a response, his own body adjusting slightly to get more comfortable.  He would lay here as long as she needed.
After a few minutes of comfortable silence, she called his name.
“Yea?” He asked feeling more tired himself than what he thought he was when he got home.
“What were you going to say? When I asked for your hand?” She replied softly voice full of the need for sleep.
His felt that fire and a blush come back. He chuckled to himself. Now was good as anytime to confess his unconventional suggest and figure out if it was something helpful to her or if it was something she even heard of before. 
“Uh..I..I had been reading about migraines when you first told me you got them, trying to understand them better-“ He was cut off by a whimper she made, a pitiful sound of endearment. He knew what she was thinking, she was taken back by his willingness to be there for her however he could and that meant trying to understand what she would be going through. He kept going. “And I was reading how orgasms can sometimes help temporarily, but I didn’t want you to think I was just thinking with my dick” he concluded softly. Feeling better about just getting it out and in the open, it didn’t feel so dirty anymore, like he was taking advantage somehow. He knew her better than to think she would think that but it didn’t stop his insecurities about the topic. 
He felt her body stilled.
shit was she mad at him? He felt the slight unease creep into his stomach and his insecurities intensify at the thought that she would be mad at him for suggesting such a thing when he noticed her right hand slip from under the covers. 
Her soft palm facing up and open in a silent question and permission, are you still willing? And of course you can touch me. 
He let go of the breath he didn’t know he was holding and gave her his right hand, her soft fingers gently pulled his under the covers, her forearm resting ontop of his own as she slipped his hand under hers to be guided where he couldn’t see. Once his rough fingers tips ghosted over her wet pussy he didn’t need anymore guidance, he knew her too well, maybe better than she knew herself. 
She gasped at the first touch and her hand left his to grip his forearm, as he’d started to explore her wet folds.
“How are you this wet already sweet girl? Hmm? Just can’t help yourself around daddy?” Austin questioned softly from above her, awe clear in his voice. He stayed laid on his left side, careful his body other than his hands didn’t touch her. 
“Fuck” she groaned quietly from under the blankets. “Guess my body always needs you daddy” she moaned out. He groaned as his fingers applied more pressure and speed. 
He felt the twitch in cock as she coated his fingers and moaned softly and weakly. His fingers switching between slow and quick. He was so painfully hard. He had to stay focus this was about her but how could he when her tight wet warm pussy was calling him? Begging for him. Her body was hardly moving just her hips grinding slowly into him.
Even fully covered by a ton of blankets he was still completely in-tune with her body. He didn’t need to see her face though he wished he could to kiss her soft lips, to know the pleasure he was giving her, to know she was close. 
He blindly felt the warmth and wetness of her pussy driving into his hand slowly chasing the pleasure he was somehow able to provide in this state.
“Cum for me pretty girl, take it” he groaned lowly.
She moaned out, she sounded so exhausted and pitiful but he could tell she wanted this, needed it and he was more than happy to give it to her. 
She squealed softly as she rocked against his hand, her body exploding and the sweetness of her drenching his fingers, her face seeking the comfort of his embrace under the blanket, he moved over slightly as his left hand still pressed to the pain points guided her, help her her blanket covered forehead lay against his chest. Her hips kept rocking slowly chasing the feeling.
“There you go baby” his husky voice praised even with a migraine she was still his good girl. So wet and warm and tight for him.
Moments passed with his fingers still cupping her warm sticky folds and the other still applying the pressure she required, neither hand moved as he felt her drift of to sleep, her body finally relaxing from the endorphins of her orgasm. 
Austin woke to the press of a soft warm body slightly on top of his and light kisses and licks against his neck. He stirred and tried to adjust his eyesight to the darkness that had over taking the room. It must be late.
“Hey baby” her voice sounded softly, her lips suddenly near his own. She kissed his plump mouth, pecking kisses over and over. She sounded a lot better.
His arms moved to embrace her, pulling her further ontop of him and as close as he could get her. 
“Hey baby” he replied his eyes seeking hers. The dimmed light from the hallway allowed him to finally see her. Though he didn’t physically see her face earlier, he knew she looked more well rested than she had in the past day or two. Her eyes had a fatigue to them but he was sure that would clear up from the migraine once she got some more rest. All and all she almost looked back to her normal self. 
Her hand snaked up his chest to cup his face.
“Thank you, for everything” she told him a little emotionally.
He brought his lips to her for a passionate kiss, before laying his foreheads on hers.
“You don’t ever have to thank me, I’m yours, that’s what I’m here for, to take care of you” he whispered against her lips.
She pecked his again. 
“And I’m still going to say thank you” she mumbled.
He pinched her side playfully as she laughed and pushed at him.
They just gazed at one another and she had to blink to stop the tears. She had woke to Austin on his back, her body against his. She had unconsciously sought his while she slept as the tension faded from her body and to her surprise his hand was still gripping the back of her head. The pressure had loosed when he eventually fell asleep but his hand was still there nonetheless. She didn’t think she could love the man more and here she was slipping further in the ocean that was Austin and some how she was learning she could breathe underwater. He was everything to her.
“I have a surprise for you sweet boy” she said smiling at him like he hung the moon and she’d die on that hill that he did.
Austin’s chest ached in a good way. He never wanted this to end. Couldn’t imagine it being any other way. Everything that had failed for him relationship wise lead him to this moment with her. He was better for it. 
“Hmm, what’s that?” 
She nodded her head to the side of him and that’s when he noticed the en-suite bathroom door open and the soft glow of candles burning. The scent of oils and salts hitting him. He quickly turned back to her.
“Wh-“ 
“You were knocked out and I wanted to return the love” 
“You little sneak” he accused tickling her sides.
She was quick to scramble away from his hold and climb over him getting to her feet and out of his grasp when his hands followed her as she head toward the bathroom.
She stopped short of the door as she pulled her oversize graphic shirt over her head. 
“I would do that you know, sometimes, never with men though, I hated being touched during my migraines but when it was really bad and I had the energy I would do it myself to help ease the pain” she spoke from the doorway to the bathroom, the soft light surrounding her body, giving a even more beautiful glow to her brown skin. “I didn’t think it would ever work from someone else’s hand, not too sure what that means handsome” she smirked.
So she had done that before he thought but just never with man, no man had ever made her comfortable enough to try let alone achieve bringing her relief. Austin felt those butterflies in this stomach again, he felt a sense a pride swell in his chest. His cock was even stirring again. That’s exactly who he wanted to be for her, the man that gave what she needed, what others couldn’t, he wanted to be the one no other man could compare to. He wanted to be her all.
She smirked at him almost as if she could read his every thought and she could because they mirror her own and how she felt about him.
“Lets go loverboy, it’s time for the real show” 
X
X
ALSO yall don’t have to say anything abt it but i find it helps SOMETIMES but alone so I thought who could make this work for me with another person of course our boy Austin could bc he’s so perfect. He’s the only one I’d let touch me with a migraine lol
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anneapocalypse · 6 months ago
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On Wuk Lamat's Role in the Back Half of Dawntrail
(Note: You do not have to like Wuk Lamat, you do not have to like any character, that is your business; however this post is not an invitation to expound to me on why you hate her, so if you aren't open to discussing her positively, please move along.)
Wuk Lamat is vital to the back half of Dawntrail. Her presence in the story there is both narratively and thematically important and its lack would render her character arc incomplete.
For context, I have seen some comments that there should have been less Wuk Lamat in the back half of Dawntrail. I truly don't see how that would have been possible or made sense without throwing out most of what was set up in the first half, or simply writing an entirely different story. Regardless of whether you personally vibe with her, Wuk Lamat is the main character of Dawntrail; this is her story, and it's themes and narrative beats are inextricably interwoven with her character arc.
First of all, can you imagine what people (in-universe and out) would say about her if after the attack on her people and the appearance of the dome she just... stayed in Tuliyollal with Koana and let other people do all the work? She's the Vow of Resolve. Of course she's going to be at the forefront of the action. The whole point of her choosing Koana to rule with her in a new interpretation of the tradition of blessed siblings is that they have complementary strengths, and they have a benefit that blessed siblings don't: they can be in two places at once!
Second, a big part of Wuk Lamat's journey is learning about the cultures of Tural so that she can fairly preside over them all, and in Alexandria we get to see her bring that lesson to bear in a big way when she learns about the regulators and the processing of souls. She's rattled by it but pushes past that personal reaction to say, as the Dawnservant, "Please teach me of your history and culture so that I can understand the importance of this practice." In doing so she learns critical information about the situation. This is a culture so far removed from the Turali peoples Wuk Lamat knows, and they're also a separate kingdom not technically under her rule at all, but that doesn't actually change her response. She still reaches out with curiosity and compassion, always seeking to learn and understand.
As she comes to understand Alexandria's history, she also learns the context she'll need to understand Sphene when her true motivations are revealed later. Moreover, Sphene is a very clear foil for Wuk Lamat. The Dawnservant characterized by her love for her people and her desire for their peace and happiness vs. the Endless Queen whose love for her people has been twisted into something destructive and terrible.
And then there's the narrative beats about family, and particularly the loss of parents in different ways: Wuk Lamat earning the trust of her brother's abandoned son and taking him in as family, and her being there for Erenville as he struggles to come to terms with the death of a parent (something Wuk Lamat has also experienced very recently).
And that's to say nothing of how personal Zoraal Ja's betrayal is to Wuk Lamat; of course she has confront him personally. It couldn't be anyone else (except maybe Koana, and they both seem to agree that it should be her).
The Rite of Succession is not Wuk Lamat's whole character arc; it's only the first half. It's after Wuk Lamat comes into her own as Dawnservant alongside her brother that she truly shines. It is in the back half of the story, when the stakes are dramatically raised, that all the lessons she's learned in her journey will be tested, when the peace she seeks to preserve is so brutally disrupted. We get to see her struggle emotionally with the shock of that in Tuliyollal, then rise to the challenge of leadership. How she responds to all of that is her character. It is the culmination of everything the first half of the story has set up. This is still her story.
And personally, I think it's wonderful to see a female character not only featured so prominently in the story but getting so much character development and such a complete character arc.
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azaharinflames · 5 months ago
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Sorry I need to rant for a tiny, little bit, because...
You know what I find particularly funny?
Their version of Buddie simply does not exist.
And I am not talking about how it is not canon, that is a given. But their version of it. The things they've claimed they do, or feel about each other, or think of each other.
