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#really long rant
thecheesiest · 10 months
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Rant on why the Narrator is a selfish self-centered asshole (I love him though he is awesome)
**TW FOR SUICIDE MENTIONS AND SUCH (Zending)**
AHEM..
Okay. Here we go.
So many people in the TSP fandom think that the Narrator actually cares about Stanley/the player during Zending, but it seems stupidly obvious to me that he DOESN'T?? He doesn't really care about Stanley/the player at all during any point in the game. Everything he does that he claims is to keep Stanley safe or to keep him from hurting himself is actually only because he doesn't want something to happen. Everything he does is for HIS OWN BENEFIT, he's a self-absorbed, narcissistic motherfucker who cares about no one but himself. It's incredible to me how people can overlook that, like really??? He even says it himself during Zending, he says "Please Stanley, don't take this from me!" HEAVILY implying that the only reason he is trying to stop Stanley from jumping off the staircase is because he doesn't want the game to reset for his own happiness. And people are constantly like "ohh, he actually cares about Stanley during Zending, it was so sad to watch him try and stop Stanley, the poor thing! He must love him so much!" NO. He doesn't. He just doesn't want the game to reset. He doesn't want to go back. If the game didn't reset when Stanley died, he wouldn't give a shit if Stanley jumped off the stairs or not. Many, MANY times during the game he resorts to degrading Stanley and pushing him away, even temporarily abandoning him several times (During the Games ending, during the Infinite Hole sequence in the Stanley Parable 2, etc.), Which really shows that he does NOT care about Stanley one bit. He is willing to hurt him emotionally and on rare occasions even physically if it'll force Stanley to give in to the Narrator's own wants. He also KNOWS that the bucket makes Stanley happy, and can't deal with his own jealousy, and so he tries to destroy or get rid of the bucket many times throughout the game. He just can't deal with the fact that something other than HIS GAME makes Stanley happy, the jealous bastard. He even actively praises Stanley for stabbing the bucket during one ending of the game. I don't mention her or Mariella much, but I feel like the Curator is just a much more sensible and rational person. Though we don't hear much from her at all during the game or know much about her character, just from the little dialogue we get from her she seems much more down to Earth. She seems like she could accept the fact that she isn't the greatest being in existence, and even actively praises the bucket, ridiculing Stanley for his carelessness with it. I headcanon Mariella and the Curator as the alternate, genderbend universe of Stanley and the Narrator, and I feel like the Curator would treat Mariella with much more respect than the Narrator treats Stanley.
Okay I'm done, if anyone actually reads all the way through to the end WOW. You actually deserve a medal or something holy crap 😭 I still love Narrator by the way he's super cool even though I kind of hate him I love him so much
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leandrocrossard · 3 months
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something really cool happened today that i wanted to share:
my nephew is 9 years old, and a stereotypical little boy. he likes dinosaurs, minecraft, and ninjas.
today i walked in on him excitedly watching Nimona with my dad. (minor spoiler warning!)
i had never heard of it, but i sat down and watched some of it, just to see why he was so happy.
he started narrating it, anticipating parts of it, almost as if he’d seen it before. he had.
we didn’t get to finish it, but i watched it on my own, because it looked fun and i wanted to see how it ended.
and i loved it. it was a fun, exciting, fantastical adventure about the importance of acceptance people who are different to us.
and it had a very clear queer subplot.
one that my nephew hadn’t mentioned at all in his explanation of the film. his summary was “it’s about a monster who helps a knight that was framed for killing the queen”.
and honestly yeah, that is what the film was about.
before sharing it with us, he had watched it all, engrossed himself in the story, took it in entirely, and the part he cared about most was whether Nimona got her acceptance. he wasn’t indoctrinated, or confused, or questioning anything about himself.
he didn’t bat an eyelid over a gay love confession. he just enjoyed the film, raved about it, made my 60 year old dad watch the movie about the monster who didn’t fit in.
he’s still the same little boy who’s been asking us how to get a girlfriend.
the only thing a movie centred around queer and queer-coded characters taught my nephew was that those who are different to him are not monsters. that’s it.
and that dragons are really cool.
