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just-antithings · 3 months

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Anti-ism is psuedoscience and a moral panic rolled into one

One of the most dangerous things about therapyspeak leaving the intended audience is that now antis feel fully qualified to tell survivors how they should and should not be coping, even to the point of attempting to override/contradict the advice of certified therapists.

I've had antis tell me the fiction I enjoy writing is retraumatizing myself, that I am doing harm by writing it; when I responded that actually, my therapist signed off on the stories I wrote (even when I mentioned the specific phrase "consensual nonconsent"), they said that my therapist doesn't know what she's talking about since she sanctioned my coping mechanism and explicitly labels her practice as kink-positive. Antis are attempting to make me, a survivor with mental illness that could ultimately be fatal if I leave a psychologist's care, disregard the advice of the medical professional supervising me when they have no certification at all. This could, if I were a more vulnerable person, be dangerous for not only my trust in my therapist, but it could sabotage my treatment as well.

They are using what amounts to little more than memes, based on misinformation, that use a few intelligent-sounding phrases that very rarely apply the way they think they do, as a wedge to attempt to assert themselves as authorities who can, with certainty, dictate the appropriate course of treatment for a total stranger, including telling them to disregard the therapies administered by a trained professional.

In other words? Antis are frighteningly similar to anti-vaxxers, who took medical terminology they didn't understand, applied it to shaky cause-effect logic models, started a moral panic, used statements generated by that moral panic as a citogenesis-fueled proof their initial starting of the moral panic was justified, damaged the doctor-patient relationship of millions of total strangers, jeopardized the healthcare of those strangers who now believed their doctor to be incompetent for following accepted medical best practice, and fomented dangerous fringe political ideologies that coupled themselves to other conspiracies based on rejecting commonly-acknowledged practices.

"Vaccines cause autism! Narrative therapy that implements any form of controversial kink causes retraumatization of the writer, reader, or both, and starts the writer on an inescapable slippery slope to becoming an abuser themself! It's better to be dead than autistic! It's better to suffer feelings of shame and/or isolation in silence than it is to use fiction to put a voice to your feelings! Your child is vaccine-damaged from thimerosal and is getting sick from virus-shedding! Your fiction caused me to groom myself and you're a porn-addicted monster for not facing your trauma the proper way! Your doctor doesn't know what's good for you, I do! Only I understand how your body/mind work and what treatment is appropriate for you! Your doctor has been manipulated by Big Pharma/kink supporters! The empirical-study-informed best practices for pediatrics/psychology are what's wrong, not me, whose research is carefully informed by TikTok videos and Twitter posts carefully formulated to cause amygdalar growth to keep me afraid so I will continue to engage with fear-mongering content that causes my politics to shift towards the alt-right, who coincidentally also push narratives based in fear, not in medicine! I am being perfectly logical here!"

Antis fundamentally reject empirical medicine just the way anti-vaxxers do. They just seem to get a free pass on it since it's "only" mental healthcare they are sabotaging, and few people acknowledge it as something as legitimate and lifesaving as other medical care.

#submission #just anti things

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cobragardens · 7 months

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The Colors of Crowley

Black is the color Crowley uses to cover himself, red is the color that represents Crowley to himself, and yellow is the color that represents Crowley to Aziraphale. What each color symbolizes and how it's used give us important information about Crowley (and to some degree Aziraphale) and about the ineffable relationship.

I feel kind of dumb writing this post because I'm sure it's glaringly obvious to everyone else, but there's this Metro UK article of all things (the Metro is owned by the hardcore rightwing Daily Mail, btw, so please don't link to it) that mentions the red stitching on Crowley's gloves in 1867, and it made conscious some details I had only subconsciously noted, so fwiw to anybody else, here are my notes on the colors associated with Crowley in Good Omens and their significance in the context of the way each one is used.

I don't think we need to cover black-as-evil in Western color symbology. [And yet here's a long-ass paragraph about it anyway! --Ed.] Light:dark::good:evil has been a thing with Christianity since before Christianity was even Judaism. The Israelites picked it up from the Zoroastrians way back before YHWH had subsumed El as 'God,' which may have been before they were Israelites as well; I mean it was a LONG time ago. Good Omens has been using black and white to represent Hell and Heaven, respectively, long before the show. In the UK, the book was published in paperback with a choice of black or white cover with an illustration of the contrasting character in the contrasting color: Crowley illustrated in black, Aziraphale in white. The current hardcover is grey.

Crowley wears black, and the Bentley is black. At the metanarrative or authorial level this is obviously for the purposes of the black/white demon/angel contrast, but on the intra-narrative level, the Watsonian level, it's interesting to note that Crowley doesn't have to wear black. He's obviously not free to choose from the full color palette, but Furfur's shirt and sash are is dark emerald green, Dagon is in ultramarine (as befits a marine Elder God), and Shax has only been on Earth for four years before she's wearing head-to-toe oxblood. When she shows up later in battle dress she's got a lot of oxblood there, too. And yet Crowley wears black.