(Disclaimer: I have my own opinion of their friendship and I do believe there are way better friendships within the show, including for Buck. But I do acknowledge they do love each other as friends and deeply care about one another. And that Chris is important for Buck. That is not up to discussion here. Okay, we can go on)
They have this whole "Buckley-Diaz is a family" that consists of Buck spending 99% of his free time at the Diaz house, of them having weekly movie nights, and of Buck taking Chris to school almost as much as Eddie does. And this is simply not true.
We do see Buck spending time at the Diaz house, of course. When he's hanging out with the Diazes (something that, might I point out, has not really happened since Season 4, as the few scenes we got of them hanging out since have been at Buck's loft - correct me if I'm wrong), helping Eddie out, in a group setting, and hiding from his sister and her helicopter babysitting. Movie nights- when is it even mentioned this is something they do weekly? Not once. And please correct me if I am wrong. Buck does not take Chris to school almost daily, not because he did after Eddie's breakdown does it mean this is a normal and usual occurrence. It doesn't mean it isn't, to be fair, but nothing in canon tells us otherwise. I will give them the zoo, however, because in canon we do have Eddie saying Buck takes Chris there all of the time.
What we got, however, was scenes showing how Buck has his own independent life. He has lots of scenes in his loft, as much as Buddies hate it, as we have never gotten an off-handed comment on how little he's spending there because he's at the Diazes all the time. We've gotten scenes of Buck reaching out to people who are not Eddie for help. And oh, of course - we have gotten scenes of his family (whether you like the Buckleys or not) having a family dinner. And guess who was not invited? Oh, right.
(We have, also, gotten enough scenes with Tommy that we know post-going official, they spend most of their free time with each other. Thank you to Bobby for also confirming this. We love you, king)
With the Diazes, we got scenes that showed how Eddie and Chris exist on their own, without needing Buck there to complete their family. We got a whole ep where Eddie was dealing with Chris's new crush, and instead of making that be a Buckley-Diaz 'family' storyline, Carla was the one accompanying Eddie and being the other adult in the situation. We can say whatever we want about the dating debacle at the end of Season 6 (I also think it was a mess, but for the way they rushed it), but Eddie did not say: oh, Chris and I are fine, we have Buck. And he did not say it because it simply would not have made sense.
And oh, I could go on and on on how the Eddie they have in Fanon is also not the one we have, but this is way too long already. Do let me know if anyone wants to hear it though. Although I will probably write it down whenever I am bored enough.
Short story very long: Buck and Eddie are good friends. They respect each other and clearly enjoy each other's company. And the show has definitely played with the concept of family for them (looking directly at the elf from season 2 here), but never too serious. Never in canon. Outside of the 118 being a family (which I am not denying), at least for me, it has always been obvious how Eddie and Chris were very valued by Buck, but his close-knit family (nuclear family, if you will) is and has always been Maddie (now extended to Jee-Yun and Chim as well), and Bobby (something he's admitted in canon, before someone comes at me for this).
Now, thankfully, we have Tommy to join in in there as well ☺️
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islandofsages · 1 year ago
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Hey ! Can I ask for the Diasomnia boys reacting to a male!Ignihyde!reader who join the gargoyle club (idk if it's name) ?
Like, the reader is really just interest in the gargoyles, and isn't scare of Malleus (or anyone, really. Man is too tired for being scare.)
Ignore it if you don't want to write it.
Have a good day/night ! And happy new year too.
characters: diasomnia boys x male ignihyde reader
tags: platonic, canon compliant, fluff, imagines + scenario format; mentions of malleus in literally everything, lilia being a dad
warnings: none
author's notes: reader is so idgaf energy i love it. also i just remembered the small font feature exists LMAO do tell me if it's too small, i'll change it back to the original size!! if not, i'll change my previous posts to the smaller font. also you have a good day/night too anon ! and happy new year :D
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Malleus Draconia
Oh? You want to join the Gargoyle Studies Club? You’re being serious? Oh!
Words cannot describe how happy he is about a fellow gargoyle appreciator though his expression doesn’t really show that
And to think you see him as just another dude… such honor was bestowed upon him…!
He’ll excitedly bring you to every gargoyle he’s found on campus and infodump about them - and you’d write them down somewhere if you’re in the mood
Sometimes you’d find new gargoyles and bring him to them and you start to do likewise
Even outside of club activities you two geek out about gargoyles at times which has earned you two the title of nerds
“Have I told you about the time I’ve met talking gargoyles? I never thought I would see such a day…”
Gargoyles aside, he has times where he confides his personal daily life in you and in turn, he’ll ask you what’s it like being in Ignihyde, etc
After being around each other so much, it feels weird when you guys aren’t together - some people would ask where Malleus is whenever you’re on your own, and vice versa
People found it weird how close an Ignihyde student is to someone from a different dorm too and you’re not sure if you should be flattered or not
But in a sense, Malleus really is your other nerdy half.
Sebek Zigvolt
You?????? Join the club where Malleus is president and is the only member of?????????
“WHAT MAKES YOU THINK YOU’RE WORTHY OF JOINING SUCH A CLUB?”
Well, for one, the fact that you’re unfazed by his constant yelling and therefore probably too tired to be fazed by anything, consequently making you the perfect companion to Malleus because you wouldn’t react inappropriately to Malleus’ conduct
And that you actually are interested in gargoyles. That too. You tell all this to him
He clutches his head with one hand, debating your logic. You don’t know how and why but he accepts your argument
That doesn’t stop him from monitoring you two’s activities from afar but, again, you couldn’t care less. A sixteen year old’s fanatics is just part of the growing process
Outside of club activities, he interrogates you on what you’ve discussed with Malleus and you just tell him the truth: gargoyles
At some point, he gets so engrossed in your infodump about gargoyles his eyes shine with a new light
Of course, he mentions something about Malleus obviously liking something so interesting and befitting of his status - but he also thanks you for enlightening him on the topic and that he’ll go to you for more information if need be
You’ve converted him. You sometimes see him clutching a book about gargoyles around the school. It’s filled with notes sticking out of the pages. And a portion of that sometimes he’ll run to you to confirm about a fact or two
Maybe it’s safe to say you two are kind of friends now.
Silver
He doesn’t think too much of it other than being glad that Malleus finally has a fellow gargoyle fan he can geek out with
He’d see you and Malleus chatting it up around campus and he can’t stop the tender smile on his face from making an appearance
Sometimes he himself will try to strike up a conversation with you and gargoyle geek aside, he finds that you’re just a pleasant person to talk to and be around
He admits he’s not too close with any of the folks from Ignihyde aside for the Shroud brothers but you brush him off by saying that nobody is really
He also admires how you don’t really let anything get to you. Again, you shrug it off by half-joking that you’re too tired to be scared by anything at this point
He somewhat empathizes with you on that point, grieving over his narcoleptic tendencies with a heavy sigh
You try your best to cheer him up or if you have experience with such things, you give him advice on how to manage it
You then jest that he can tag along with you and Malleus’ club activities whenever he’s free if he wants. The more, the merrier, right?
He ponders it for a minute and nods. You didn’t think he’d actually accept the offer
“I don’t see a reason to refuse. Sebek and I have accompanied Malleus on his trips before. I’m sure this time around will be more fun with you here.”
And so you all do. You all have a royal time together - and the joy on Silver’s face is especially princely.
Lilia Vanrouge
He sheds (crocodile) tears at the thought of Malleus finally having an additional member in his one-man club more friends
Since you’re chill about it, he is too! As long as you get along with Malleus, everything will be fine and dandy
If anything, he’s a bit impressed by how it takes more than the average amount to gain a reaction out of you 
…and a bit concerned. Are you sure you’re getting enough nutrients? His paternal instincts kick in when you tell him you’re too tired to have a reaction to anything
He knows that Ignihyde students are mostly shut-ins but he still advises you and makes sure you get a balanced diet
It’s like he’s adopted yet another son
“Oh, (Y/N), you really ought to take care of yourself more.”
You grow a bit annoyed at him sometimes but you know his intentions are good so you don’t protest
You do feel very loved though. You didn’t expect this much from just joining a club for a topic you’re genuinely interested in
But you have to admit it is kind of hard to come by people who aren’t intimidated by the Malleus Draconia, even if you don’t see it as anything special
What’s special, though, is the affection Lilia holds for you.
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fitzjamesbulletwound · 6 days ago
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if you ever wanted to hear my every thought on fitzier you're in luck because here it is! this is extremely long so it's going under the cut and if you read it all, i love you
fitzier- shame, performance, and the freeing ordeal of being known 
oh man okay here we go everyone, if this sucks or is too stupid or too anything feel free to kill me
essentially what i want to try to convey here is that the reason crozier and fitzjames go from enemies to friends to lovers is because they both see each other and see themselves in each other in a way that frightens and compels them, hence the early enmity with a tinge of familiarity and desperation to connect thrown in. with the inevitable evolution of their relationship i really think it becomes about learning to be vulnerable with one another, to give each other space to be who they need to be, both to each other and their subordinates, and finally coming to a point where fitzjames, the most performative insecure character in the story (to me), bares his entire soul to crozier, whose own character development allows him to give james the gift of acceptance and compassion in that moment. i’m not going to go episode by episode like i did with my joplittle post but this is more or less in chronological order with maybe a few exceptions idk i get possessed when i write this stuff
the first scene we’ve got to look at is of course the dinner scene. james is absolutely showboating like no other in this scene but in his body language you can see he isn’t confident at all- fidgeting, gesturing, exaggerating, the voice he tends to put on in early episodes prevalent. but when crozier interrupts him you can see for a split second that james was actually excited to get attention from him until he realizes what he’s saying. in the early episodes james craves crozier’s attention and approval so badly because he knows that crozier doesn’t bullshit and he sees things for what they are and isn’t afraid to voice that either and despite the fact that this sometimes makes james uncomfortable as it is not in line with victorian ideals of emotional expression and masculinity, i think james, given the kind of man he is at the start of the story, craves the recognition of a man who he knows would see everything in him. early early early foreshadowing and story weaving for the cairn scene where he realizes “he can tell this man anything. it is possible”
what i also find fascinating about early james and francis is that they still refer to one another in a very familiar way despite the fact that they openly dislike each other- it’s always first name basis even when they’re arguing. also interesting to note that crozier in the beginning will often call him “fitzjames” in front of others when he’s discussing him when he’s not in the room, but later on he makes sure to always use his proper title when he’s talking about him in front of the men- showing james respect even when he dislikes him. i think he doesn’t understand at the time that james’s familiarity with him is an attempt at respect as well (the whole ‘don’t ever call me francis again’ scene). it might be a stretch but i do get the sense that from the very beginning they both tried at being friendly, even just for the sake of maintaining order in command.