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amphibianaday · 8 months
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day 1421
#uh just a heads up if you expand the tags to see all there's. a lot. very long#amphibian#frog#poison dart frog#based on my most popular frog to date (day 651)#inspired by everyone pointing out what they think it looks like#here's a fun secret fact the original guy is actually a phantasmal poison dart frog (Epipedobates tricolor)#(according to the original artists title of the drawing)#not Anthony's poison arrow frog (Epipedobates anthonyi)#i feel too awkward to really point it out though because they look the exact same. i cannot tell if there is a difference#im half convinced the same frog was just discovered and named twice#its very curious btw if you go on the (english) wikipedia page for either species it doesn't mention the other#while hereptiles.info (no idea if this is a trustworthy site) lists both names as common names for the same frog (incorrectly??)#while inaturalist lists them as two different frogs. curiously with tricolor having wayyyyy fewer photos#ok anyway that's my rant i went on a whole journey trying to figure out if these are the same frog or not and i have no answer#i did some more 'research' and i am more confused. some sources seem to imply they are now considered the same species ( e. tricolor)#i think my conclusion is i am willing to agree the drawing looks more like e. anthonyi. it seems like tricolor is generally less vibrant re#and the white is darker and more green?#i feel like thumblr should stop me from typing more in the tags at this point this is a whole essay#at this point i am failry convinced this is specifically the Santa Isabel frog. isthat the real subspecies or morph or whatever#or just the name pet sites are using to sell it??#i even found some sources (frog selling websites) refering to it as “Epipedobates Anthonyi 'Santa Isabel' Phantasmal Poison Dart Frog” lol#Anyways if you read this far hi. species are confusing. i am not a frog scientist#the first few tags are like an hour old now i just kept trying to figure it out and adding more tags
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Keep hearing people say maribug keep asking adricat if he's ok and he keep saying he's ok instead of telling her his problem but I don't remember it happened more than once in s4 in Rockettear but even then the circumstances of that episode did warrant the "nothing" answer he gave her unless he want to tell her that "nino tell me you let nino and alya know each other identity" which will reveal adricat identity. So when else did she ask? about the thing in hack-san, I think another credit goes to alya since she's the one who bring the topic to maribug who seems to be blissfully unaware that her leaving without telling adeicat that she send subtitute would be a problem.
I didn't get into this side of things in my other post because it was long and I wanted to focus on why Chat Noir's behavior was so frustrating, but this ask brings up the other big reason why the season four conflict was such a frustrating and terribly written plot line. Specifically, the part of your ask where you point out that Maribug seems blissfully unaware that her actions are having a negative impact on Chat Noir until someone points it out to her.
Yes, she is presented as blissfully unaware of this and every other interpersonal conflict we're given in season four. Your ask treats this as a failing on Maribug's part as if she should have obviously realized that she was in the wrong, but that's the whole problem. Telling kids - telling anyone really - that they should just magically know what others need is a frankly terrible life lesson as that's just not how the world works. You cannot just assume that everyone will have the same view of the world as you do and instantly pick up on the same issues as you do. That is the path to easily avoidable frustration and conflict. It also teaches people to assume that their view of the world is inherently correct when that is rarely the case. We often don't know the whole story and the other person's point of view may end up being equally or even more valid. This issue is extremely present in season four as Marinette has legitimate reasons to behave the way she does, which I'll get into in a bit.
If Marinette were written as feeling guilty about how she was treating Chat Noir, then this would be a different story. She'd be way more in the wrong and would shoulder a much greater portion of the blame. But as is? She has no idea that she's doing anything wrong. And until someone takes the time to tell her that her actions are causing harm, she is going to continue causing harm because she has no idea that she's causing harm.
In fact, I'd argue that the Alya thing in Hack San is a point in Maribug's favor. Throughout the episode, we see Marinette sending Alya messages on ways to be a good partner to Chat Noir, proving that she does in fact care about him. And then, as soon as Alya says, "You need to talk to Chat Noir," what does Maribug do?
She goes and talks to Chat Noir, giving him a pretty good apology for the problem she now knows she caused. Because, shockingly, Maribug doesn't actually want to hurt her partner. She also clearly cares about his feelings, making me want to take the season four conflict and tear it into itty bitty pieces because what is the conflict even supposed to be when you write shit like this?
I want to briefly step away from Miraculous and talk about this issue in a broader context via this YouTube short:
This short is from a Vietnamese woman who moved to Germany. Her YouTube channel is about her experiences there, including things like the short above which goes into the differences between what it means to be a dinner guest in Vietnam and what it means to be a dinner guest in Germany. In Vietnam, it's apparently standard for the guests to cook dinner with you where as, in Germany, you're expected to have the meal ready when the guests arrive, making this a situation where it's super easy to come across as rude just by doing what you think is normal.
Society is relatively aware that these types of culture clashes are a thing, but you don't have to be from different cultures to have these types of situations. Every person has their own unique needs and ideas of what "normal" is. The culture they were raised in will affect this, but so will their family, their personal needs, and many other factors. Two people can be raised on the same street and wind up with wildly different world views even though they supposedly share a culture. This is extra true when you add in compounding factors like neurodiversity, which is why it's an exercise in futility to say, "But Maribug should have realized..."
Well, she clearly didn't. And you can't change that she didn't realize whatever you're mad about. All you can do is have someone tell her what she's doing wrong. If she then continues the behavior, go ahead and judge away. But if she immediately corrects it like she did in Hack San? Doesn't that just prove that she truly didn't know that Chat Noir was hurting and would have probably fixed all of his problems if someone just pointed them out to her?