Authorial reasons aside, black suits Crowley for a couple intra-narrative reasons. For much of history, black was the most expensive color to dye and maintain in clothing, and as a result it has always been fashionable. And for several centuries in Christendom, wearing black was also a sign that you were in mourning, which was a social and religious obligation when someone close to you died. Whether you could wear other colors with it depended on how long ago that death had occurred.

Again: black is what Crowley chooses to cover himself, and as there is a sharp distinction between how Crowley presents himself to fulfill his obligations and who he thinks of himself as being, there is likewise a distinction between the colors that represent those two quantities as well.

Red is the color the show uses to represent Crowley to Crowley. The most obvious reason is his hair. This is another change from Book Omens, where Crowley is described as having hair that is "dark." A lot of fans in the UK hated the change when S1 came out because fans hate change and the British have a thing against gingers, but Crowley's red hair suits him better than dark imo because the Mother of Demons in Jewish religious literature, Lilith, is traditionally depicted with red hair. Red hair has been associated for more than a millenium in the Middle East and England and Wales with sorcery, witchcraft, demonic influence/possession, and satan-worship.

Crowley wishes his mom was this cool with snakes.

A good case can be made that Crowley genuinely likes the color red in addition to considering it demonically appropriate. I say this for three reasons. Firstly, because when he has a (limited) choice of (again, demonically appropriate) colors, he always chooses red. The marble of the desk in his apartment is not green or grey. He can have any color stitching on his gloves or lining of his jacket collar he wants, but it's always red. Secondly, it's not only red he chooses, it's almost always bright red.

We know Crowley's red isn't supposed to represent blood or violence, because we have another demon character whose use of red represents just that, and it's not the same red:

Compare Shax' oxblood and burgundy to

and

Crowley's red isn't just red, it's lipstick, cherry, crimson red. And in case we weren't sure that we should read this red as symbolizing passionate, romantic love:

Romantic symbolism aside, bright red is also the color of passion (romantic or otherwise), optimism, heat, vitality, life, (hell)fire, and warning.

Red and black says don't fuck with Jack.

The third reason I think we can safely say that Crowley actually likes the color red is that he hides it. It's always tiny little touches, some of which you have to look for to see. (I still don't know where they snuck in the red on his Elizabethan habit, e.g.) And we know this color is a risk for him, and that he is right to hide it, because Ligur, who doesn't approve of any of Crowley's less-than-fully-demonic embellishments and may share Hastur's opinion that Crowley has gone native, comments on one of Crowley's more noticeably colorful items.

And I think the red tells us one more thing about Crowley, too.

Bright red is the colorest of colors, you know? When we can choose only one color to represent all colors, to represent colorfulness itself, we choose bright red (even in cultures where red symbolizes other meanings than it does in Western art).

Remember how Aziraphale gives Crowley's jacket a tartan collar when he swaps bodies with Crowley and impersonates him in Hell because Aziraphale feels the need to maintain some small secret token of his identity, some tiny unremarked sign of something he loves and thinks is beautiful, when he is down there alone in the gloom among enemies?

Crowley is down there alone among enemies every second of every day and night, whether he's in Hell or on Earth. And he's already had his identity stripped from him once. If you were someone who said

about this

and then you got recruited by the fash downstairs bc the fash upstairs threw you out for not being fashy enough and you had to start wearing nothing but dark colors and more importantly had to hide everything that made you feel warmth or softness or joy, and that was it, that was the deal for eternity, but you could add one (1) little touch to everything you wore to remind yourself that there is some beautiful part of you left, something you loved once, that no one has yet been able to steal or brutalize out of you...what color would the stitching on your gloves be?

Lastly, Yellow represents Crowley to Aziraphale. I'm going to skip the chain of evidence for this bc I think it's obvious, but the way it's used also lends itself to some inferences supported in other areas in the show.

Here's where I think changing Crowley's hair to red from Book Omens' dark is a good decision in another way. Crowley always has red hair, and if he has any color in his clothes it's going to be red. Red is eye-catching; it always stands out, but it doesn't stand out as demonic. And yet the color Aziraphale associates with Crowley and calls "pretty" isn't red.

I suspect that when Aziraphale says he can make Crowley an angel again, Crowley hears "You're not good enough for me to accept you as you are, let me fix you" because these are words Aziraphale has said to him many times, and has meant some of those times. But

tells the audience differently. The color Aziraphale associates with Crowley, the color he calls "pretty," is the color of Crowley's only overtly demonic feature. Aziraphale doesn't love the angel he knew who isn't Crowley, he loves Crowley, the demon, the person he is now, his yellow demon irises.