when francis says “here technology still bends the knee to luck james” in ep 1 he says it with almost a mentor-like cadence. like yeah they’re both being a little bitchy here but god knows franklin wasn’t giving fitzjames any real or pertinent advice about surviving and navigating the fucking arctic so i find it interesting that crozier almost gently reminds him that yeah they’re making decent progress but that it would be foolish to let their guard down
one of my favorite early fitzier scenes is after dinner when crozier, franklin, and fitzjames are all on deck and fitzjames like sidles up to crozier and looks him up and down and just goes “goodnight francis” with that smirk on his face- he was trying so hard to flirt with him while also being an insufferable bitch with “try to shake the brown study”. but also james lingers so long waiting for francis to say something to him and then shakes his head and walks away to go bitch to franklin about him- i think he is truly hurt in this instance along with being angry and annoyed. and i love that complication because on one hand, i do think that fitzjames thinks that crozier owes him friendship or at the very least recognition because of who james believes himself to be, or at least who he’s trying to be- like he DOES probably see crozier as being beneath him as an irishman but i do think he genuinely wants his friendship and approval as well, for self serving reasons but not entirely. it’s about fitzjames and his desire to be seen by everyone around him in a certain light but also about his desire to be seen specifically by crozier because of who crozier is and how he acts in contrast to everyone else around them
next on the agenda is “dramatic opening shot”... fitzjames girl you are the most dramatic man in the fucking room. the projection is crazy. what this scene reveals most importantly i think is that another thing about francis that james is secretly very envious of is his ability to openly disagree with franklin. there are so many moments later on where you can see that james doesn’t fully believe in what franklin is saying or commanding (the way he looks at him when they realize they are trapped in the pack, the ways he looks at him when he tells fitzjames to escort silna off of erebus right after her father has died) and i think that he envies francis’s ability to challenge franklin and not care what the consequences are. anyway the staredown during this scene is crazy, the tension??
moving on… beginning of ep 1 crozier says “not if fitzjames is with us” in reference to jop saying dinner will be over before he knows it, and at the beginning of ep 2 fitzjames says “do you think francis will honor us with his presence today”- for two people who allegedly hate each other they sure do think about each other and find reasons to bring each other up in conversation a lot! 
ahh the scene with silna’s father- fitzjames is so interesting to me in this scene and really illustrates one of my favorite things about him in the earlier episodes which is that when he goes silent his face journeys are amazing and really convey his true feelings that he won’t say out loud for various reasons. he watches crozier so much in this scene and looks to him for understanding and guidance which is also interesting because i do think that in this scene he’s watching silna, a woman who he probably sees as subhuman and alien, reacting with such grief and tenderness to her father’s death and probably thinking of his relationship with his own father. i know a lot of people speculate that he was just feeling empathy for her there and i do think that’s part of it but i think that to show that in his mind would be to out himself as being “not fully english”. i think i make this point later on in the story too but fitzjames really does that classic white supremacist thing of distancing yourself from “otherness” in order to align yourself with imperialist beliefs and status- he does it with silna and he does it with crozier. sorry this is also turning into my fitzjames character study lol.
the scene where crozier walks out after his big blow up with franklin… i get that james really didn’t have any place to try to hide the fact that he was eavesdropping but i find it so interesting that he decides to turn to face francis and look him directly in the eye. from what we can see of his expression i personally think there was at least a small amount of sympathy there. another attempt to extend friendship and familiarity while actively participating in crozier’s humiliation… god i hate him lol. and the face that james is making when francis first walks out before he turns around is contemplative, not like smug or triumphant or anything like we might expect given how much he seems to dislike crozier at this point. and francis looking back at him… there’s no anger there, just sadness and humiliation and it sucks. i would truly do anything to be able to see james’s face there, in the script it says that crozier can tell how much james heard from the look on his face which like??? could mean so much.
okay the face journey when francis walks into the erebus wardroom after sir john dies… his eyes stay on fitzjames who’s obviously extremely distraught and i wonder if crozier has ever seen fitzjames show genuine emotion up until this point? crozier then looks to blanky, who also looks to fitzjames almost as if to say “look at him, attend to him” and the sorrow and vulnerability on francis’s face when he looks again to james who is of course also showing a vulnerability we haven’t seen from him before. i love the note in the script that fitzjames isn’t used to being this candid or vulnerable in front of a man he doesn’t respect but he does it anyway. and i don’t think he knows how much sympathy crozier does have for him despite how callous he may come across when he says to send out the rescue parties. they both just fail so spectacularly at communication and expression early on, it’s crazy to see
when francis begins reading from the eulogy and stumbles over his words fitzjames gives him a very sharp look… i think he clocks his alcoholism starting to really affect him right away but may also be looking to see if the stumble is due to emotion or the alcohol. ugh and the look he gives him at the end too… it’s so piercing and there’s an anger to it as well. almost a “please prove me wrong but i don’t believe at this point that you will”. because for better or worse now they are linked, intertwined, married and they have to find a way to make it work.
ohhhh the fitzier dinner scene my beloved… “as i climbed the ridge” is such a parallel to james’s chinese sniper story scene!! AND this time it’s fitzjames who derisively interrupts crozier. The parallels, the callbacks… the look he gives fitzjames is crazy when fitzjames says “you should curb that for now” but what i find the most interesting about this scene is that the script makes a point to say that fitzjames was being sincere when he said that to crozier- there is care and concern there underneath the frustration and anger. and then it’s also wild that in that moment, fitzjames clearly reminds crozier of sophia. the way the narrative almost shifts to replace crozier’s love interest (sophia) with his burgeoning relationship with fitzjames is soooooo. i just love this scene because they are both trying so hard to be vulnerable and open with one another but they are both failing so spectacularly just like in the scene after sir john dies. they don’t have the respect and rapport between them yet to back up what they desperately want from each other- a connection. a camaraderie. leadership and capability. fitzjames tries to be sincere in his concern for francis but it is overshadowed by his frustration and anger towards what he views to be a sour outlook from crozier, and crozier attempts to be vulnerable with james by sharing about sophia only to be met with the knowledge that franklin has humiliated him yet again by discussing that topic with other people aboard the ship. and i think fitzjames does truly pity francis in that moment but it also frustrates him that that is the reason he’s here, for love, not for a yearning for adventure or glory- which i would venture to say is why fitzjames is there. fitzjames went on the expedition to prove his worth and francis went for love and they both ended up finding exactly those things from one another i’m dead.
oh and also why the fuck does fitzjames arch his slutty back against the wall when francis walks out of the room like that one scene in hannibal y’all know what i’m talking about. okay and i forgot about the way fitzjames jabs his finger at francis all up in his personal space which is just so unlike him. it is also worth noting that francis doesn’t get angry at this- he actually stills for a second and then continues to tell james what he was going to tell him. again there’s that strange familiarity they have despite the fact that they hate each other at this point. and that’s to say nothing of how they’re sitting in the first place which is so close to each other idk it just seems a little crazy to me?
i also find it so so interesting how james chooses to be honest with francis once he accidentally reveals that franklin discussed the whole sophia thing with him- he could’ve deflected and said like “oh yeah he mentioned it in passing’ or something like that but he chose to tell francis the truth of the conversation! francis really brings out an honest and candid side to james that we don’t see him put on for anyone else and i think it’s because deep down he knows that no matter how shitty, francis is always going to respect being told the truth vs. all of the obfuscating language that is so typical of the time. i think this is also why in the next episode francis insists that everyone leaves after he punches fitzjames and fitzjames is very resigned to it as well- they both know that it’s going to be ugly but they both want to hash out the truth of the situation for better or worse- like yeah they are at each other’s throats and they want the catharsis of screaming at each other because they’re so mad at each other here but i also think they crave honesty and candidness in their interactions- james because he feels like a fake and francis because it’s his nature- but both because it’s what they want from each other. and back to the dinner scene- just another look of genuine hurt from fitzjames when crozier says “keep your pity” plus the whole reason crozier even says that- i don’t think he expects pity from anyone at this point and doesn’t know how to respond to it.
in the scene where fitzjames says they should question silna about the creature crozier makes a point to say he agrees with him- he does this a couple of different times throughout the show and i think it’s a very small but important detail about how even when they aren’t on the best terms he makes sure to show james respect in front of the officers. and like yeah they end up yelling at each other here but i think that’s more james’s grief showing (again he shows emotion in front of/because of francis) and francis’s stress showing as well- that “we’re all exhausted” is very aimed at james but also an attempt to explain his own state of mind. they’re trying!!!!
the lashing scene- i don’t think we’ve ever seen fitzjames actually afraid of crozier but he definitely is here. he’s clenching his hands so hard throughout the whole scene and he keeps glancing at crozier as he allows the lashing to go on and even nervously gulps at one point. i think this along with crozier’s worsening addiction is a huge catalyst for where we find them and their dynamic in ep 5.
and speaking of which- at the beginning of the episode you can really see how their communication has just completely broken down. edward is basically bridging the gap between them and the resentment is growing. i know that the alcoholism is part of it, we can only assume that fitzjames started to keep his distance once he could tell it was getting bad, but i also think a lot of this is fall out from the lashing and how it affected the way fitzjames felt about crozier as stated earlier. and another aspect of the widening gap between fitzjames and crozier is how erebus is the very picture of order while terror is literally and figuratively falling apart 
the fact that fitzjames told collins to watch out for crozier running out of alcohol on terror is further evidence that fitzjames was around a bit to witness crozier’s alcoholism getting really bad and isolated himself after that. he’s angry but he knows it was coming
ugh man the fight scene- the fact that james came himself, alone, to terror to talk to francis as a friend (straight from his own mouth in the script of their argument) about the alcohol issue. even though james is furious and stressed and shouldering the whole expedition, he still attempts to care for francis, it just ends up blowing up in his face and that’s when he lashes out. the way he says “francis” at first before crozier freaks out on him is in such a sincere and gentle tone and just the fucking genuine hurt in his face and his tone of voice when francis tells him to never call him by his first name again. fitzjames cared when francis was at his fucking lowest but still held him responsible and that’s love baby.
