#cohesive scenes? i don't know her

[youneedsomeprompts]

I am currently writing a story, and almost every character I’ve introduced so far uses she/her pronouns. I keep having to use their names over and over and it looks redundant and odd. I’ve used epithets a few times but I absolutely hate having to do that.

Is there any advice you have for this sort of issue, and if so, it would be great if you could share some! Thank you :)

Multiple Characters with the Same Pronouns

Having multiple characters with the same pronouns in one scene can make describing the scene a little difficult. I'm not sure if I have entirely new tips for you because you already pointed out the three most common ways to refer to a character (name, pronouns, epithets (a term used to characterise a person/thing)) and what the problems with each one can be. But I'll try my best :)

Repetition of Pronouns

First off, there is nothing wrong with using the character's pronouns a lot, as long as the reader can follow. A good thumb rule is that all fitting pronouns following the mention of a name (or an epithet) are referring to that mentioned character.

"Eleanor stormed out of the house. Her feet carried her aimlessly down the gravel path. She didn't care about the stares and she wouldn't slow down no matter what they would call after her. She had her mind made up."

This example is rather clear because there is not much back and forth between multiple characters with the same pronouns. It is very obvious that every 'she' and 'her' refers to the character named Eleanor. Now, if we have, let's say four characters in a scene that use she/her pronouns, we can still try to apply the same rule. Use an epithet or the name when the focus wanders from one character to the other. In between, when treating the same character, you can easily use their pronouns.

"Eleanor gritted her teeth. Why did she have to listen to her mother's long sermons? It wasn't fair. Everyone knew she had more important things to do. But now her mother's eyes bore even more accusingly into her. 'Do you think this is a joke, Eleanor?' Mother's voice flipped as she drew out the syllables of her daughter's name. 'Oh, leave her be, mother!' Ivy chimed in. She was always ready to defend her elder sister. She was such a sweetheart, Eleanor thought. Meredith, of course, had a different opinion. 'I don't know why Eleanor should get a different treatment than we. All she does is make trouble, and now there isn't even a consequence, or what?' She wasn't hateful, she just had a very strong sense of justice. Too strong maybe, Eleanor thought. People were different enough; a good reason to treat them individually and not by some harsh standards that Meredith so liked to set."

I don't know if this is the best example but I hope it demonstrates a way to deal with the problem. Just as using pronouns a lot, it's also alright to repeat the characters' names quite a few times. It can help the reader 're-centre' in the story and be clear about which character is actually doing what.

Epithets

As to epithets, you don't have to use them excessively if you don't like it, but I feel it can be a great way to loosen up the story a bit here and there. As you said, with quick changes of focus between the characters, there is not much possibility to use the pronouns because we have to 'reintroduce' the characters whenever the focus of action changes. We don't always want to use their name for that. So? Epithets? Maybe it helps to find the right epithets for your story. Maybe it doesn't feel cohesive to use attributes like 'the red-haired woman' or 'the grim-looking, old man'. Maybe it fits the story more to use the characters' roles like 'the teacher' or 'the butler'. I think when using the fitting epithets it can feel so coherent that you don't even notice them. E.g. Of course, character X is the driver, so we refer to them as the driver every now and then. Of course, character Y is the father of Z, so we can use epithets referring to their parental role. This, for example, can feel very natural, but what exactly feels natural is individual to every story/scene. It can be one way to look for the epithets that are most natural to the character to not interrupt the flow of the story. Or it can be another way to look for the epithets that most set the character apart from the other characters to make a clear distinction of who exactly is acting right now. You can make this choice again and again with every new sentence. And of course, there are a lot more ways to categorise and choose epithets (I could maybe make another post about that if there is interest). But I hope this may already help a little :)

Let me know if you have more questions about this topic!

#writing advice #writing tips #writing help #writers on tumblr #writeblr

[py-dreamer]

WOAH! 2 UPLOADS BACK TO BACK?!