Yellow appears in three other places in S2, and they're all symbolically significant, and in fact serve to establish another symbolic significance to the color yellow in addition to that of Yellow Is the Color of My True Love's Eyes.

One of them is a feather duster:

Crowley reacts to a feather duster like a cat confronted by an unfamiliar object

The other three are private conversations between Aziraphale and Crowley:

The walls that surround Crowley and Aziraphale when they speak openly about their situation and how they will handle it are drenched in yellow, and that is super interesting, because in Western color symbolism yellow is the color of fear. The archangel of whom Crowley and Aziraphale are both (rightly) terrified wields a tool the color of fear. The color of fear saturates the backdrop of conversations between Aziraphale and Crowley when they have to discuss their situation and their actions openly.

Remember how Aziraphale's voice shakes here?

Crowley realizes the crows have just handed an angel evidence the angel can take to Hell and use to have Crowley killed

Even the Bentley, that clear sign of Aziraphale's love for Crowley, is also a yellow coffin enclosing him. For Aziraphale, thoughts of Crowley are always entangled with fear, because Crowley is not just Crowley, he is also Crowley's Fall.

And I think fear is what Crowley's eyes themselves represent. For Crowley, fear is now a fundamental part of his perception, his nature, his identity.

The angel Aziraphale once knew is not Crowley, and yet from what we've seen, the chiefest difference in character between this sweetheart and this mischief-maker--

--is that the Starmaker does not know yet that he should be afraid, and the Serpent does. That knowledge and its fear has, shall we say, colored his view of the world.

Aziraphale learns that fear early by observing others rather than Falling himself, and knows enough that by the first time we meet him in the Before, he is already afraid.

Pink was once symbolically equivalent to red; in modern Western color symbology it is a color of innocence, youth, beauty, and first love. Hashtag just sayin'.

The cruellest thing this suggests to me is that, rather than rebellion or his propensity to ask questions, rather than the knowledge of good and evil, the Starmaker's Fall was caused by his innocence. it wasn't the questions that were the problem: it was that he didn't know any better than to speak them out loud.

Y'all, Crowley and Aziraphale do not suffer from communication problems. Despite both being male-coded and British, they don't even seem to lack emotional intelligence. What they do have is a universe of silence and fear they have to communicate within and around. What they lack is the safety to speak and love freely. The true color of Crowley is crimson, but someone gave him those eyes, and Aziraphale either watched that happen or knew about it, and now Crowley covers himself in black--which btw is also the symbolic color for mystery and secrets--and only lets Aziraphale see him as he really is now, because Aziraphale won't judge him for his yellow eyes (or punish and forsake him for his questions). Because Aziraphale carries that fear with him too.

#good omens #good omens 2 #good omens analysis #good omens crowley color analysis #good omens crowley color #crowley #good omens colour analysis good omens crowley colour #good omens colour #good omens meta #angel!crowley #starmaker

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iwritenarrativesandstuff · 27 days

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I’m just going to throw down my thoughts now real quick. Someone is obviously going to get taken over by Fyodor. This takeover seems to require blood to activate. Here are the potential options, rated lowest to highest by my own personal interest.

Random character we’ve never met - the easy and boring answer. Fyodor will body snatch one of the vampire guards he was communicating with. Fair amount of likelihood since he could easily have made the transfer of blood at any point, though I’m not sure yet if it needs to be an instantaneous thing or if his blood can lie dormant. Either way I think it’s a bit of an ass-pull with no stakes on our cast so I’m hoping this isn’t the case.

A named character outside Meursault - Probably someone he’s had a lot of contact with, so Fukuchi. This depends on the blood having a latency period and is also insanely contrived. I actually hate it more than the random guard.

The Catgirl thief - I’m assuming this is extremely unlikely since the host needs to be alive. But anyways. Women lovers here’s how we lose even worse.

Having said this now, I think it’s fairly obvious it has to be one of the other Meursault four. This is appropriately thematic and tragic, given that all of them place a lot of value on free will and self-determination, which a takeover by Fyodor would rob them of.

Chuuya - He spent a lot of time around Chuuya to be sure but there’s no blood on him. If there’s a latency period though, it is possible. I’m not feeling this one though, to be honest. I don’t see what narrative purpose it serves - Chuuya hasn’t had enough of a role in the manga for this to mean much, other than royally pissing Dazai off (which to be fair is definitely in character for Fyodor). I think it far more likely that Chuuya is going to be a witness for whatever comes next.

Sigma - High likelihood. He did get stabbed and had the memory transfer. I can’t remember whether Fyodor touched him with his wounded hand. It would be brutal for this to happen to him after he’d just broken free from his manipulation. But honestly I don’t know that Sigma getting taken over is all that interesting. For one, they’re going to need his knowledge (though that may be a reason for Fyodor to off him truthfully), and for another, I just don’t think Sigma’s… done enough as a character. I feel it would kind of render his arc in Meursault pointless to end his story here.