the body language is crazy when they’re yelling at each other or i guess when fitzjames is reading francis lol- and the way crozier can’t take his eyes off fitzjames when he’s telling everyone to get out. he’s so ready for this fucking throw down because both of them have been holding this in for so long. crozier is amped up but fitzjames is resigned to finally getting it all out in the open. he wants it to happen and he knows it needs to. even after getting punched in the mouth by him (i don’t think it’s any accident that fitzjames literally bears a scar from that punch and that it comes back open when he’s dying of scurvy) fitzjames still calmly tells everyone yes get out and says what he needs to say. i love the transcript of their argument because it’s so brutal but it really illustrates a kind of fucked up intimacy that we aren’t 100% privy to between them. crozier knows exactly what to say to james to hurt him- telling him he doesn’t have friends, he has admirers and that james has always been mad that he isn’t one, that james is a coward despite the fact that james is facing this down no matter what it takes in order to literally save crozier’s life; and james knows that all he can do is soldier through and lay the truth of what is happening on francis in a way no one else has dared to except for silna minutes before. james really goes out of his comfort zone- being honest and sincere and vulnerable for the sake of the expedition but also for francis. and i’m reading this back and wondering if i’m being too generous to james here but tbh he had every right to be this angry at francis at this point in the story! 
ha fitzjames walks into the “i need to dry out meeting” looking all submissive and contrite… but for real his face is so open and entreating in this scene. he’s still annoyed but he wants so badly for things to go right. and you can see in francis’s expression that he is so ashamed to have to ask him 
mmm and part of fitzjames coming to love and respect crozier is seeing jopson’s devotion to him in this scene… he’s never seen crozier be admired the way franklin was and i think this is a whole new way for him to see him. and just in general here i think that james “reshuffles everything he thought about the man” and he admires crozier for the way he put his humility and vulnerability in front of him finally and admitted to his wrongs, something i also don’t think franklin would ever do and didn’t ever do, to his and the entire crew’s demise. fitzjames followed franklin and looked up to him in the pursuit of his own vanity and the narrative he tells himself to cover the shame, but he learns to respect and love francis because he watches his evolution as a captain and as a man without any of the obfuscating that he’s used to from authority figures. he watches francis claw his way out of his own shame, the shame that drives him forward and i wonder what kind of ideas that gave fitzjames and how it influenced his own decision to share everything about his past with francis later
what i love about the opening scene of ep 6 is that we see how fitzjames’s leadership has been influenced by franklin and francis but specifically how he is acting more like francis- he does do a little bit of the whole “how dare you bring up anything unpleasant” thing when he yells at jirv for mentioning the number of men and when he does the whole “oh it’s just winter, we’ll feel better with the first sunrise, encourage the men with that” thing but it’s interesting because although we’re hearing echoes of franklin here, fitzjames is still trying to be more honest and open to feedback than franklin was. he doesn’t exactly take jirv’s advice on rationing but he does ration a bit. he is doing the whole toxic positivity thing with his “use that to encourage the men” line but he is also recognizing how hard everything has been for everyone and using an actual tangible event to lift spirits rather than referring to meaningless bullshit about god and country. and the simple fact that he seeks blanky’s advice and knowledge is more than sir john would ever have done in a scenario like this. he understands from blanky’s story about ross that he himself hasn’t been doing enough to combat the horror of their situation for the men, he understands that he must do more. even the way he asks ‘what do you mean’ when blanky says ross had no sympathy for the ill. to not care for the ill is an alien concept to him. tt’s so interesting because fitzjames occupies a space not dissimilar to francis’s- he has access and power in the hierarchy of the discovery service but, within his own mind, he is still an outsider. crozier on the other hand is a visible and tangible outsider due to his birth and his nationality. everyone can see it and i think that’s also part of why fitzjames is so antagonistic towards francis in the beginning- the projection goes crazy and in the true spirit of colonialism and white supremacy, james believes that if he can make himself as far apart from someone like francis as possible and align himself with men like franklin and barrow despite sharing way more similarities with francis than he does with them, he can succeed in upholding himself as the vision of victorian masculinity and social worthiness that he so desperately tries to emulate- this is what i was thinking about during the scene with silna’s father where he’s reluctant to fully show his (partial) sympathy to her
the line from the script that kills me is when it says a clock has begun for fitzjames once he discovers the blood in his hair… god it kills me, he knew he was dying for months. for literal months and who knows if he even told anyone but… i do think he had to have told francis at some point. it makes me so sick, it’s literally why the cairn walk scene happens- he knew he was dying, he knew it and one of the last things he wanted before he died was for someone to see him, truly see him flaws and mistakes and vanity and all before he died. and he wanted that person to be francis
gotta include the scene where james tells edward that francis was right about walking out- this is a huge turning point from ep 1
it’s so funny that when crozier and fitzjames see each other at carnival you can tell james is like “oh shit i’m in trouble” but crozier is just slightly amused seeing him like that and even though he finds the carnival strange and sees how reckless it was, he doesn’t chide james or the men about it even though that’s cleary what james is expecting. crozier empathizes with their longing for home and their need to do something happy and uses that momentum to tell the men about walking out and doing his best to reassure them about their chances. the way fitzjames looks up at him and nods along with him- i don’t think we’ve seen fitzjames look at him like that yet up until this point. he is seeing francis for who he can be as a competent captain and we are seeing crozier really step into that role. i also think that francis was relieved that fitzjames saw the urgency in walking out and that he wasn’t going to have to convince him the way he would’ve had to convince franklin. their leadership is finally syncing up here, built on humility (francis admitting he had an addiction and choosing to do something about it, fitzjames admitting how wrong he was about francis and his use of caution and logic) and respect (i do think crozier respected fitzjames for trying to build morale to the best of his ability and i think fitzjames respected francis finally behaving like the captain he needed him to be) 
during the fire there’s a small moment where james is frozen- no doubt from ptsd which he deserves- and francis sends him ahead to look for an exit, telling him to go. he fucking loves him!!!!
poor fitzjames.. like yes the ghosts of his colonial past and all that of course which i will never not fully support him being subjected to but damn. and i don’t think he shrugs francis off because it’s francis or because he’s angry with them, he is punishing himself and francis sees that and lets him do what will help ease his own guilt and pain. tt is a moment of understanding between them i believe- fitzjames showing vulnerability in front of a man he now respects while adding another failure to his own personal checklist he keeps against himself (i can only imagine he does anyway). francis’s attempt to show him care and understanding while not undercutting his usefulness is also such an inspired choice for what he knows of fitzjames. you can really see the care starting to sprout between them here. i can only imagine what the rest of the winter was like but i feel like by episode 7, their dynamic has just completely changed, their entire vibe is different. and their love couldn’t have happened until they left the ships so it came at the worst and best time. 
and by ep 7 their dynamic has just so completely shifted. even the fact that they are supervising the packing for the walk together and this may be real delusional hours but sending edward ahead to make the first camp instead of one of them going is a little interesting to me. i believe he’s technically the next in line for leadership after fitzjames but like did francis and james want to spend time together? with crozier finally dried out and knowing james’s time is almost up? them finally in a comfortable and friendly place? i love their conversation during the packing scene because fitzjames is voicing a concern to francis who calmly explains his reasoning and when fitzjames continues to press his own doubts they remain civil, familiar, acknowledge one another’s thought processes etc. a scene like this could NEVER have happened in episode 1 or 2. i looooong to know what they were like together during the winter after carnival 
you all know i am INSANE about the fitzier hand holding scene, no one can match my freak on this. tt makes my stomach flutter every time i see it. it is my pride and prejudice hand clenching scene. first i want to acknowledge the quote from the script- “at one point, the only thing keeping fitzjames from sliding back into oblivion is crozier’s hand, but half the importance about the act is that fitzjames reached for it.” this KILLS me more than anything else from the script. and honestly at this point in the story i am becoming convinced that james told crozier about the scurvy, they knew the whole fucking time, they knew. they are literally marching to their deaths, against all odds still going, still trying and they are falling in love. the way james gazes up at francis in awe when he sees the offered hand and doesn’t stop looking at francis when he is up on the ridge. crozier doesn’t even turn to look at james, but he does make sure to stop and wait for him and extend the hand that he knows that james needs. Based on honestly even just this alone i am convinced that crozier knew about the scurvy already. there’s no fucking way he didn’t. and then the way james grabs francis’s jacket and holds on while they stare at each other, crozier smiling- it’s so interesting to me because it very much tells of finding an excuse to touch crozier again, as if he was so in awe of the touch that crozier initiated a few minutes before that he needed it again. he was trying to find a way to touch him again in that “this has to be acceptable by victorian standards of emotional and loving expression” way. and crozier accepts it! he smiles, he meets his gaze. there’s triumph there. and don’t think i didn’t fucking notice that the hand that francis keeps is the hand that held fitzjames’s hand and that also held his face when he was dying.
in the scene with morfin, as soon as crozier notices that james is there he makes sure to maneuver over to james so he can place himself between james and the gun despite the fact that he is unarmed and james has his pistol with him. i don’t necessarily doubt that francis would do this earlier in the story but i can say that he does this here as a selfless act of love and protection 
and then the jop promotion scene yay the way james looks at francis with admiration and curiosity when he hands him the promotion letter to sign and the way james smiles at him when he reads it but not just because of that- but because of the words francis uses and the way francis is looking at him, saying someone “has earned our respect (looks to james), trust” and fitzjames smiles and nods- it’s not just about agreeing with him about jopson. this is how fitzjames feels about crozier now and the fact that crozier even in this small subtle way acknowledges that he  DID need to prove himself to james after his behavior during the winter. their dynamic is just so much different now! at the end when everyone is shaking jopson’s hand, fitzjames gives crozier like… the most insane loving soft look… he looks so so happy. i don’t think we’ve ever seen him look like that before.