This is only exacerbated by the fact that Marinette's behavior in season four is largely unchanged from her behavior in previous seasons. The only major change is that she revealed her identity to Alya, but as soon as that's pointed out as a problem, she course corrects with an apology. After that, she thinks that everything is okay because why wouldn't she? Chat Noir said it was fine and everything else has been business as usual.
Bringing temp heroes into help as needed? That's been going on since season two. Having these additional members has been vital in multiple battles and there have been plenty of times where Chat Noir took a background role to the temp hero of the day like in Sapotis, Rena Rouge's season two debut. So why would Maribug suddenly think that this dynamic is a problem when it's been working fine for so long? We even had a whole episode about how Chat Noir was still needed in spite of the new heroes back in season three! Or, at least, I think that was Desperada's message? This show is shockingly bad at giving clear lessons.
Keeping guardian knowledge from Chat Noir? That's also been going on since season two and was even treated as a conflict that supposedly got resolved in the episode Syren which was the episode that ended with Master Fu coming to the mansion to talk to Adrien after everything was over.
When I watched that episode, I assumed this meant that Chat Noir was going to be more involved in things like picking the temp heroes. I actually thought this was how we were going to get Queen Bee because I knew she was going to be a thing, but it made no sense for Marinette to pick Chloe for a miraculous. Of course, I was wrong. Nothing changed after Syren. Chat Noir remained nothing more than the comic relief while Ladybug got all the insider info.
To be clear, I think that was a terrible move writing wise, but it doesn't change the fact that this is what they went with. This is the established dynamic. I can't even say that Alya learning Marinette's secret led to something new. She's just taken Marinette's old role while Marinette has taken on Master Fu's old role. This show loves it's status quo and Chat Noir has been at least tolerant of that status quo since Syren, so it's not surprising that Maribug doesn't register that this is a thing that should change and no one bothers to point it out to her even though she has a mentor in Tikki (and Su Han, I guess?) and a confidant in Alya and a whole slew of Kwamis who could also provide insight if they were allowed to do that sort of thing. (Sass and Wayzz were robbed of mentor roles.) Additional blame goes to Plagg because he should absolutely have told Adrien to talk to Ladybug. What is the point of giving these characters mentors who never mentor? It's aggravating in the extreme.
To circle back to the first part of your ask, outside of Hack San and Rocketear, I don't think there are any times when Ladybug invites feedback from Chat Noir unless you want to give credit to the end of Kuro Neko:
Cat Noir: (lands next to her) I've been a really temperamental kitty, m'lady. I didn't realize how much trouble I'd make for you by giving back my Miraculous. Ladybug: (sits closer to him) Just because I don't need you all the time doesn't mean that I don't need you at all, Cat Noir. No one could ever replace you.
Which isn't Maribug inviting him to tell her what's up, but she is clearly willing to listen to him and reassure him, further backing up my point about this conflict being some of the worst writing I've ever had to suffer through. If Maribug always fixes the issue as soon as she learns about it, you are not writing a situation where she's clearly in the wrong. You are writing an easily solved communication issue where she gets blamed for something she clearly doesn't realize she's doing wrong and it is so frustrating!!! I feel so bad for her. The next episode is Penalteam, btw, which starts the battle with this gem:
Ladybug: (laughs) Nice scare tactics, but it's not gonna work. Cat Noir and I are the best at soccer! Cat Noir: (Whispers to Ladybug) I don't know a thing about soccer M'lady. Maybe it's time to call the real team?
And basically just spends the whole episode making Chat Noir seems like a worthless partner while Maribug tries her best to make him - and everyone else - feel special.
Oh, and the episode before Kuro Neko? Well, it's technically Ephemeral, but that got magically overwritten so let's go one further back and we get to Dearest Family, which ends with this:
Cat Noir: (grabs a golden paper crown on the coffee table) Since I'm the king, (wears the crown on his head) would you be my queen, Ladybug? Ladybug: With pleasure, kitty cat! Tradition is tradition!
Oh yes, these two are in such conflict and Maribug does nothing to validate Chat Noir. He's in pain every episode and she's just totally oblivious to it.
If that was what they wrote, then I'd probably agree that we needed more instances of her asking if Chat Noir was okay. But it's not what they wrote. If you look through the list of season four episodes, you'll find that less than half of them deal with the supposed conflict of the season (by my count, only 8 of the 24 episodes before the final actually showcase the conflict and they are not in a logical order in terms of escalation as I tried to demonstrate above). The rest of the episodes flat out ignore it or even straight up work against the conflict like when Ladybug says this to Chat Noir in Guilttrip: "I probably don't tell you this enough, but I couldn't do this without you. And it'd be a lot less fun too."
Seriously, what even is this season? What is the conflict supposed to be? Because it sure as shit isn't Maribug undervaluing Chat Noir, if memory servers, season four sees her validate him more times than any other season. And it isn't her guiltily hiding things from him like so many fanfics claim because we have multiple points of evidence that prove that she's completely oblivious that there even is a conflict. So what conflict are the writers actually trying to write?