Nikolai - The most likely possibility to me. He is holding Fyodor’s severed hand, which he touched to his face. Fyodor’s ability probably kickstarts after his death, and Nikolai was the first to get his blood on him. Sadly, I suspect that if this is the case, this will be the end for Nikolai. If he gets taken over, I can’t see a reason or method to restore him to himself. What a horribly tragic end this would be to our favourite clown, his freedom snatched away for good by the one person he couldn’t help but get attached to.

Dazai - I dismissed this off-hand at first. Of course I did, Dazai is immune to abilities. I also want to be clear that I seriously doubt Asagiri will off his favourite boy like this. But oh man. What if Fyodor’s ability isn’t an ability, much like in the first skk manga team up? What if them both being there is a call-back to Rimbaud who snatched corpses, and Lovecraft who could hurt Dazai? What if Fyodor really has become no longer human - and this is the proof? I was kind of hoping the Meursault arc would end with Dazai (temporarily!) out of the picture, and this would be a way to do it - Atsushi and Akutagawa would have to step up, Chuuya could be more relevant. We could even have more Kyouka if what I’m starting to wonder is true - that Fyodor was involved in the death of her parents. At the same time, Dazai’s special boy plot armour nullification and mysteriousness gives us a plausible reason to bring him back. And all the while maybe they could continue their mind games, with Dazai being an annoying little pest in the back of Fyodor’s mind.

#I’m screaming asagiri please give us bad ending #also I think chuuya would rapidly lose the idgaf war if he saw dazai being taken over like that which is. just a bonus for me.#realistically though my money’s on nikolai. sorry jester man I think you might be doomed :(#bsd #storyrambles #bsd meta #bsd chapter 114 #bsd spoilers #bsd fyodor #bsd chuuya #bsd sigma #bsd nikolai #bsd dazai

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opbackgrounds · 13 days

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I enjoy how Oda shows the maturation of the crew during the fight with Oars. It's fitting that it starts off with Usopp insisting that Luffy will save the day, since he was the one who showed the most doubt during Water 7. He's overcome that and reinstated his utmost faith in his captain's ability, but as always Zoro is the down to earth realist of the crew. He's not doubting Luffy's strength, but taking into account his very real weakness to trickery and deception. It helps that Oda starts the chapter by showing Luffy being tricked by Moriah's shadow into running back out to the woods, far away from where he should be. It's the narrative going out if its way to prove that Zoro's right, and this is very much something they should be worried about.

And instead of arguing about it or getting freaked out, the rest of the crew agree that Zoro's got a point and they can't sit around twiddling their thumbs waiting to be saved. The speech ends with Zoro once again affirming is faith in Luffy's abilty to defeat Moriah. It all feels very appropriate for a good number two, but that kind of stability and practicality isn't unusual for Zoro. It's the fact that the rest of the crew rallies behind him is what really solidifies the crew's growth as a group. This isn't a bunch of individuals who happen to be fighting for a common goal; they are the Straw Hat Pirates.

#opbackgrounds #one piece #ch474 #roronoa zoro #straw hat pirates #they've come so far #teamwork makes the dream work

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heytherecentaurs · 5 months

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Burrow's End is an absolute masterpiece.

In the span of ten episodes Aabria and Co. weave an exciting and emotional adventure story about a family of sentient stoats. It delivers huge laughs, interesting societal criticism, remarkably emotional and well-acted scenes and concludes with a series of epilogue scenes that feel appropriate for each character, some heartfelt and subdued and others bigger than life and all the funnier for it.

Siobhan and Izzy play the perfect pair of siblings. They fight and argue but they also love each other. Jaysohn (Siobhan) looks up to Lila (Izzy) and believes she's the smartest stoat in the world (and by the end she probably is) and Lila hypes up her little brother's athletic skills. They both fully embodied these kids and I could watch them do fun stuff for more episodes. Give me a version of Saved by the Bell with them. Stoat by the Bell.

Brennan and Rashawn, playing sisters, also knock it outta the park, showing a more mature sibling dynamic. Brennan portrays Tula as the quintessential overtired single mother of excitable kids, and Rashawn as younger sister Viola straddles a very interesting line of being intimidating to outsiders but very much more naive and looking to her older sister when she starts a family.

Jasper as Thorn, a guy everyone just lets be a cult leader because he really wanted to, is fantastic. His is a difficult role as the only non-blood relative. Jasper plays Thorn with such real humanity of a guy in over his head and letting his ambition wife call the shots, but also one who agrees with her goal, really loves her and has moments of real menace. He has some very funny scenes, his big speech is perfect, and I just enjoy him.