Don't get too excited but yea, I've had these two in my back pocket for a long time now, just didn't really have the motive to finish them per say

Commission for designs for a fic my friend is writing so go check it out!

vvvv

I know it looks very different from the tight spandex miraculous designs but I definitely wanted to incorporate that LMK style with like armor and extra....like fabric on the sides? Just extra bits and bobs to make the designs interesting

But for me the most important parts were to make the purpose of the miraculous obvious, make them look cool and hide their identity (I think they'd look quite different from their human civilian forms)

Oh! And in case you haven't noticed, the miraculouses aren't animal themed anymore. Mainly because especially for the monkeys and dragons, it didn't make sense for them to have multiple miraculouses with the same animal. But it still keeps the theme of magically specialised powered jewels with one specific power outside of enhanced natural abilities with the akumatisation process

(spicynoodles of course)

(my friend and I developed so much brain rot behind the scenes, someone gets impaled, have fun guessing who!)

I'm gonna be honest, never really liked the sleek spandex polkadot suit that much so decided to go in a different direction

I do really like how Mk's design came out with the fluffy jacket and everything. I was wondering how to include like the feathery bits on top when I saw this fanart of Wukong wearing a cap and the two bits were sticking out like that and just stole that lol. I personally do really like the mask, again inspired by wukong's opera makeup

Red son was more tricky though, his design specifically the top area needed a lot of finessing and I saw this one other fanart of his fiery hair being blue at the end and man! it looked cool but I could not for the life of me figure it out, I did steal the bull mascarade mask from my the cat returns piece but hey it looks cool! And I didn't have a lot of ideas for other masks. Fun fact, the brown prayer beads are inspired from his days as a disciple under Guanyin.

Even though I'm not doing that tight spandex bs, I still wanted the two to look cohesive, and look like a team unit, I hope they do

Let me know any opinions! I'm very curious, the new style yay? Or nay?

(Also my friend wrote the 2nd chapter after I showed her the designs, Mk ISN'T meant to have a yellow cape. NO CAPES FOR THIS LAD)

#lmk #lego monkie kid #py's_art #lmk mk #lmk au #qi xiaotian #lmk red son #hong hai'er #lmk spicynoodles #spicynoodles #mlb au #miraculous ladybug au #commission

[cerastes]

I've seen people before saying that, in terms of presentation, NIKKE delivers it better than Arknights in telling what they want to tell. And I still see this occasionally whenever people start comparing stories in gacha games. Looking at your post, seems like that wasn't a lie at all.

Right, this is an interesting topic for me, so let me give my two cents on this.

I would say that statement is generally true. Nikke's main strengths are its presentation and knowing how to leverage its strengths in general, but let's focus on presentation: It's story is nothing to write home to (note that I am up to Chapter 18), neither are its events (on this regard, take me lightly, I've only read three), but what Nikke wants to say, you will very clearly understand. It's good at telling its story. Sometimes the localization will have Localization Moments (Chatterbox is described as female in the first cutscene he is mentioned, male every time afterwards; there's a lot of clearly literally translated little expressions that make no sense in the flow of the conversations), but overall, even though you're looking at a story that in a lot of ways you've seen a lot of times, its particularities stand out because Nikke tells them properly, concisely, and clearly. Characterization is consistent, and there's a good amount of care clearly put into both consistency and overarching important parts of the narrative; a favorite example of mine is how, in the tutorial, if you pay close attention, you can actually see Marian's eyes glow red during her reload animation, foreshadowing something pretty important that happens with her later.

So even if the story beats are not particularly good or intriguing -- and sometimes, outright terrible, like in Chapter 18 oh god I hate Chapter 18 -- you at least can tell with clarity what's going on and why it's going on.

Arknights has the yang to the yin here, somewhat: The stories on Arknights tend to range from okay to great, and AK events have a habit of going pretty damn hard, either as a whole or at least parts of them. Sometimes, however, they have a weakness, and this weakness is that the actual story telling can be dense. Density is often attributed to good writing, but the truth is, sometimes, the text isn't advanced, it's simply clumsy, and the prose in Arknights is decidedly clumsy. But when you actually untangle the spaghetti of clumsy prose, you find some strong story telling, strong characterization, and topics you don't often find discussed in video games, less so in gacha. You kinda have to work for it, basically.

Something Nikke does good is also that it keeps its relevant cast at any given story beat low, giving it more cohesion, or rather, making it easy to stay cohesive, because Arknights can handle larger casts pretty well sometimes, but I'll be frank, the current main story has so many literal whos to keep track of that I'm supposed to be invested in that I don't really bother. I'm sorry, but I can't really feel a damn thing about Outcast when she showed up for a few scenes and then got nuked off by a contrivance while fighting some faceless nobodies we are told we should fear.