and now we are at the cairn walk. i again have to say how during this rewatch i become convinced of the knowledge that crozier has to know that fitzjames is dying. there’s just no way he doesn’t. the conversation they have about it does not convey that james is telling him this for the first time. tt more so implies that they both know but don’t speak of it often and james is updating francis with the vital information, the stages he’s at. what made fitzier happen was them leaving the boats, james dying, crozier getting sober, them both laying it all out on the table in different moments of vulnerability- crozier with his addiction, james with his heritage. the way those scenes parallel each other is actually crazy. james is fucking dying, they are all marching to their deaths and the knowledge that they are doing so is slowly sinking in, and all james wanted before he died was for crozier to see him, all of him. even the parts he was afraid to tell anyone, even himself. and francis isn’t even granting him a mercy, he isn’t sparing his feelings. he truly and genuinely accepts james for who he is, how he came to be a part of the expedition. they have both known from the start that beginnings and heritage don’t matter, it’s the actions that people take that makes them who they are. in different ways they both knew that and i think it’s part of what aligned them eventually. and from the script- james realizes he can say anything to this man. it is possible. crozier gives him the space to do it. and just the way they’re laughing and joking and being light with each other- another thing we never would’ve seen in the earlier episodes. okay focusing on some details now- when crozier says “that’s not how i see you” james literally stumbles as if he can’t believe crozier would say that to him. in the beginning of the scene francis gives james space and privacy when he sees him getting emotional about graham and franklin’s deaths and struggling to remember the date of sir john’s death. they communicate with a single glance there, james asking for a moment and crozier giving it to him. the grief on francis’s face when james tells him his latest symptoms. when crozier initially tries to comfort and encourage james… and james can’t accept it because he hasn’t told him everything yet. he doesn’t know if he can. i don’t want to get personal but that feeling that if you only tell part of your hidden sorrow to someone and they comfort and accept you and show you kindness, that feeling you then get that no no no you don’t know the whole of it and if you did you wouldn’t be showing me this kindness, you wouldn’t love me, you wouldn’t respect me. you wouldn’t see me. i genuinely can’t imagine the relief that fitzjames felt when he told francis it all, he told him everything and all francis gave back was love. also we can finally start to really see the bruise that francis gave fitzjames in ep 5. i love when fitzjames literally and metaphorically closes the gap between them. and francis waits for him until he is by his side again. “are we brothers francis” the tears, the attempt to laugh/smile them away until he sees that crozier is with him in this moment and taking it as seriously as it deserves to be. again the joining of the hands, the one that crozier keeps. they look at each other’s mouths, into each other’s eyes, the way francis dips his head to look at fitzjames when fitzjames ducks his emotionally. it’s insanity
when they get back to camp and listen to hodgson’s story and then go to see jirv’s body, they exchange a lot of glances, specifically around the times that hodgson mentions hickey- they are of one mind on him and on how the situation actually played out. james also watches francis a lot in the scene where they go to see jirv’s body. he looks to him for leadership now and doesn’t become irritated by his anger or his candor. this really persists for the rest of the episode - in the scene where crozier is yelling at edward about supplementing the marines all james has to say is “francis” and then basically talks him down from yelling at edward more, another scene i don’t think could have ever happened between them earlier in the story but james knows how to quell francis now. and this is such an interesting parallel to ep 5 when everyone was taking their shit out on edward; this time fitzjames protects him. but anyway- james and francis are just so in sync in every scene in this episode- they back each other up, communicate through glances, emphasize each other’s words and authority. yay<3 
all right you’re all going to have to bear with me on ep 9 because it makes me crazy.
we gotta start with the fucking grief and pain in both of their expressions when they’re taking care of pocock and how this scene itself foreshadows the assisted suicide later
the look of absolute love and faith from fitzjames when crozier is telling them they will keep marching south and the “more than god loves them” scene- this is francis at his most captainly- and james is echoing his hollow vanity stricken words about franklin but really really meaning them about crozier- he says them to no one but himself, there is no performance here and crozier’s words aren’t a false display of empathy and care like franklin’s were for david young and fitzjames sees this. 
fitzjame and crozier are hauling in front side by side- it makes a point to mention that in the script too.
when fitzjames falls… ugh. he hauled until he couldn’t anymore, direct call back to when blanky said ross sat atop the sledges- oh and when francis and fitzjames were caring for pocock together vs ross having no sympathy for illness. when james falls he reaches for crozier without even looking at him at first and you can hear crozier saying “it’s all right, it’s all right” when james is saying he can’t stand the heat. dundy and bridgens are lifting fitzjames up too but when he stumbles, when he reveals his wound, when he stumbles again, he is only looking at crozier the whole time. and the look on crozier’s face is one i don’t think we’ve seen from him yet. i noticed too that he’s holding onto fitzjames with his left arm and rubbing his back with the other before he takes the rope off of him. 
i want to say about the following scene where james is laid up in the boat that i made a joke once to my friend about when crozier reaches into the boat and how it looks like they’re holding hands- but they actually are, it’s in the script. there’s just something about crozier’s face when he talks to fitzjames in later episodes, there’s such a softening of the edges to him, his expression is less guarded and more attentive and earnest. and the call back to their first scene together with the chinese sniper story…. the fucking fondness in both of their eyes as they laugh together, which was probably james’s last time laughing. when crozier says “there’s time” but that’s the tragedy of this show- there’s never enough time. everything happens too late.
james screaming in pain and crozier running to him and barely letting bridgens finish his sentence before he tells them to camp here also in the script during the officer’s meeting right after, they can hear fitzjames screaming in his tent :( i’m honestly kinda glad they left that out.
and here we are at THE fitzier scene. i could talk for hours about this scene. francis is holding james’s hand, rubbing his shoulder. james looks so young and frail and scared here and he uses some of his last words to tell francis he wanted him to live because he knew he wouldn’t be around to tell him that anymore soon. francis shaking his head when he says it as if to say “not without you”. in the script, when bridgens leaves it says ‘he looks at crozier. he looks at fitzjames. he understands”... and later during james’s funeral when crozier says that he had a service with james, just the two of them, peglar and bridgens exchange a very interesting, knowing look. to choose those two to react that way? idk man. fitzier real. but back to the scene- god okay crozier taps james’s chest twice in question and then just barely audible fitzjames says “please”. ugh the sad smile crozier gives fitzjames before he gives him the drug… then he places his hand, the one that crozier doesn’t lose, so gently and lovingly on james’s face, and even in his current state james looks almost taken aback at the gesture. when crozier tips the drug into his mouth his expression softens. i will never ever in my life forget the way james looks at crozier in that moment, the look of gratitude, love, farewell, of pain, longing, childlike fear. (nobody is doing it like tobias). crozier ever so lightly brushing james’s lips with both of his thumbs before he begins to massage it down and carefully wiping the excess away. they never stop looking at each other. dave k said that the service that crozier mentions happened before fitzjames dies and after crozier gives him the drug.
the last thing i want to say about the james death scene is that i was never that invested in the concept of cannibalism as a metaphor for love but fitzjames asking crozier to eat his body and live really really stuck in my brain- just their entire insane journey that i’ve been sitting here thinking about for months- acquaintances to enemies to allies to friends to lovers for it all to culminate in this final scene of fitzjames begging crozier to eat from his body and begging him to give him the final kiss of death all as crozier never once looks away or lets go of him. fitzjames loved him so much he was willing for crozier to desecrate his corpse if it meant francis would live, even without him next to him but crozier loved him so much that he couldn’t do it, he couldn’t add that act to his already impossibly devoted actions.
and the action of hiding james’s body because crozier doesn’t want tuunbaq to destroy it but then it turns out that someone at the very funeral ends up leading the mutineers to tear fitzjames’s body apart themselves. just like jirv not getting to keep the final gift of the seal meat even in death, crozier couldn’t do james this one last mercy even though he tried desperately to. 
and this last part is a bit of a stretch but okay-along with the shirt and the gloves of fitzjames’s that crozier is wearing after his death i think he might be wearing his little neck thing too, so sorry y’all i do not know what it’s called and i’m locked in trying to finish this and i’m not googling it lol. but we see fitzjames wear it a lot throughout the show and francis does sometimes but it’s very much a fitzjames piece so i think it might be his too. and with the funeral scene and the blanky scene, we see the mismatched gloves clearly for the first time but i’m pretty sure the first glimpse is earlier in the episode when they’re hauling before fitzjames collapses. dave k still confirmed they had switched gloves but it really seems that this happened before james died, likely when they left terror camp. i still contend that crozier and fitzjames both knew james was dying and this may have been why they did it. 
and on to the last episode and closing thoughts- in the last ep i was really keeping track of the gloves- he loses them at some point and i wanted to see when and it’s between the scene where he talks to hickey and when he’s chained back up in the tent with diggle. i hope he somehow hung on to them.
i will never forget how my stomach dropped out when i saw hickey wearing fitzjames’s boots on my first watch- the fucking sorrow in crozier’s face. he doesn’t understand the meaning just yet  but when goodsir is cleaning his wounds and tells him they ate gibson, you can see crozier put it together that that’s why hickey has fitzjames’s boots. his expression turns from shock and grief to rage.
hickey really clocked crozier with the shame comment and you can see how it triggers crozier. this is a great confirmation because it really pervades the story and fitzjames’s story as well. they are both driven by shame, by a need to prove themselves but go about it in completely different ways. fitzjames is all bravado, flowery empty words and boasting to cover his origins, his feelings of inadequacy. he aligns himself with the empire and with those in power and distances himself from anyone he knows will be deemed lesser than in the hierarchy in which he exists and specifically pits himself against someone like crozier in order to bolster his own social standing. crozier on the other hand is hardened to his station, he has no way to hide his nationality or his origins no matter how capable he is and how long he’s been going to sea. crozier feels the shame of things like sophia’s rejection and not having straights that they sail named after him but hides it with his bluntness and his lack of decorum when pointing out the truth of a situation. james has everything crozier wishes he did, but crozier is something that james wishes he could be- just himself, despite his societal ineptitudes and barriers. i believe that this basis and the way it melds and breaks down and comes to a way of understanding between them is why fitzier is so strong, and so real and so visceral, especially at the end. honestly there is so much more i could say but i think i’m going to leave it there and just saw that i hope crozier thinks of james from time to time in his new life. i find it hard to believe he doesn’t.
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cripplecharacters · 6 months ago
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Hello, I hope you are all doing well. I have a question about image descriptions. I’ve seen people say they should be simple and direct to the point, often pointing out that overly detailed or descriptive language defeats the purpose of accessibility, but this advice seems to focus on non-art images. If I am describing art piece, would it be okay to describe things more? — ⚡️
Hello!
In general, the best practices with image descriptions is to describe the most important parts of the image. Of course, what's "important" about an image might differ depending on the type of image and the context.
When describing a diagram of a tow truck, for example, the colour of the tow truck would be irrelevant. The important parts of the image are the labels and the relevant parts of the truck.
For a piece of art, however, that may depend. With art, it can be a bit more difficult because, as they say, beauty is in the eye of the beholder. What one person sees as important may be entirely irrelevant to another person. Generally speaking, however, image descriptions/alt text for art is generally longer and more detailed than for other images.
When describing art, I find that a lot of people will go into great detail about the colour or shape or appearance of the piece of but not mention anything about the techniques of the piece itself. It may just be the arts major in me but I find that describing the feeling of a piece of art is just as important as describing the content of it.