Erika is wonderful. They play the epitome of generational trauma as many have said but as much trauma as Ava has, she is also loving and willing to learn. The fact Erika took this adversarial role is incredible. The tense dramatic scene primarily between Ava, Tula and Viola is amazing. They act their asses off and make hard choices that I imagine are difficult even for such an experienced player.

Aabria's DMing always feels fun. She doesn't get bogged down in the rules. She knows them. She plays by them. But as a master, she knows how and when to break them too. Her seasons on Dimension 20 have all had a tenseness, a particular edge to them that can give me anxiety during dramatic scenes between two characters. It always feel like one of her NPCs may say something devastating and the tension between characters reaches really thrilling heights. This is present in other seasons, but I don't think anyone does it as well as she does. The first season of hers to have battle maps, Aabria really swung for the fences and gave us some of the wildest maps to date.

Shout out to Carlos Luna's voice acting. He did an incredible job. And shout out to the whole crew who have put together one of the best seasons of D20. They keep finding ways to build on what's come before and they should be commended for it.

Dimension 20 is most successful when the concept is very streamlined. They don't do huge 100 episode campaigns capable of handling huge winding complex narrative, but short focused D&D stories, which is why many of the Side Quests have been so fantastic. They embody this philosophy most clearly, but it's apparent in the most beloved Intrepid Heroes seasons as well—John Hughes/High Fantasy, Game of Thrones/Candyland, Retrofuturism, Film Noir but in a Brain... Burrow's End fits this perfectly. It's streamlined concept paired with great storytellers and great chemistry sets it up to be a smash hit before it begins. And goddamn does it deliver.

Thanks Stupendous Stoats!

#dimension 20 #d20 #burrow's end #aabria iyengar #brennan lee mulligan #izzy roland #isabella roland #erika ishii #siobhan thompson #jasper william cartwright #rashawn scott #rashawn nadine scott #carlos luna #dropout.tv #hey there centaurs

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yumeka-sxf · 14 days

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I try to stay away from negative topics, but after hearing talk on social media yesterday and seeing this post from @such-a-downer, I just had to give my two cents about the complaints regarding yesterday's chapter being "another short mission" and that Endo is somehow being "lazy" or whatever.

I honestly don't understand this mentality of criticizing manga-ka, or any artists really, because they aren't delivering by whatever standards you personally think are appropriate. To me, it just seems like entitlement because Endo has no obligation to cater to any specific fan's wants. This is his story to tell the way he wants, and his characters to develop at the pace he deems fit. This isn't a business contract where we're paying him to deliver content we want every two weeks without fail. If I'm consuming the fruits of someone's creative labor for free, I certainly feel no right to complain if sometimes their content isn't what I wanted or expected. I'm fine with that because 1) I know it's what they (the creator) wanted/needed at the time, and 2) even if a particular chapter wasn't my cup of tea, I know other fellow fans out there somewhere are enjoying the heck out of it, and that's cool!

We also have to remember that SxF is basically a one-man show. If Endo is busy or sick or whatever, it's not like he can have someone fill in for him to write and draw the series. That's what a hiatus is for, that's what making a short chapter instead of a longer one is for...that's how artists should be treated so they don't get burned out and stressed. Plus, art shouldn't be rushed. Any artist knows that there are times when you have trouble coming up with ideas and maybe need a little extra time to develop a more complex section of the story. To immediately jump to conclusions that he's lazy or doesn't know what he's doing is ridiculous. Maybe he didn't feel good for a few days, maybe he's been busy with other SxF events, maybe he just needed more time to get a particular future arc developed, or maybe he just has basic IRL obligations to take care of like we all do...you don't know what's going on in his life, so don't make assumptions.

Another thing to keep in mind is that it's literally impossible to please every fan. One of the comments I read for example, someone was ready to drop the series because we haven't seen much of Yor in "a while." All I could think of was "didn't she just have a pretty big role only four chapters ago when they went to the ski resort?" Plus she was the star of chapter 91, which was less than ten chapters ago. So according to this person's standards, four chapters without seeing a particular character is "too long"? What if it was only three chapters, would that be acceptable? It's not right to push our own personal standards of a series' pacing as the "correct" way: some people want to see more of character X while someone else wants to see more of subplot Y, so should both complain that the manga-ka isn't doing right whenever they focus on something else? I'm not saying you shouldn't make criticisms of a manga-ka's work, but the criticisms should come from within the narrative itself, not superficial things like chapters focusing on subplots/characters you don't want to see or not having enough "plot-advancing" content when it's not a plot-focused series.