But on the other hand, Nikke narrative, again, despite its strong delivery, is still built on a feeble base for the most part. I only think of a few characters I care about in Nikke, because a lot of the cast is just fluff and Obligatory Archetypes (bunny girls, school girls, maids, etc), whereas in Arknights, I care about a whole damn lot of them, even those without events, because their files and modules paint a very integral and intriguing picture of them. Even smaller scenes in Arknights sometimes can have a big emotional impact, due to its extensive and well crafted worldbuilding and its clever use of its elements in every event, something Nikke cannot claim, because worldbuilding in Nikke is almost non existent.

They both have their strengths, basically, and it's fascinating to me, a writer, to take a deeper look at them.

#arknights #nikke

[panlight]

A few minor tweaks that would have made Twilight a more cohesive story:

Don't kill Victoria in Eclipse; her gift is evasion, if anyone could escape, it's her! Actually, don't kill Laurent either. He dies off screen, it wouldn't really change anything. He can get his original happy ending with Irina.

Make the "Riley" Mike Newton, or Eric Yorkie, or Tyler Crowley. Someone Bella knew, someone local. In the book we don't meet Riley until his death scene so why should we care about him? The horror and tragedy of one of Bella's schoolmates being used and corrupted by Victoria would be much more narratively satisfying, and would give the human kids like, a purpose in the story other than existing to love or be jealous of Bella.

Tempted to do something similar with Bree, but it might be overkill to have two kids from Forks end up in the Seattle newborn army. So EITHER make 'the Riley' someone Bella knew, or 'the Bree' but maybe not both.

If we must stick with the basic Breaking Dawn outline, then Victoria living to the end of the story keeps the flow of the original antagonist. If the "Riley" survives he can be the one to report Renesmee's existence to the Volturi (as he did in Forever Dawn), if not, Victoria can get someone else to do it.

Name drop more of the Breaking Dawn visiting vampires earlier in the series. The only ones we had really heard about before were Peter & Charlotte and the Denali 'cousins.' I don't know about anyone else, but my impression from the first three books were that these were like, the only people willing to put up with the weirdo Cullens. Them suddenly having loads of friends willing to risk their lives for them felt like it came out of nowhere. It was fun to meet Peter & Charlotte and the Denali because we had heard of them before; everyone else felt like they came out of nowhere. Maybe when Bella is getting a tour of the house there can be gifts from other vampires ("is that . . . is that an Ancient Egyptian canopic jar?" "Oh, yes, a gift from Carlisle's friend Amun), or name them specifically in Eclipse when they are trying to find people to help them after the Denali refuse.

Have a few more vamps (other than Garrett) go vegetarian in the end. There's this whole big speech about about how special this diet makes them and then like . . . no follow up at all. Whatever you think of the premise of vegetarian vampires, it's just unsatisfying that it doesn't really go anywhere. The only convert is Garrett, who does it for Kate, not actually because he was inspired by the Cullens or whatever.

Okay this one isn't minor but: JACOB! FIGHT! THE IMPRINT! That seemed to be what his character was set up for. He's the one to champion falling in love the normal way. He's the one who resents choices being taken away from him. Him fighting an imprint and winning seems like a much more natural arc for him than becoming supernaturally obsessed with a half-vampire baby. The shifters and vampires reluctantly working together in Eclipse to protect Forks/La Push was much more interesting than them being forced to because of Jacob's imprint.

[yangsharperavery]

there's this thing that carmy and sydney do that i don't see talked about alot in that, they heavily mirror and mimic each other verbally.

this is a common behavioral thing that people often do to become emotionally/mentally closer or endear someone to them.

sometimes it's completely unconscious, sometimes people do it on purpose. it's also an effective communication tactic.

we've spoken a lot about how they seem very much on the same wavelength when it comes to fine dining and their respective training and their vision for a more cohesive, cooperative space.

since last season, they share the same brain, finish each others sentences, have similar ideas, etc.

but there's this element of mirroring and sameness that occurs when they're speaking to one another that's not only about strengthening their communication, avoiding explosive misunderstandings and reassuring the other that they're with them and hear them...

but moreso that they're the same as them.

very much "i see you in me, i see me in you" type energy.

on some real "i am you, you are me, we are one" type time.

like, let's merge more than just our brains type shit. maybe our energies and souls? merging the bodies can come last.