What's even more baffling is that none of this logically leads to the loss at the end of the season:
Maribug's new secrets didn't lead to her downfall. The only reason she lost was because of the secret that's always been there - a fact that's never revealed to her - and a freaking evil twin! So why did it matter that Maribug was keeping secrets? This is made even worse by season five maintaining all of the secrets, once again begging the question of what lesson were we trying to teach here???
Chat Noir wasn't needed for the final fight of the season, Maribug only needed the powers of a few of the temp heroes to win, a baffling ending to a season whose focus was Chat Noir feeling unimportant. You could scrap that conflict entirely and the ending would not change. In fact....
Adrien quitting to be nothing more than a good little boy who obeys his father would have actually saved the world from eventually being rewritten. If you think about it, the season four final actually punishes Adrien for being defiant. So does season five as, if Chat Noir had quit, his father would still be alive. I thought this show was supposed to be a romcom, not a tragedy. Why is Adrien being punished for being a hero? Is this supposed to be karma for lying to Ladybug with the whole Catwalker thing?
This shit is why I say I'm a writing salt, character sugar blog. I can't get mad at the characters when they're in such a nonsense story where things never logically tie together. They all deserve so much better.
None of this is meant to imply that ignorance is a blanket excuse for hurting others. Nor is it meant to imply that you have to forgive someone who hurt you just because they didn't mean to. There's a ton of nuance around these topics. But season four acknowledges none of that nuance while creating a situation that desperately needed nuance because there was no clear right and wrong here. Should Maribug work to be more aware of others feelings? Sure, but that journey can only start after she's made aware of her faults and no one ever points them out to her. Does Chat Noir need to work on clearly communicating his needs? Desperately, but no one is teaching him that lesson so he remains a terrible communicator who suffers in silence. What impressively bad writing.
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raetttriestowrite · 1 year
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Me, an author, side eyeing my WIP: you're not going to do anything weird, are you? We've discussed this. There's a plan. We're going to stick to the plan, aren't we?
The WIP: *presents subplot, presents additional conflicts, presents character development, laughs in my fucking face*
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egophiliac · 1 year
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a bunch of assorted episode 7 stuff from the last couple of days! because they're still taking over my entire brain! (I keep forgetting that the diasomnia uniform has that weird spike...chain...thing on the back. do you think when they get bored they, like, throw balloons at each other and whoever pops one first wins? is this what the dialounge is like in the off-hours?)
hey when do we get to see maskless red Lilia. please Twst I'm dying over here
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trek-tracks · 9 months
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Now you two think about what you've done and develop some healthier emotional coping mechanisms
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queenlucythevaliant · 24 days
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Just to clarify my thoughts (since I've had a number of people ask me about it) re: Job and cursing God. There's a big difference between cursing God as used in Scripture and how we generally would think of cursing at God today.
Cursing someone, in the Bible, has a lot of depth to it. It's not just saying "screw you " in anger, it's got a sense of forsakenness to it. It's the opposite of a blessing, a removal of blessing. If the blessing is presence, your face shining on the person you're blessing, then a curse is absence. In some translations, Job's wife tells him to "renounce God and die," which I honestly think makes a lot more sense to modern ears.
Job says a lot of unpleasant things to and about God in his anger and grief. So do the Psalmists. A number of the Prophets. So can we. God can take it if we come to him with honest expressions of our emotion, including those not-so-nice ones directed at him. I don't think there's anything wrong with getting mad at God and saying, "How dare you, you bastard" when you suffer unjustly. You can say much worse, I think, without sinning, though I don't feel particularly inclined to give examples. But as long as it's an honest expression of your heart, I think you're doing exactly what prayer is for. You're presenting him your heart with an open hand. He can use that. Opposite of love is not hate but indifference, etc.
Job doesn't renounce God. Neither should we. But I think when you're truly suffering, you're gonna have those feelings toward God either way. He'd rather you address them with him directly than try to avoid them. Cursing at God in the modern sense is actually a great way to keep the relationship strong and not end up cursing/renouncing him in the Biblical sense.
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gentil-minou · 8 months
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This is the dumbest argument I've ever heard
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I can't think of any hobby more wallet friendly than picking up a pencil and paper. Like this is just plain stupid.
Also, I'm not an artist and I don't have drawings skills, but sometimes I paint little watercolors for myself and I have fun even though they look awful, and that's the entire point.
Also also, since I can't draw and I still want to share my ideas, I write. And yeah it takes practice but THATS THE POINT. There's so many genuine ways you can share your ideas with the world.