People who have read SxF up to this point should know the general flow of the chapters: mostly slice-of-life episodic, with more plot-heavy, intense arcs once in a while, like the cruise arc and bus arc. It's an ensemble series that spends most of its chapters focused on at least one of the Forgers, but occasionally other characters here and there. That's how the series has been for years and will likely continue to be. So if you keep complaining because you only like the dramatic story arcs and not the "nothing happens" episodic chapters, then maybe the series just isn't for you. It's totally fine if that's the case, but don't act like Endo is doing something wrong because he's not providing the particular thing you want in his story.

To summarize, Endo has no obligation to cater to particular fans' standards, just as we have no obligation to keep reading his work if we don't like it. But being a fan to me means respecting the creator's pace and vision even if it's not always what I personally want. I can find something to enjoy in every chapter because I'm a fan of SxF, not a fan of one particular aspect of it. But I also will not complain every time my tastes aren't being catered to and will simply occupy myself with other things while I wait. What's the big hurry, after all? I'm in no rush for SxF to wrap up its plot and I'm glad Endo isn't rushing either.

And that's all I'm gonna say about this topic, lol. On a happier note, I'm going to finally see Code White on Thursday! 😁 More to come later~

#spy x family #sxf #spy family #spyxfamily #sxf manga #sxf manga spoilers #sxf spoilers

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warpfactorseven · 4 months

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One of the things I find most interesting about Quark is his tendency towards self-sacrificing behavior. He purposefully antagonizes people and forces them to confront their own vulnerabilities. He does this by painting himself as the bad guy and hoping people will be more upset at him than they are at themselves and speak openly about their problems.

I think a good example of this is in The Ascent when Quark semi-correctly points out that Odo finally got what he wanted: to be a solid. Odo angrily denies this but also recognizes it to be true in a way. But it's the antagonism that makes it an effective way to broach the subject with Odo. Quark knows that his reputation is poor and people don't trust him, but that doesn't mean he can't help them. He'll gladly become the villain in any scenario so that people can save themselves. Another example is in The House of Quark when he helps Grilka regain her honor and the title to her family's property. He literally sacrifices himself in this case, manipulating D'Ghor into dishonoring and exposing himself, once again relying on the same antagonistic behavior to draw out the truth.

I find Quark's behavior interesting not only from a narrative perspective (where he serves as a vehicle for the self-actualization of the other characters) but also because it enriches his own character arc. Quark's deep affection for his friends is purposefully masked behind a distrustful facade, both to protect his own feelings and to uphold the patriarchal values of Ferengi society. He consistently demonstrates to the audience that the opposite is true; he's someone who cares, who is invested in the well-being of his community and of his friends. I think an appropriate analogue is Garak, who in episodes like In the Pale Moonlight chooses to damn himself in Sisko's place by killing Vreenak, knowing that he is capable of committing atrocities that others cannot. But unlike Garak, Quark chooses takes the fall because he has hope.

#star trek #ds9 #quark #odo #grilka #garak #benjamin sisko

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windienine · 1 month

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the best game of 2024 was an hour-long visual novel demo, and i can't tell you how it ends

attack and dethrone god.

okay. oh my god. soul of sovereignty by ggdg (of lady of the shard & deltarune fame) is discounted for only a few more days, so i need to get this one out while the iron's hot.

so: i'm inviting you along on another journey. we're following a polite gentleman of the wizardly inclination (loïc) who is approached by a sickly woman in dire need (ysmé). all she requests, in her plea, is an escort to guide her to the nearby temple. his decision to support her may turn out to be the most important choice he ever makes.

... have you ever enjoyed the kind of narrative that traps two people with heavily contrasting motives and personalities together in an unbreakable contract? do you like stories of absolute devotion?

i could look at this shot forever ngl

... are you compelled by immersive speculative fantasy worlds where the use and study of magic heavily influences the rhythm of people's day-to-day lives?

(really intriguing magical linguistics system going on here)

... do you ever promise too much of yourself to others, sometimes, even when it's a bad idea?

... if it was possible -- if you could -- would you abandon your humanity for the power to change your world forever?

and, whatever you may feel in your heart about the above...

do you want to see behind the eyes of a hot trans girl as she bullshits her way into a truly volatile level of power and influence and gets everything she wants?