in every single episode that these two share screentime/space in s2, they mirror/affirm each other in speech (they often mirror in body language, which they also did last season)

in the first ep, at the lockers, carmy says "you gonna leave early?" to which sydney says, a few lines into their exchange, "we can go home early."

he also repeats exactly what she says back to her before she falls through the wall, after she's fallen through it.

in the second ep, while they're cooking, it's the "you can tell me to fuck off," "i doubt i'd tell you to fuck off", later he has a question and repeats back to her "and you can tell me to fuck off."

in the third ep, during the exchange about the wall it's "you let me know," "i'll let you know."

in the beginning of the fifth ep, sydney says "standard operating procedure" to cicero, right in front of carmy, a scene later he says the exact same thing back to her in front of natalie.

and of course the "goodnight" "i'm saying goodnight" exchange at the end of that ep.

their verbiage in certain heightened or vulnerable situations being damn near identical and then parroted back to the other seems very intentional.

almost as if you could swap his dialogue for hers in the script during these specific scenes/parts.

during their argument in ep eight, regarding the chaos menu (& claire!), they start riling each other up and sydney goes for the "sorry" sign, she then says to him, after apologizing, "i'm tired. i've been tired but i'm just really tired."

and then carmy repeats her "sorry, sorry, no, i'm sorry, i'm tired."

they're literally verbally affirming to one another, that despite the physical, energetic disconnect, they're feeling and going through the same thing.

the same stress, anxiety, uncertainty, doubt and discord just not directly with one other because there's this huge gap between them and how this vision is going to be realized (mostly because of carmy's avoidance after spending time with claire while still attempting to give sydney what she wants.)

see also: "i'm trying..." to "i know you're trying, i see you're trying."

she echos and affirms him even though she's more than justified and correct in being upset with him.

in ep nine it's the much discussed and infamous, "you could do this without me" "i couldn't do this without you" back and forth.

on the immediate heels of sydney proclaiming she doesn't like/doesn't do the corny back and forth thing.

but my good sis you've literally been doing that with carmy in at least every other conversation for the ENTIRE season?!?!

she just doesn't realize it because it's usually being done when they're opening up/being vulnerable, fighting or affirming/reassuring one another.

it's even more amazing to think that this is occurring while they're apart for practically the entire middle part of the season.

but when they do have moments where they come together and discuss anything, there's this overt mirroring/echoing/parroting in their communication.

the implications are even more heightened when you think about how they don't/can't reassure each other physically.

carmy's touches are ghostlike and fleeting, i'm almost surprised he allowed himself the two that we saw this season.

we talk a lot about how the narrative obviously parallels them visually.

but the verbal echoing is not only indicative of their connection and their devotion to one another, it's also another way for them to directly parallel one another in the moment, while they're both on screen, to each other's faces!

again, very much a "i see you, i am you, i have you" energy is naturally imbued in these moments because of this type of communication.

because using this method of verbal repetition is psychologically anchoring and can be inferred almost like an attempt to merge yourself as close as possible to the person you're mirroring.

or at the very least (subconsciously) acknowledging and understanding that you're already damn near identical.

#sydcarmy #carmy x sydney #the bear fx #the bear meta #sydcarmy meta

[centrally-unplanned]

Oh I had some YU-NO thoughts cache'd I never shared. Thought #1: Btw YU-NO is a 1996 eroge time travel PC-98 VN, context I guess.

Anyway, so in visual novels you often have two goals: fuck multiple hotties and tell an engaging story. These goals are synergistic when your love interests are the story; you choose a girl, and your learn about her and date her and have relationship drama. That is one type of VN, but its not all types - every genre is present in the dating sim VN world, mystery & sci-fi/fantasy plots most commonly.

Here you start running into an issue; you want multiple romance routes, but you don't want to just repeat the story each time you date them. Most people will play multiple or even all the routes. But its not like you are going to write five different endings to your mystery plot. And you can't just...fuck all of them on the way to the ending as one cohesive story, because you are pathetic coward of a dev team and also a nation. A common answer to this dilemma (I first experienced it in G-senjou No Maou) is for you to have a "main" girl, whose romance arc is the plot arc. And then the other girls are clear side girls, who are involved in the main story, sure, and who will give you tidbits, of course, but at a certain point in your arc with them you just trail off. You forget about the murder mystery or whatever, you just date them, have sex scenes, and you will even sometimes have an epilogue where you remark "man, whatever happened with that crazy shit back then?" Its a bit of an odd genre convention but you can see how it works, its lets you have new content and date all the girls without ruining the story, you know who is the 'main' girl is after all.