For example, take this description:
A physical painting of a field of sunflowers. There are multiple rows and the flowers are grown tightly together. They are all turning to the back to face the sun. It is a cloudless day.
Now, consider this one:
A physical painting of a field of sunflowers. The painting is drawn with large, loose strokes and has very little detail. There are multiple rows and the flowers are grown tightly together to the point where the paint of their petals blends into each other. They are all turning to the back to face the sun. It is a cloudless day.
Remember that the goal with image descriptions/alt text is always equal access. While a sighted person can see the content of a painting, they can also generally get a feeling of it too. It may just be my personal preference but I find that conveying this feeling is also important.
Of course, context also matters here. If the image of the painting is posted to debate and discuss the craft of it, then yes, you would be expected to go into much more detail about it. If it's posted just to comment on how many people paint sunflowers, then you wouldn't need to go into much detail at all. You could literally just put "A physical painting of a field of sunflowers during the day." and that would be fine.
One thing to keep in mind is that the "right" way to write image descriptions/alt text will vary from person to person. I've seen posts that condemn one way of doing it while other posts say that said way is the only way to do it. It's all just personal preference, really, and the most important thing is that you're helping to make the post more accessible.
Cheers,
~ Mod Icarus
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genericpuff · 1 year ago
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The Elephant in the Room - Queer Erasure and Westernization in Lore Olympus (and all its horrid stepchildren)
This is one people have been asking me for a while now, and I've been waiting for the right inspiration to hit, as is required for my ADHD hyperfixation-fueled rants. After recently watching a video that did an objective review of Cait Corrain's Crown of Starlight, I felt now was the time, because Crown of Starlight effectively proves exactly what Lore Olympus - and other Greek myth interpretations like it - has issues with.
And I want to preface this post with one question - why do we keep getting these Greek myth adaptations written by queer women that still wind up perpetuating toxic heteronormative culture?
Buckle up, because this one's HEFTY.
In that aforementioned review of A Crown of Starlight, there were a lot of points that came up about how Cait wrote the female protagonist - Ariadne, wife of Dionysus - where I immediately stopped and went, "Wait, this sounds awfully familiar."
It should be mentioned briefly for anyone who's unaware - Cait Corrain is an author who was recently (and still) under fire for using sock puppet accounts on GoodReads to intentionally sabotage the ratings of other debut authors, many of whom were her own peers or from the same publishing imprint as her (Del Rey), and most of whom were POC. I mentioned in that previous essay that I just linked that Cait Corrain is a fan of Lore Olympus and decided to give it 5 star ratings from these alt accounts, not just de-legitimizing the reputation of the books she bombed, but also the ones that she praised (including her own book, because of course she had to leave an obvious calling card LMAO). I felt it necessary to tie Cait into my discussion of white feminism in LO and its fanbase because people like Cait are exactly who we're talking about when we dissect the intent and consequences of LO's writing - much of its brand of "feminism" seems to only be catered to a specific kind of woman (i.e. white women who fetishize queer people/relationships) and seem to encourage/embrace violence towards women if those women aren't "behaving correctly" or just aren't fortunate enough to be white and rich - and so Cait choosing to give Lore Olympus 5 stars in her hate-raiding and even have it visibly in the background of her headshot photos was... not exactly disproving my argument that these are the types of people LO caters to and encourages, to say the least.
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But then I watched Read with Rachel's "Did It Deserve 1 Star" review of Crown of Starlight and it cemented my assumptions and concerns regarding Cait's intentions and influences even more.
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As a brief tangent, I've read A Touch of Darkness by Scarlett St. Claire. It very obviously is using Lore Olympus as its blueprints, but it's not super obvious that if you didn't read Lore Olympus or weren't aware of it, you probably wouldn't notice. It's still not a great book on its own, it's riddled with writing problems, but at least it can call itself its own thing to some degree.
Crown of Starlight is just blatant Lore Olympus fanfiction pretending to be original, even down to its marketing (which I'll get to shortly) but swapping out Hades and Persephone with Dionysus and Ariadne, and setting the entire story in space. Why is it in space? There doesn't seem to be any actual necessary reason for this, it just is, go with it. I'd be willing to accept this because changing up the setting of pre-existing stories can be fun (god knows I loved the premise enough of Lore Olympus being a modern day Greek myth retelling that I had to go and make my own version of it that's still in that modern setting) but as RWR says in her review:
"... we're told that it's the 'island' of Crete, but then we talk about commbands, airlocks, [holo-shields] and it wasn't really written in a way that I felt meshed 'Greek retelling' and 'sci-fi' in a cohesive way."
Needless to say, Crown of Starlight unsurprisingly suffers from the same problems Lore Olympus does, where it will try to "subvert" the original myths by changing their setting and characters and then doing absolutely nothing interesting with them to justify those changes.
To really drive my point home that Crown of Starlight is undoubtedly Lore Olympus fanfiction, Lore Olympus was literally used as a comparison point in Crown of Starlight's marketing which is a fair tactic to use to advertise to a specific niche or demographic, and while some have argued that Cait isn't technically the one to come up with that marketing jargon, it's made much more clear that she used that comparison herself when writing and pitching the book because it is quite literally just Lore Olympus with a different couple in space, right down to the main female protagonist being part of a purity cult. And of course it wouldn't be a bad Wattpad romance if it didn't have our main female protagonist Ariadne talking about how inconvenient her MASSIVE BREASTS are and of COURSE Ariadne is a poor innocent uwu babygirl who needs a man to come in and rescue her from the evil purity cult and of COURSE it hints at them eventually having raunchy sex just for it to wind up being milquetoast bondage and of COURSE it all just winds up taking traditionally queer characters and stories and turning them into this sanitized Disney-esque plotline where the boy and girl were always meant to be together and nothing else matters except their love-
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And that, at its core, really just screams "this is bad LO fanfiction". From the stylization of the book's writing which never outgrew its "adorkable fanfiction writing" phase-
"Realizing that I'm being gaslit by my entire world doesn't make it easier to deal with, but hey, at least I still have some part of my soul!" - an excerpt from Crown of Starlight quoted from RWR's review timestamp 13:03
-to the "creative" choices made to turn Ariadne into a chastity cult girl whose resolution is obviously going to be to have what's implied to be dirty raunchy sex just for it to be like... the most tame level one bondage stuff;
-to the classic "she breasted boobily down the stairs" focus on Ariadne's body and breasts and sex appeal that's being kept in check by that pesky purity club.
And that's really disappointing because I had seen people say, "Yeah, Cait did an awful thing and deserves to be removed from her publishing schedule, but it's a shame that that book was written by Cait because it's actually a really good book!" because now it's just making me even more sus of people's Greek myth adaption recommendations (I'm still mad at BookTok for convincing me that A Touch of Darkness was worth reading). All I could think while listening to some of the excerpts quoted by RWR was that if I didn't know about Cait Corrain and read Crown of Starlight blind, I'd undoubtedly assume it was being written by a heterocis guy... but it's in fact being written by a queer woman.
And this is where I segue into talking about the root of this problem, where the calls are really coming from - Lore Olympus and its erasure of queer identities and relationships, despite also being written by a queer woman who should know better.
I could think of no better character to help carry this essay than Eros.
Unlike many of the characters in LO that Rachel has managed to straightwash by changing their motives entirely or straight up changing their identity from the source material (ex. Zeus, Apollo, Crocus who was turned into a flower nymph, Dionysus and Achilles because they're both literally babies, the list goes on), Eros has largely remained the same on paper who had zero reason to not be queer within the story.
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Eros is still the god of love in this, he's still a guy and presumed to be an adult, but we NEVER see or explore him having relationships with anyone other than Psyche, aside from a brief mention of organizing orgies in the beginning that's used as a quick joke and then promptly never mentioned again.
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Just like with Crown of Starlight and A Touch of Darkness and all these other "dark romance" stories, it's that brand of "pretends to be sexually liberating but isn't actually" writing, where they'll briefly mention orgies or sex-related things and then beat around the bush or avoid involving them entirely like a kid at Sunday school who doesn't want to say the word "penis".
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(fr out of all the corny and awful slang for genitals I've seen used in stories like this, "a certain part of my anatomy" is definitely one of the most boring and stupid, like for god's sakes Hades you're both adults and at the beginning of this comic you thought she wanted to bang in the kitchen, why are you suddenly talking like a 7 year old boy LOL)
All that aside, while Eros might still be hinted at being queer and sex-positive, it's only as vaguely as possible so that the story can quickly move on to focus on him and Psyche or, better yet, Hades and Persephone. When Eros isn't deadset on finding Psyche, he's being the gay best friend for Persephone, who he has NO right having a friendship with when he introduced himself by intentionally getting her as drunk as possible with the intent of dumping her in Hades' car as per his mom's command. It's brushed off later as "well Aphrodite maaade him do it, for Psycheee!" but Eros still agreed to potentially put Persephone in danger over a relationship that had NOTHING to do with her and was also mostly his fault in its fallout (which Artemis calls him out for, but of course, like all the other times characters have called out the actual issues in the story they're inhabiting, they get brushed aside so that Persephone can talk about Hades):
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Now, the Eros and Psyche plotline is one I've talked about before here and not the focus of this essay so I'll keep this tangent brief, but it's absolutely wild to me that Rachel took a story about a woman going to the ends of the earth to prove her love for someone whose trust she broke (a common theme in a lot of Greek myth stories, such as the myth of Orpheus and Eurydice) and turned it into... woman of color gets turned into a nymph slave for Aphrodite to 'test' Eros, a test that isn't clear at all in what it's trying to achieve, and wait hold up, didn't Eros actually fail that test by kissing Ampelus while completely unaware that it was Psyche-
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This is just that episode of Family Guy where Peter justifies emotionally cheating and eventually physically cheating on Lois because "well you were the phone sex lady the whole time so no harm done!", isn't it? (×﹏×)
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Anyways. It's all very convenient that the comic will hint at queer rep just to either have it be a constant question of whether or not they're actually queer (ex. Morpheus) OR to have it be promptly swept under the rug to make way for other characters/plot points. It's like when mongie tried to be "inclusive" by writing a stereotypical vaguely Asian character with no specific ethnicity just to get angry at her fanbase for calling her out on this that you can't just call a vaguely Asian character "representation" of anything (because Asia is MASSIVE and covers so many different ethnicities and languages and cultures).
Eros is only as gay as he needs to be to fill the role of "gay best friend" for Persephone.
Krokos is no longer a male lover of Hermes but a flower nymph created by Persephone because... apparently we can't dare imply that Hermes would be into anyone besides his unrequited childhood love, Persephone.