Hell, model with clay, act out a dumb video, draw stick figures, do whatever. I promise all of that is a better rendition than a program that isn't actually intelligent and is just giving you results based on keywords like a glorified search engine
Just say you want recognition for something you stole and didn't care enough to put the effort in and shut up
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amelia-yap · 5 months
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AUEGH
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vyunok-obyknovenniy · 8 months
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Really happy with how she turned out! I decided to give her some naiad features, inspired by this post and it was really fun! I hc that she can breathe underwater (even though she doesn't have gills. Do naiads have gills?), although I am not sure if she can do it freely or for a limited amount of time 🤔
The fabric piece covering her chest was loosely inspired by 18th century neckerchiefs, because I wasn't sure how the Mycenaean open chest fashion would fly with the censorship here or on other platforms ¯⁠\⁠_(•⁠ ⁠▽⁠ ⁠•⁠;)⁠_⁠/⁠¯
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arthursfuckinghat · 2 months
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I think sometimes people need a little reminder about this scene and how important it is in showing us how the dynamic between Arthur and Mary worked.
The feelings between them are solely mutual, nobody is taking advantage of the other, and they actually talk about it. They have the maturity to admit how much they wanted things to be different, and they agree that it's all in the past now.
Mary doesn't demand his help or beg on her knees. She asked sincerely because that's still her father, no matter how he treats her. Arthur knows this, he knows how important (what's left of) her family is to her. He put his feelings about her father aside because he wants to help.
Even despite how their lives had changed over the years, they still cared so much about eachother. After losing her husband, her brother going back to college, her mother not being around anymore and her father still being abusive, Mary was fucking lonely.
She was so miserable and if there was anybody left that she could trust, it would absolutely be Arthur.
And it hurts because so much between them was left unsaid, it's just that Arthur took it to the grave.
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wishesofeternity · 1 year
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“You toil still in service to men. Your father, your husband, your son. You desire not to be free, but to make a window in the wall of your prison. Have you never imagined yourself on the Iron Throne?”
A couple of things:
1)  Alicent is a queen consort and is a Hightower by birth, so no, she cannot imagine herself on the Iron Throne, because Targaryen succession does not work like that. This is basic knowledge that 5-year-olds would presumably be expected to know, and I am astounded and embarrassed that Rhaenys, with her age and experience, lacks this fundamental bit of common sense.
2) Alicent has been the functional regent of Westeros for the past six years. In the previous episode, we see her actively governing the realm and overseeing all royal matters (while Rhaenyra sits on her ass with her loser husband in Dragonstone). We also literally hear Vaemond tell Rhaenys “It’s not a king who sits the Iron Throne these days, good sister. It’s the queen”, so I can assure you, Rhaenys, that Alicent has physically sat on the Iron Throne just fine. She lacks authority, obviously, as she is the consort and not the king, but she certainly did not and does not lack power, to say nothing about influence. This ridiculous show, however, does not seem to be able to differentiate these terms.
3) Does this show not understand that Alicent installing her son as King is not just beneficial to him (which the show acknowledges) but also directly beneficial to her? This is a patriarchal and patrimony-inclined world; Alicent’s son being King would not only mean immense prestige for her family; it would also mean the ultimate peak of power and influence for her (which we see her unapologetically wield in the books). In Westeros, we see Visenya Targaryen supporting her brother and her son’s kingship rather than angling for the throne in her own right, and wielding absolute power and authority in their reigns. Historically, Empress Matilda (the female claimant to the throne in the Anarchy, the war this story is based off) relinquished her claim in favor of her son, Henry II, presumably because she recognized he stood a better chance at gaining the throne (which he did) and continuing her legacy. Joanna of Flanders, who literally wore armor and led troops into battle, did it to support the cause of her husband in direct opposition to the claim of his niece. Yet according to this show’s logic, every single woman who has fought for their fathers and brothers and husbands and sons subscribes to internalized misogyny rather than, idk, supporting their families and gaining power, security and status in the process. Not to mention, Alicent relinquishing her children’s claim and stepping aside would not only be utterly humiliating and degrading for her from a political and personal standpoint, but also legitimately life-threatening for her children and her family. More competent writers would understand that she did not have much of a choice.
4) “You desire not to be free but make a window in the wall of your prison” is the MOST SICKENING PIECE OF VICTIM-BLAMING BULLSHIT I have ever heard in a long, long time. Alicent was a teenager when she had to marry the much-older King (her best friend’s own father) because of his desire for her. He repeatedly raped her and forced at least four pregnancies on her that she did not want. She was utterly isolated at court after her marriage, lacking comfort and friends (including Rhaenyra, who abandoned Alicent for three years after learning that she was being made to marry her father and, based on the comments she made, did not even stop to consider the awfulness of Alicent’s predicament). She had to endure the humiliation of her father being fired and made to leave court, leaving her even more alone than she previously was. She had to endure her husband constantly favoring his firstborn and his grandchildren by his firstborn rather than Alicent’s children who were a direct result of her rape by him. Her son was maimed and bleeding and her husband chose to defend his firstborn’s moronic decisions rather than bring him justice.  She is not a Targaryen, she does not and cannot ride a dragon. WHAT WAS ALICENT SUPPOSED TO EXCEPT TRY AND SURVIVE? HOW ON EARTH IS SHE BEING JUDGED FOR IT?