(+ her pet dilf lovely assistant)

if even one of these elicited a "yes," i think you'll love this story.

i'll go out of a limb:

i think, if you open up your heart, you'll find yourself falling for both of the leads. It's a game that really wants you to look at it from every angle, take it apart, and ask questions about loïc, ysmé, their stories, and what they believe to be true about the world and one another. subtext -- especially the charged subtext this story throws at you and hopes you'll piece together -- is a beautiful thing.

the number of talksprites in this demo is kind of staggering

the jrpg-inspired world of the mosaic and its surroundings is as vibrant as it is profoundly lonely, color folded into every facet of its character as you move through it. appropriately, it's really invested in a lot of questions that arise not just from high fantasy as a genre, but from the modern fantasy sensibilities of jrpgs and the interrogation of what divinity even means in a world where the gods are forces you can interact with and draw power from, however indirectly.

what can i even say? that gg and toby fox's collab score for the prelude is downright heavenly and made it onto my work playlist right alongside the deltarune ost the day it came out on bandcamp? that gg's art, especially their use of light, conveys every scene with vivid beauty?

i wouldn't be posting so much of it if i didn't want to eat every CG. oh my god. he's so pretty. it's not even fair

beyond all of that, i think the game's main resonance point with people is that gg's writing is genuinely thoughtful. they use art detail and deft character writing to convey everything about the leads, using the limited time you get with it to paint layers and layers of information on who these people are and why they make the decisions they do. soulsov's roughly an-hour-and-change of text, expressive talksprites, and lush CGs is infused with so much heart and so much horror and so much intrigue that it leaves you feeling like you're a part of this world, carried along for the ride right alongside the two leads. gg clearly really adores these two, and that level of passion makes everything loïc and ysmé do shine even brighter. in spite of (or perhaps because of) all their friction and flaws, they're easy to love.

(it's really fun to read aloud as a script, too! ysmé's a hoot.)

i hope you experience it with high expectations and an open heart. i don't think it will disappoint. it is, perhaps, just a little bit magical.

i hope you see it through to the end!

#soulsov #soul of sovereignty #indie games #deltarune #long post #i'm not saying everything i want to say here but #i need you to discover the rest and leave a nice review #ok??#i love it

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lurkingshan · 2 months

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Thank you for leaving these tags @pharawee! Without getting into any speculation about how Dead Friend Forever will actually end, I do want to address your question and talk about why most of us want to see severe consequences for these boys. The short answer: it's about genre expectations and the psychological catharsis of a good revenge narrative.

To get down to the really basic point: people who love revenge thrillers love them because they are a fantasy construct in which good people survive and bad people get what they deserve. In a world where bad things happen and we rarely have any control, a good revenge story can be exhilarating, giving you the feeling that justice prevailed, villains received appropriate comeuppance for their wrongs, and the protagonist seized control back and experienced much needed catharsis for their suffering. Real life is very much not like this, which is why it's such an appealing genre of fiction.

So how do we calibrate what "appropriate comeuppance" means? This is where genre expectations become really important, because the genre the revenge narrative plays out in sets the terms for where that bar sits. In The Glory, a recent world class revenge drama, we were in the psychological thriller genre, so revenge came in the form of Dong Eun playing mind games with her bullies until they destroyed their own lives. No murder necessary. Dead Friend Forever, however, is in the horror genre, and specifically began its story by planting itself in the slasher subgenre, giving us a masked killer and setting up expectations that these boys are being hunted. When you watch a slasher, you come in with the mindset that most of the characters are going to die and begin rooting for it and looking for reasons why they "deserve" it. And typically, in a slasher, it takes very little for a character to "deserve" a death--you often see people die for the tiniest infractions, like making a rude comment, telling a bad joke, or having sex. But DFF went much farther than that and gave us a multi episode flashback in which we got a detailed accounting of every wrong this group of boys committed against Non, increasing the audience's bloodlust and conviction that these boys needed to pay.

So why do so many of us want the bullies to die? Because the genre demands it, and the story set the audience up to expect it from the outset. I have seen some discussion of the way the show is blending different horror subgenres and not sticking strictly to typical slasher conventions, and that's true, and expected. Slashers are usually two hours max, and this show needed to fill 10+ hours of content, so it's doing a really interesting blend of slasher, mystery, psychological thriller, and other horror subgenres. But the bones of the story still hold, and despite the storytelling choice to give the villains some nuance and fleshed out motivations for their behavior, they are still villains who destroyed Non's life. If you're feeling overly sympathetic to any of these boys at present, I encourage you to go back and remind yourself how they behaved in the early episodes of this story, which took place after the events of the flashbacks. These are not genuinely remorseful kids who made minor mistakes and then got their acts together and became upstanding citizens; they just want to move on and avoid blame and accountability for what they did, while Non's entire family was irrevocably destroyed by their actions.

If this story ends without Por, Tee, Top, Fluke, Jin, and Phee suffering genre appropriate consequences for their choices that harmed and betrayed Non, it will be a letdown and many will feel unsatisfied. In real life, we may believe that forgiveness is the right path, and we know that Buddhism teaches unconditional forgiveness. But this is not real life. This is a fantasy genre that is specifically meant to provide an escape from the constraints of real life morality and obligations. No one wants to show up to a fantasy party only to receive a moral scolding. The most disappointing thing a revenge narrative can do is wimp out on delivering the actual revenge.