Achilles is introduced as a baby even though it makes no sense in the comic's own timeline where Odysseus is presumably already a well-known hero in Olympus, so much so that he was invited to the Panathenea.
Apollo is turned into a flat-out rapist who's only concerned with getting Persephone at all costs and when that doesn't work, he tries to get ANOTHER flower nymph (Daphne) who's actually genuinely interested in him (contrary to the original myth, there's that "swap it subversion" Rachel is known for) to cut her hair so she'll resemble Persephone more because we can't have a single plot point not resolve around Persephone.
Despite there being loads of genderbent characters already, Morpheus is supposedly the only one we're supposed to assume is specifically trans and not just a gender-flipped version of a Greek myth character. Why? Not because Rachel stated so explicitly, not because the comic has actually explored her identity as a trans woman, but because the readers just assumed it in good faith and Rachel was clearly fine with taking credit for trans representation that's only there via assumption (and only confirmed via her mods in Discord, which is... not how you establish canon information in your comic, Rachel.)
Hestia and Athena are part of a chastity club, until uh oh how convenient that they're secretly in a relationship with each other even though it further vilifies them and their morals, particularly Hestia who was promptly called out for being a hypocrite for taking Persephone's coat gifted to her from Hades while secretly being in a relationship the whole time. Not only does the Hestia and Athena relationship manage to commit queer erasure - of two gods who are considered icons in the aroace communities - but it also makes the only two lesbians in the story come across as assholes AND ON TOP OF THAT ALSO manages to somehow invalidate queer sex and relationships as being legitimate due to the even deeper implication that breaking their chastity vows "doesn't count" because it's not a male x female relationship. It's the 'ole poophole loophole all over again.
And then there's Artemis, who has MORE REASON THAN EVER TO BE IN THE PLOT but keeps being conveniently ignored. Her finding out about Hestia and Athena doesn't get any more screentime than her going "oh you're in a relationship, okay" , we never see her question the true intentions of TGOEM or what it means to her, we never see her have any opportunity to carve out her identity beyond just being Apollo's twin sister (it tries to at times, but then immediately goes nowhere with it, amounting to just poetic word salad), and she really just comes across as what a lot of people assume aroace people to be - alone and standoffish, because obviously someone who's nice and a good person would be in a relationship, there has to be a reason they don't want to have sex or fall in love, and that reason obviously has to be that they just hate everyone and want to be alone forever (¬_¬;) Then again, like many of the queer characters in LO, I don't know if I can definitively call her aroace because it's kept as vague as possible, and - going by Rachel's answers to these questions way back in her Tumblr era - apparently people can't be gay and ace at the same time-
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There are undoubtedly loads more examples that I could cover here but that goes for practically any essay I write about LO - the more you peel it apart, the more you start unearthing some really questionable and frankly mean-spirited stuff. Queer people feel largely ignored in LO, alongside many of its derivative offspring such as A Touch of Darkness and Crown of Starlight, and it really speaks to how so many people - queer women, no less - have somehow managed to bastardize and sanitize what were traditionally very queer stories with queer characters. It's like these people think "olden times" and can only get as far as "women were slaves and men were rich assholes". Like, yeah, okay, that was the case for many cultures, but not all of them, and for some of them it wasn't as clear cut as that, many had misogynist power struggles in them while also still celebrating women and queer people in their own way. Greek myth is full of stories of women being forced into marriage or being made the victims of assault, but many of them are supportive of women and their struggles, unlike works like LO that somehow manage to be less feminist and sympathetic to women and queer people than these works from thousands of years ago.
This is another topic that's surely meant for another post, but it really speaks not only to the straightwashing and whitewashing of Greek myth, but also the Westernizing of it. That's not to say Rachel Smythe and Cait Corrain and Scarlett St. Claire are intentionally trying to whitewash another culture's works here, but if you're raised predominantly on Western media, you're undoubtedly going to absentmindedly adopt ideas about society that are primarily molded around Western beliefs .
And this is apparent in LO, while Rachel is from New Zealand, you can tell she grew up on a lot of Western media and its influences are sorely showing through LO's worldbuilding, character designs, and narrative choices. That "modern setting" that I mentioned before is much less Greek and a lot more adjacent to The Kardashians which lends to the theories that most of the media that Rachel consumes is American. Rather than actually going to the effort of doing her research on Greek culture, she seems to just prefer defaulting to the easiest assumption of how modern society is across the board - a generic Los Angeles clone with big glass skyscrapers and pavement walkways. She rarely ever draws food or clothing from those time periods; despite this story being about gods she's spent so little time on the people who passed on the stories about those gods, the mortals, and the gods themselves rarely feel like gods, rather just like Hollywood celebrities covered in body paint. The clothing feels very generic and uninspired with often very little Greek influence, even though Greek clothing is designed around Mediterranean living which you could do a lot with, to such an egregiously Western degree that Hades and Persephone's wedding was Christian-coded. The food... well, there ISN'T any because as we've seen, like the stereotypical American child, Persephone apparently only wants chicken nuggies and Skittles for dinner, so we never see her eat; and not only do we not see Persephone eat, but Rachel weirdly tries to use Persephone's vegetarianism as some kind of anti-capitalist characterization when much of the Greek diet is predominantly vegetarian. It's NOT HARD or uncommon to be a vegetarian in Greece!
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(it looks like they're literally all eating the same thing so IDK what Hera is referring to here, it looks like they're all eating toast and lettuce LMAO)
All that's to say, much of LO - and the books like it that I've gone over here - are written with this idea that every culture - including the one that it's trying to adapt - was subject to the same ideas that Western culture lives by in the modern day - that being a vegetarian is "counterculture" in every culture, that the notion of sexual purity is enforced in the same way it's enforced in the Western education system (cough Christianity cough), that queer or otherwise "unconventional" relationships should stay inside the bedroom and not be seen. As much as Rachel claims she wants to "fight the patriarchy" and "deconstruct purity culture", all she winds up doing is reinforcing it through a Westernized lens, which is, as I've talked about before, very indicative of right-leaning white feminism and what it embraces and promotes - being a "good woman" who follows the rules and willingly becomes part of the system that's oppressing them because that's what "good women" do. Women who are confidant in their sexuality are evil and should be shunned for being "sluts". Women who are in relationships with other women "don't count" as real relationships the same way heteronormative relationships do, and cannot be trusted because they're likely trying to spread an agenda that's designed to brainwash heterocis women. Women should only aim to achieve marriage and their entire personality has to be built around their true love. Women are allowed to be kinky, but only as kinky as roleplaying the exact same gender structures that puts the man in a position to dominate a woman, and it should always and only ever be with her first love who she marries immediately, no one else.
This is exactly what the critics are getting at when they hold LO - and its creator - accountable for the messages it's been sending for five years to its audience of middle aged women and young girls. Having a demographic is fine, if this were just a comic for girls it would be fine, but it becomes a lot more problematic when that demographic is being fed toxic power fantasy stories based on a culture that's being gentrified and sanitized of all its original messaging and characterization right before our eyes. It feels blatantly misinformed from the very beginning in its intention to be a "feminist retelling" of Greek myth, because somehow Lore Olympus manages to be less feminist than these stories drafted and written by men from 2000+ years ago.
I opened this essay with a question: why do we keep getting these Greek myth adaptations written by queer women that still wind up perpetuating toxic heteronormative culture?
I think cases like these really highlight how deep the heteronormative brainwashing from childhood onward goes. That, despite these writers being queer or women, still manage to reinforce the same ideas and tropes and harmful predisposed notions that were designed to be used explicitly against queer people and women. These are things that we can't ever stop challenging, and asking, and truly deconstructing, because it runs deep in many of us who grew up on popular media even as innocent as Disney. Learning about more complex social concepts like sexism and misogyny and queerphobia doesn't automatically absolve us of those very same biases that have been both blatantly and subtly ingrained into us since childhood. All that said, Rachel being bisexual does not mean she's not capable of straightwashing; Cait Corrain being a queer debut author with a POC main character didn't stop them from targeting other POC debut authors at their own imprint; being part of any minority group or identifier does not automatically protect you from perpetuating the cycle that you, too, likely had enforced upon you at some point or another in your life. The fact that these creators and writers are still perpetuating that cycle to begin with is indicative of why it's a cycle at all - it takes work to break on a subconscious level because those cycles are specifically designed to target and hijack the subconscious.
At its worst, do you really think Lore Olympus can claim to be a feminist retelling that's "deconstructing purity culture" when the creator herself admittedly never fully identified or understood sexism until her mid-30's and has the audacity to say her audience is "harsh" on the female characters that she constantly vilifies through her own narrative?
"I feel like female characters in general, people will be a little harsher on them and sometimes way harsher on them, and I used to be like.. before I started writing the story and like making a story I was like yeah, sexism is not that bad, and [now] I was like oh it's bad. It's quite bad [laughs], so like, I don't know, I feel like the female characters in the story don't get so much of a pass. But this isn't consistent across the board, it's not all the time" - Rachel Smythe, in an interview with Girl Wonder Webtoon Podcast
If Lore Olympus truly was just a series meant to be for fun "no thoughts head empty" drama and spice, that would be fine. I've said it time and time before on this blog and I'll say it again: I wouldn't have an issue if Rachel was just writing a story exclusively revolving around heterocis men and women. I'm just frustrated and tired and annoyed that she keeps lying about it, and doubly so that this comic and its creator who claim to be "feminist" have inspired other people in the same headspace to continue to perpetuate that cycle through works that are clearly inspired by LO and never challenged the things LO promoted - violence towards "unconventional" women, violence towards POC, and erasure of queer people. And worst of all, for writers like Cait Corrain, it's more than just writing a really bad book with really bad messaging, it's going so far as intentionally targeting those same groups of people that are regularly vilified in works like LO - people who are just existing, who don't pose a threat to anyone, but had the misfortune of becoming the target of a white woman's insecurity.
I don't know what the answer to this problem is. I don't know what form the solution will come in, if any, to address the ongoing issues with Greek myth adaptions that are being sorely written through an "America as the default" point of view and praised for "rewriting the script of Greek mythology", quite literally cultural appropriation happening live right before our eyes all for the sake of cheap entertainment. Maybe it'll take the failings of works like Crown of Starlight to really get people talking about it. But so long as the roots of these works - such as Lore Olympus - are still being protected and marketed en masse by the same kinds of people who don't see the issue in Americanizing other cultures and their stories, then Lore Olympus and Crown of Starlight will not be the last ones to cause harm to the source material - and the cultures that source material is born from and a part of - they're taking from.