(And this ridiculously condescending comment is coming from Rhaenys of all people, lmao. A dragon-riding Targaryen who was an actual claimant to the Iron Throne, unlike Alicent. So, what was stopping HER from seizing power, pray tell? After all, she even has the Velaryon forces to back her claim. Instead, in her own words, she made peace with her sidelining. She constantly disagreed with her husband’s ambition regarding her claim and her family’s power. She volunteered her 12-year-old daughter as a child bride for her own aging cousin. The hypocrisy and double standards here is pathetic, and the lack of self-awareness on the part of the show is even worse)
Alicent was legitimately terrified for her children and her family’s lives, and she was entirely justified in doing so: if Rhaenyra ascended the throne, Alicent’s children would inevitably become threats to her whether or not they directly opposed her. This is unavoidable. Look up any historical usurpation, and that’s the inescapable result - and that’s not even going into the fact that Rhaenyra and Daemon are people who are reckless, cruel and indifferent to violence, and would not hesitate to kill any opposition to their reign. The show’s so-called claim that Alicent is upholding the patriarchy falls apart when you consider the fact that this is the only solution that guarantees the security of her children and herself. How is Alicent’s perfectly understandable motivation written as internalized misogyny? 
And moreover, from a writing perspective ... why give her this arc at all? Fire & Blood was badly written, but it doesn’t change the fact that they looked at an ambitious woman who wanted to enhance her power and improve her family’s standing, who directly defied her husband’s wishes in terms of succession in favor of her own, and rewrote this choice into one borne from internalized misogyny. They wrote her as a child bride, a rape victim, an abuse victim and a teen mother and then used this backstory to say that she was conditioned to become the so-called agent of patriarchy (which they do not support with believable evidence) who opposes their so-called feminist protagonist (whose primary enabler is Alicent’s rapist and abuser, btw, not that his abuse is acknowledged nearly enough by the narrative considering how heavily he was romanticized in the last few episodes) It’s a heinous, disrespectful, absolutely terrible writing choice, and I cannot emphasize this nearly enough.
(Oh, and speaking of Rhaenyra, let’s talk about how her queenship solidifies Viserys’s claim over Rhaenys’s. Let’s talk about if she truly cared about women inheriting the Iron Throne - as opposed to just herself - she would have considered this. Let’s talk about how she disregarded the claims of Baela and Rhaena in favour of her son when it came to Driftmark. Rhaenyra is not challenging the patriarchy, her ascension to the Iron Throne will not change anything for anyone except for herself, do not make me laugh by claiming otherwise)
ON TOP OF THIS, the show can’t even decide on a consistent motivation or characterization for Alicent. They repeatedly show us her visceral and justified fear for her children’s lives, which is somehow forgotten in episode eight in favor of her saying that Rhaenyra will be a good queen. Her desire to see her son crowned and thus ensure her children’s safety is disregarded in favor of her actually wanting to fulfil Viserys’s half-baked wishes on his deathbed. They have her say that everyone knows Aegon will be king, and then act surprised when the Green council plots to install him as King. They do not care about Alicent’s personhood and individual character; what they care about is her position as a foil and antagonist to Rhaenyra.
In conclusion: this show sucks. It shows absolutely no understanding regarding the politics of its own world and our medieval history and is a parody and a travesty of respectful storytelling. It has inconsistent and baffling character motivations and downright misogynistic writing, and this is not acknowledged nearly enough by the fandom.
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ofbreathandflame · 1 year
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With the rise of booktok/booktwt, there's been this weird movement against literary criticism. It's a bizarre phenomenon, but this uptick in condemnation of criticism is so stifling. I understand that with the rise of these platforms, many people are being reintroduced into the habit of reading, which is why at the base level, I understand why many 'popular' books on booktok tend to be cozier.
The argument always falls into the 'this book means too much to me' or 'let people enjoy things,' which is rhetoric I understand -- at least fundamentally. But reading and writing have always been conduits for criticism, healthy natural criticism. We grow as writers and readers because of criticism. It's just so frustrating to see arguments like "how could you not like this character they've been the x trauma," or "why read this book if you're not going to come out liking it," and it's like...why not. That has always been the point of reading. Having a character go through copious amounts of trauma does not always translate to a character that's well-crafted. Good worldbuilding doesn't always translate to having a good story, or having beautiful prose doesn't always translate into a good plot.
There is just so much that goes into writing a story other than being able to formulate tropable (is that a word lol) characters. Good ideas don't always translate into good stories. And engaging critically with the text you read is how we figure that out, how we make sure authors are giving us a good craft. Writing is a form of entertainment too, and just like we'd do a poorly crafted show, we should always be questioning the things we read, even if we enjoy those things.