#hope this helps!#i think folks coming to this show mostly from a bl lens and not grounded in horror genre might have a harder time with this #dead friend forever #dff the series #shan shouts into the void #thai bl

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perpetual-stories · 2 years

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Six Ways To End Your Story

Hi, everyone! Someone kindly asked for advice on how to end a story so here it is for everyone!

Six Types of Story Endings

While every story has to end its own way, there are six general types of ending. Which one you go for will depend, of course, on the story you’re telling, and maybe also on the tropes or conventions of the genre you’re working within (if you’re working within a genre at all).

The six types of story endings include:

Resolved ending

Unresolved ending

Expanded ending

Unexpected ending

Ambiguous ending

Tied ending

What Is a Resolved Ending?

A resolved ending leaves the reader with no lingering questions or loose ends A resolved ending is part of most classic fairy tales (“And they all lived happily ever after…”), but also of countless classic novels.

Consider the ending of Jane Austen’s Pride and Prejudice, a classic of literary fiction and the inspiration for countless romance novels. At the end of the book, Elizabeth Bennet and Mr. Darcy marry, and we’re led to believe that their marriage will be long and happy. Not only that, but the rest of Mr. Bennet’s marriageable daughters have settled down in matches appropriate to their characters. In other words, there are no lingering questions or tensions.

Remember, a resolved ending isn’t necessarily a happy ending. Think of any of Shakespeare’s tragedies, in which the protagonist and most of the other major characters usually wind up stabbed, poisoned, or executed.

What matters most in a resolved ending is that all of the threads of the novel have been clearly and satisfying resolved.

What Is an Unresolved Ending?

Sometimes, the end is not really the end. That’s the case with an unresolved ending. This is the kind of ending that leaves the reader with more questions than answers. Ending on a cliffhanger has the potential to be a frustrating experience, but that frustration can also be satisfying if the story calls for it.

Unresolved endings are popular choices for books in a series, because it leads the reader to the next book.

What Is an Expanded Ending?

An expanded ending often takes the form of an epilogue. As the name implies, it expands the world of the story beyond the events of the narrative itself. That usually involves a jump forward in time, and occasionally a change in perspective as well. (Dostoevsky’s classic Crime and Punishment ends on just such a note, as does Tolstoy’s War and Peace.) Like an unexpected ending, an expanded ending may reframe the way the reader has been thinking about the story.

One advantage of an epilogue is that it allows the writer to answer questions that might not be possible to answer in the space of the main narrative (for instance, how things turned out a decade or more after the main events of the story).

What Is an Unexpected Ending?

An unexpected ending is one the reader likely didn’t see coming. The twist ending can be earth-shattering, or clever and subtle. The trick to pulling off a great surprise is that it should seem inevitable in hindsight. Very few readers are likely to be on board for an ending that seems to truly come from nowhere, but if the ending makes sense they’re more likely to appreciate the subtle machinations and plot twists it took to get there.

A good ending avoids deus ex machina, a Latin expression meaning “god from a machine.” In the context of fiction, a deus ex machina is a heavy-handed device that abruptly and definitively resolves all the story’s problems in a way that doesn’t feel natural to the story.

For instance, a previously unknown rich uncle appearing from nowhere to give the poor striving protagonist a vast fortune may certainly be a surprise, but it’s not likely to satisfy your readers. Remember, a good twist is one that the writer has left clues for all along.

What Is an Ambiguous Ending?

An ambiguous ending is one that’s open to interpretation. While an unresolved ending doesn’t give the reader enough information to say what’s going to happen next, and an ambiguous ending might allow two different readers to come to two completely different conclusions. Of all the endings, the ambiguous one demands the most involvement from the reader, since they are actively invited to think about the significance of events for themselves.

Take a quick look at the ending to Charles Dickens’ classic Great Expectations. In the last lines of the novel, the main character Pip takes the hand of the widow Estrella and says he sees “no shadow of another parting from her.” But is Pip’s vision reliable? Do they stay together or is another parting in the future? The novel leaves the reader with both tantalizing possibilities.

What Is a Tied Ending?

A tied ending is on that brings the story full circle—it ends where it begins. This type of ending follows the classic Hero’s Journey, which is common to many myths and folktales from around the world, but it’s also a popular choice for many works of literary fiction trying to capture the cyclical nature of time. James Joyce’s famously beguiling Finnegan’s Wake even ends on a sentence fragment that literally completes the very first sentence of the novel.

As a writer, you’ll need to make sure that the journey to this point felt worthwhile. Ending up right where you started can feel pointless if the journey there and back wasn’t meaningful.

There you have it folks, and kind ask, I hope this helps anyone who is struggling with their story endings!

Follow, reblog and comment if you find these helpful!

#writing #writing advice #writing tips #original writing #writers on tumblr #writersconnection #writerscommunity #short story #storytelling #writersupportingwriters

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