I opened this post with a question, and I'm going to close it with another to really leave it as food for thought. That question comes from another video that I'll link here for you to watch at your convenience that spends even more time diving into and discussing the nature of works like this that have seemingly attempted to "deconstruct" the very dogmas that they still wind up reinforcing all the same.
Does the romance genre have a white supremacy problem?
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(yes. yes, it does.)
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bethanydelleman · 11 months ago
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I saw a post you reblogged at some point about Fanny being stuck in a time loop and it got me thinking: if the main men (both protagonists and antagonists) of the different Austen novels time travelled back to the day they first met their love interest/the start of the novel - whichever is latest so wentworth, knightley, and Edmund Bertram would travel to the day the main events of their novels start - who do you think would end up changing the least of the events and the most (intentionally or not)?
Because I feel like Knightley would change the least and Henry Tilney and the three S&S gents would come next. But like Wentworth would immediately throw the entire novel off track and like Darcy and Henry Crawford would come in close second trying to change their truly awful first impressions
(Also I just want to add that I really love your Austen takes and discussions 😊)
Thank you!
This is a fascinating idea. Here are my thoughts:
Wentworth just marches into Uppercross Cottage and proposes again. Doesn't even wait to be properly introduced to the family. He's getting Anne back NOW. (She says yes, of course)
I can imagine Darcy having a tiny little crisis as he decides if he really wants to be married to Elizabeth, maybe he could just not accompany Bingley to Netherfield and his life could go the way he planned... nah, he can't resist. Off to Netherfield he goes and he lets Bingley introduce him to Elizabeth at the assembly ball. Things progress unimpeded and by Christmas there is a double wedding and Wickham's character is known throughout Hertfordshire. He skips town and Lydia is packed off to Pemberley to benefit from some better society. (Side note: Mrs. Bennet would push Mr. Collins on Mary if she had any inclination that Darcy liked Elizabeth).
If Bingley knew everything, he'd never leave Jane. He'd return from London and marry her, no matter what Darcy or his sisters said. (I wrote that once actually)
Does Wickham count as a main? Because I don't want him having the ability to predict the future. Yikes on bikes!
Henry Crawford is very interesting, because does he actually understand where he went wrong? I'm not sure he does. Can he resist a flirtation with two very pretty sisters? That would be a fun fan fiction to write. Because if he went for Fanny right off the bat and she knew nothing else about him... he'd probably succeed with her, secret Edmund love or not. And she certainly wouldn't have a leg to stand on in refusing his proposal.
Does Edmund come back in the same timeline as Henry? That would be so agnsty! If not, he'd probably be doing whatever he could to keep Maria and Henry apart, but he's shockingly ineffective in canon, so would he even be able to change anything?
Henry Tilney would probably just try to prevent Catherine being sent home alone. He could easily come back early.
Mr. Knightley's best move would be to tell Robert Martin to propose in person. I doubt Harriet could have resisted. Then he could just sit back and watch everything else play out.
Honestly, I don't know if Frank Churchill would change a thing, other than making sure his final letter was posted to Jane. He enjoyed the subterfuge.
Poor Edward Ferrars has to travel back while engaged to Lucy? I feel like he wouldn't even want to relive the novel, there is nothing he can do anyway.
Colonel Brandon would probably change a lot. He could immediately save Eliza and challenge Willoughby. He might even spare Marianne from a lot of pain.
Reginald de Courcy (Lady Susan) would likely act as well and save Frederica earlier than in the novel.
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cursedvida · 6 months ago
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Honestly. Every two or three days someone publishes a post saying "oh why do you like nomae? If mae is bad, she's the villain, blah blah blah" that makes me wonder if these people have a life beyond wasting their time hating.
If you don't like something, can't you just block it? Or can't you just focus on promoting what you like?
Oh my god, do something productive with your lives.
It's good to see that lately even those who don't ship nomae are against these people.
There are many points we can discuss about this.
For example, we can talk about how absurd and pointless it is to throw hate at a ship. I mean, what do people gain from it? Making others feel bad? Do they really get satisfaction from shaming and trying to make people feel guilty for just trying to escape reality for a while by shipping and fangirling over things they like in a healthy and purely playful way? Do they seriously find any pleasure in it? Does it give them dopamine or something? Because if they really need to crush people to feel better about themselves, what I would recommend is to leave the internet and start therapy because these are indeed very sadistic and sociopathic behaviors.
Putting aside the melodramatic and catastrophic moment, we can also talk about how sad it is to waste time hating something instead of doing something productive like, for example, creating content. They complain that the KotPotA tags are infested with things about Nomae, but do they contribute anything beyond the hate? Do they write dissertations, present theories, upload gifsets or fanarts? No, of course not, they just throw crap. I mean, if it bothers you so much that when you enter the tag 90% of the content is not to your liking, then I invite you to fill the tag with things you do like. You are free to do so. But I guess it’s much easier to just complain instead of making an effort to contribute.
This brings me to another point that I find very ironic. Yes, everything is full of Nomae, but that is precisely what keeps the fandom alive. Every day someone uploads some fanart, some video, some comment or fanfic. Every day there is someone talking in this tag about the topic that, whether many like it or not, means talking about the movies. Let’s be honest, those of us who keep fandoms alive (and I speak in general) are the shippers, especially when they are fandoms of franchises whose content are movies that take years to come out. If it weren’t for people fangirling all the time, there would be no content on social media. I’m sorry if you don’t like that content, but once again I invite you to use your freedom of expression to create rather than try to destroy people’s self-esteem.
But well, as you say, at least there are people with common sense and enough mental maturity to understand that if you don’t like something, the best thing to do is ignore it and that’s it, as well as understanding that shaming people on social media is very much a thing of 15 years ago and today it’s just pathetic.
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I am doing a short Sustainability course in an English university, and there are people who are openly using AI. This really bothers me, because this is a sustainability course and AI has such a negative impact. They are not using it just to write their own submissions, but also to generate conversation starters for group work and create processes for how the group should approach things. There is no way the teacher would have missed it, because the people who do it say they use AI in their posts. I am thinking about raising it with the teacher in private, but I am worried I might be overreacting.
I know this is something you're more closely involved with, so I wanted to get your thoughts on it, if you don't mind.
If they're declaring it and the lecturer isn't stopping them, it's probably within allowed parameters. With that said, are they using it to write their actual submitted assignments? Because that won't be allowed, it's academic misconduct
But, if the lecturer has decided that some AI use is acceptable (for prompt-generation, etc) and you feel that runs counter to the ethos of the course, you can always take that up. There's options there - discussing it with the lecturer in question is the first step, because they can also clarify the policy. Find some reputable sources to back up your points and take them along. And remember to be nice, of course!
Your next step depends on what they say. You have limited leverage, but in the UK every module comes with a "Please give us feedback" questionnaire (usually on Moodle or Canvas or whatever equivalent you use), and also almost everyone takes part in the NSS, so you can give feedback that way. You could also officially state your view to the course director. We have to take student feedback seriously, so even if they ultimately justify it some other way, it still has to be discussed.
It's a shame you're in England rather than Wales - over here you can argue that it violates the Wellbeing of Future Generations Act, but that's Welsh-specific sustainability legislation. Anyway: good luck, and I hope it goes well!
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gaijinhunter · 4 months ago
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I am writing this as a Tumblr post because I don't want to make a video, as I feel this person is just trying to engagement bait me so he can grow his channel. Looking at his videos, he has seen an increase in views for videos that have been clickbait or trying to "call out" something. I guess you gotta do what you gotta do to grow your channel, but I am not about that.
Iixxion recently made a video and for the third time already, is rambling on about how he has been annoyed that he ran into people that referred to the portable series of MH games as being developed by a different "B team" than the ones that make the non-portable game's "A team". Of course, that notion is incorrect, anyone with a brain knows that both lines of MH games are created by Division 2 in Capcom Osaka and that there is plenty of overlap between titles in terms of staff. He argues that this misconception is the cause of tribalism and animosity in the MH community and is the single most dangerous issue in terms of growing the user base. My perspective is that there is indeed a divide on people who like the portable series and those who don't (which is fine!), and released platforms also contributed to that division, but no one is writing off any mainline game (MH, MHF, MHG, MHF2, MH2, MHFU, MH3, MH3U, MHP3, MH4, MH4U, MHGen, MHGU, World, Iceborne, Rise, Sunbreak) because it was made by some separate unrelated team.
The issue is that he blames me for this apparent misconception and points to my video from 2020 (https://www.youtube.com/watch?v=nhpDnFU6lAo) where I cover the rich history of KH games and how each of the games and the portable series' games, have influenced the franchise as a whole and what features each entry introduced. He says that my video is one of the main sources of this division and that it is somehow my vague wording around the different teams on each MH title has caused horrible damage and that I am irresponsible and lazy for this. (BRUH)
Not only was my video just 4 years ago and focused on the development history and features of each title, if there was tribalism between console and portable games, that existed long before 2020. But he uses a Staw Man argument to "call me out" which is to argue against the notion of an A team and B team that are completely separate from each other, which isn't something I ever said in the first place. When i corrected him, he counters with "so you agree with me then" and that is when I realized it would be useless to discuss with him and took a look across his past videos and found a pattern of engagement farming, so I decided to just delete my comments on his videos and walk away from it.
If you want to make an argument against vague wording, it could be him saying the only consistent difference between the members that work on a "console" game versus the "portable series" games is the Director. That OFC is not true.
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Some fun data looking at staff rolls.
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Very natural overlap in the areas that you'd imagine with game design and programming being the main specialized fields.
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Now if you want to argue semantics, then there isn't even a "monster hunter team"--it simply doesn't exist. Only Capcom developers exist and if you had to split them into distinct teams, that is Division 1 and 2.
He would likely say "see, he is supporting my argument, told you!" or "why weren't you this clear in your history video" but that is because he is making a false connection between some crap he read online, and my video and he sees me as the main cause of this "tribalism". A very disappointing conclusion he came to. My video wasn't about team compositions, it was about the franchise title history, and I pulled and used data all from official sources and interviews with the directors themselves.
I guess when you work hard across multiple years to make fun and hopefully informative videos on a franchise, the more you get targeted with bad faith arguments or engagement farming. Doesn't make it less tiring...
Stop worrying about reddit user tribalism over console/portable games, the games do have a different game design philosophy and on different consoles, so some division is to be expected, and we have so much cool news to focus on than to waste time creating drama for clicks. Be better.
-Gaijinhunter
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