It's just werd to see people argue that we shouldn't read literature unless we know for certain we are going to like it. Or seeing people not be able to stand honest criticism of the world they've fallen in love with. I love ASOIAF -- but boy oh boy are there a lot of problems in the story: racial undertones, questionable writing decisions, weird ness overall. I also think engaging critically helps us understand how an author's biases can inform what they write. Like, HP Lovecraft wrote eerie stories, he was also a raging racist. But we can argue that his fear of PoC, his antisemitism, and all of his weird fears informed a lot of what he was writing. His writing is so eerie because a lot of that fear comes from very real, nasty places. It's not to say we have to censor his works, but he influences a lot of horror today and those fears, that racial undertone, it is still very prevalent in horror movies today. That fear of the 'unknown,'
Gone with the Wind is an incredibly racist book. It's also a well-written book. I think a lot of people also like confine criticism to just a syntax/prose/technical level -- when in reality criticism should also be applied on an ideological level. Books that are well-written, well-plotted, etc., are also -- and should also -- be up for criticism. A book can be very well-written and also propagate harmful ideologies. I often read books that I know that (on an ideological level), I might not agree with. We can learn a lot from the books we read, even the ones we hate.
I just feel like we're getting to the point where people are just telling people to 'shut up and read' and making spaces for conversation a uniform experience. I don't want to be in a space where everyone agrees with the same point. Either people won't accept criticism of their favorite book, or they think criticism shouldn't be applied to books they think are well written. Reading invokes natural criticism -- so does writing. That's literally what writing is; asking questions, interrogating the world around you. It's why we have literary devices, techniques, and elements. It's never just taking the words being printed at face value.
You can identify with a character's trauma and still understand that their badly written. You can read a story, hate everything about it, and still like a character. As I stated a while back, I'm reading Fourth Wing; the book is terrible, but I like the main character. The worldbuilding is also terrible, but the author writes her PoC characters with respect. It's not hard to acknowledge one thing about the text, and still find enough to enjoy the book. And authors grow when we're honest about what worked and what didn't work. Shadow and Bone was very formulaic and derivative at points, but Six of Crows is much more inventive and inclusive. Veronica Roth's Carve the Mark had some weird racial problems, but Chosen Ones was a much better book in terms of representation. Percy Jackson is the same way. These writers grow, not just by virtue of time, but because they were critiqued and listened to that critique. C.S. Lewis and Tolkien always publically criticized each other's work. Zora Neale Hurston and Langston Hughes had a legendary friendship and back and forth with one another's works which provides so much insight into the conversations black authors and creatives were having.
Writing has always been about asking questions; prodding here and there, critiquing. It has always been a conversation, a dialogue. I urge people to love what they read, and read what they love, but always ask questions, always understand different perspectives, and always keep your mind open. Please stop stifling and controlling the conversations about your favorite literature, and please understand that everyone will not come out with the same reading experience as you. It doesn't make their experience any less valid than yours.
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tv3headz · 4 months
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Loser, baby reprise idea
If we get a reprise of loser, baby in season 2 I want it to be the opposite of the original song.
like wether that be something going on with alastor, his gambling/ alcohol tendencies, or the fact that he hates he’s a winged cat. Maybe, if we wanna be angsty, all three. 
Like how the OG song was a combination of ANGEL’s relationship with VAL, his self destructing habits like drugs and alcohol, and his self hatred for his body and being a toy for Val, (or a PET, like how Alastor sees husk!) 
And then I believe this would take place somewhere more personal like in a enclosed room or bathroom or even at the hotel bar, where the OG was in a messy open setting on some rando street.
Preferably it would be later in the season so there would be a bigger break and relationship development to help the reprise hit harder since it has ALREADY become their song. (And to help the pacing)
So husk would be all down in the dumps and Angel would lift him up the same way Husk did to him all those months ago but since then, their relationship has become deeper and sweeter so it would be slightly more… cute? 
Like I don’t want something as light as the more than anything reprise compared to the original song where it just becomes lighter and more natural, no.
I want it to be sweeter in a way where it reflects how these two are still struggling together, are still losers together but it’s become less insulting and more lighthearted and teasing. like we already see in episode 8 that the losers thing has become a cute lil joke. 
So, it developed even more to where the reprise makes it genuinely sweet while not dumbing down on the purpose of the original song? That would be PERFECTION.
It would be shorter than the og since it is a reprise, and it would NOT be where they kiss. I have many ideas for when they kiss (if they even do cuz omg I love slow burns but idk if I could wait ANOTHER season if we even get a S3) probably about a minute long like the other reprises.
Since I’m so hyperfixated on this idea, I already imagine the main line is changed ever so slightly. 
Instead of ‘you’re A loser baby,’ it’s something super sappy and romantic like ‘you’re MY loser, baby,’ and they would both joke about how soft and stupid they’ve become?!?! I would MELTTTT.
I highly doubt if this were to happen these would be the lyrics by here’s my idea of how it would kinda go 
Angel to husk: so things look bad, and you’re back’s against the wall… *much slower, lighter, softer.
You’re whole existence seems, fuckin’ hopeless..
You’re feelin’ filthy as a {I feel like they would change the lyric here, but it would depend on the context and setting to make it work. Like how the og was outside a gross bar, the line ‘dive bar bathroom stall’ fit for that situation. Or it’s just a general metaphor and I’m insane.}
Can’t face the world sober, and dopeless… [ok imagine instead if it getting higher here like the OG song it gets LOWER? It would be a nice change for a reprise : o]
You’ve lost.. you’re way… but you know you’re life ain’t wrecked {There’s two ways the buildup to the chorus rewrite could go. - 
They could keep it the same, or change it up in a way to where Angel is referring to how Husk already helped him through this and this situation and how he knows it’s pointless to dwell. Which is why he’s helping husk now with the same problem, but he’s just a dumbass because he knows this! Reflecing on the original song idea of ‘yeah you’re pathetic but so am I with you’ kinda mentality.}
So I guess we’re correct… {or, as I originally said, OG lyrics BASED ON story context. Obviously idk what S2 is gonna be like lol}
You’re my loser, baby, my loser, goddamn baby you’re my fucked up little whiney bitch, you’re a loser just like me.
*And I would adore it if husk just did a sarcastic scoff and said ‘thanks asshole’*
You’re my screws-loose boozer and only one star reviewser [this line on they would sing it togetherrr]
You’re a {Depending on if the OG song was saying that Husk was also a power bottom and that was his company or if he just generally had company is still unclear to me, so they could hypothetically keep that line or take a spin on it where they joke about, say, husk being a submissive top? I’m just flowing with ideas gosh} [I wouldn’t be able to make a clever rhyme for that joke except for this so why not] >>>>>>
You’re a sub top at/off the highest rooftop, but you’ve got company~* in a more flirty and teasing tone cuz husk was also teasing him a lot in loser, baby* 
I will not explain the joke but it’s pretty self explanatory [The roof is considered either the most empty or luxurious part of a building, it can also be roofs, flying, wings I THOUGHT ABOUT THIS! And off if we want be a lil… dark if we ain’t referring to flying 🤨] 
|Anyways I ain’t no professional songwriter in any way that’s just a little personal dumb line|
And then it would end! Like I said not in a kiss like the more than anything reprise cuz I don’t really want another chaggie parallel? (Not saying the chaggie and huskerdust parallels are bad it’s just parallels between the f/f couple and m/m couple when they’re both very different I don’t want to be many) - 
I think it would be a hug or a soft snuggle or something more simple get intimate like that : P since Angel needs sweet stuff not more ‘sexual’ :/ advancements.
Or this whole thing is pointless cuz the point of the song was Husk telling Angel once and for all that he’s not alone and they wouldn’t need to bring it up again? But we already got the instrumental so there’s slight hope…
Anyways, if we were to get a loser baby reprise that is just my personal idea of what I think would happen! Obviously the second season is already written but if something even remotely similar happens to this I will be happy. Hell maybe I was right on point but it’s highly unlikely haha
Toodles~ |I didn’t write this at 2 am instead of sleeping on a school night cuz I had 2 assignments due whatttt|
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autisticlancemcclain · 4 months
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Could you explain your position on Shallura? Since Allura was established as a teenager when she started dating Lance and Shiro was very clearly an adult. I can understand the bi shiro headcannon but the shallura thing worries me
i am going to remind yall that i have been in this fandom since 2016. and in the early seasons, allura was not established as a teenager. in fact she was coded as older, as closer to shiro's age -- there was a specific divide between her and the younger paladins that she did not have with shiro. they made her younger (both explicitly and in mannerisms) as the show went on. and i do not give a fuck about voltron like...post s4 and i didn't even watch s7-8. so like. especially with older fics, im going to enjoy shallura.
#also this is less relevant and i was going to put it in the main post but i cant find the words for it#but i found your last sentence kind of condescending. “the shallura thing worries me” as if i am your little project and things arent going#to plan. as if you are the Knower Of All Things and i am straying from my path lol. twas odd#and this is a controversial thing to say i know it but like#we take fandom way too seriously. if someone decides in fic to make two characters the same age to ship them or whatever. do we really need#to get the torches and pitchforks. like i can understand discomfort when people ship like shiro and pidge or something but. also. i feel#like you can just block and move on?? like i dont ship sheith bc they are brothers. to me. but also i dont think sheithers should be#harassed or any dumb shit like that. i think its so so whatever like theyre Lines man theyre moving lines#at the same time i understand that peoples headcanons can be reflective of their worldviews (like when racism/transphobia/sexism shine#through someone's headcanons/characterization) but how much scrutiny is too much? when do we get to remember that fandom is a place to#work with the FICTIONAL? where you can change details without consequence? i saw a fic where keith was the older sibling and shiro was the#younger once. it was a good fic. how come we can play with ages but only when the Fandom Council approves?#i guess this is a really long and clumsy way to say like. you do not own the fandom nor do you get to dictate my work. and while there#is always room for necessary criticism please also think critically before you post your criticism#anyways#rant#ask
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