YU-NO is a mystery sci-game, and it a quantum multiverse/timelines mystery game. You go through the story, and you collect objects along that story, and you also get jewels that let you anchor your spot in the worldline and teleport back to them with your inventory intact. It looks insane btw:

You get no in-game explanation of it at all, the idea of playing this without a guide seems like a cursed no-sleep streaming challenge.

But anyway, this opens up an interesting idea to you as a designer. You are intentionally supposed to hop back and forth in time, to collect items, and unlock the true ending. So why not build all the romance route storylines around that time travel? And put items at the end of each of those romance arcs? Now you can date them all! In fact, you have to! There is a perfectly logical, in-universe reason for why you have 5 different romance arcs; they are happening in different timelines. You date girl one first, then skip back in time, and start on the next - the main character only barely remembers the time skips, to him he doesn't even feel like he is cheating. Pretty sure its intentionally written that way to make that plot conceit work.

I'm sure other games have done similar tricks, but I think YU-NO is the first - it is a pioneer in VN space for using the high-concept quantum timeline stuff, that is its claim to fame. Its a cute little trick, I like it a lot.

#YU-NO #VN design discourse

[kerizaret]

Hello everyone and welcome once again to my brain! Today I want to ramble a bit about

✨️ Tsukasa and Rakunosuke (Emu's grandpa) parallels ✨️

Because I feel like we don't talk about them much. Or at all actually

Now, I'm not pulling this out of nowhere. It's quite literally stated at least once, outright, in the game, that Tsukasa is really similar to Emu's grandpa (or even twice – but the other time I'm unsure 100% whether its about Tsukasa specifically, which I'll get to later). That's not to mention the other little things throughout the stories that I think similar between the two

So here's just some thoughts I've had on the topic after rewatching some events, more or less cohesive

1) Tsukasa's PXL auditon & WMS speech

Starting at the very beginning, we've known ever since the wxs main story that there's something in Tsukasa that has drawn Emu in to him already the first time she's ever saw him, at his audition for PXL, which made her hire him herself. She says "found you" at that moment, as if she's been searching for someone exactly like him. Out of all the possible candidates who applied who she might've seen, why Tsukasa specifically?

It could be just about him boasting about making fantastic shows, which of course is a part of it. But I feel like this isn't all, that there was something else that she noticed, that maybe she didn't fully realise at that moment

Then later, in Wonder Magical Showtime, after Tsukasa's motivational speech, Emu specifically thinks back to that audition and how she felt something special there. And, most importantly, she thinks it as if she's talking to her grandpa – like he's somehow tied to it, to her realisation that Tsukasa is the one

Putting aside the fact they were fighting for Rakunosuke's park, which obviously makes Emu think back to him, there's something more. Emu doesn't think anything of the sort about Rui, even though he was the one who came up with the night show, or about Nene. Nor did she mention any kind of this strong feeling/conviction about having them on the Wonder Stage in the main story

She's focused on Tsukasa, because he's the one that brought all these people together and gave them the last push they needed to fight for PXL. He's the one they listen to, he who understands what this park was all about and why they need to save it. He's standing on the stage her grandpa built, looking at all those people working here, and he's leading them, telling them this dream CAN be made a reality and it's more important than anything else

And I feel like she could have looked at that and been reminded of her grandpa a bit, with how much he loved the park he built and brought people together with the same ideals and love and made dreams come true

2) Miles

Speaking of WMS, I'm sure we all remember Miles, the sorcerer Tsukasa played in the night show in WMS, and how he was a character very clearly based on Rakunosuke. It's not very surprising it's Tsks who got this role, but it's still interesting to me. It feels like no-one else would've been able to get this character right and neither would Emu as Shao with someone else playing Miles

I won't get into what "Miles" Tsukasa says in the play, because that's just the script and not a representation of Tsukasa himself, but I do want to draw attention to the specific scene where Emu's father is watching the night show and looks at Tsukasa, then says this:

This is the first time that – i suspect – Tsukasa is outright "stated" to be like Rakunosuke. Here I say "suspected" since I'm not 100% sure of it for two reasons. One of them being that as we know, the ensekai translation is sometimes often bad. For that I looked up the original text as well as an old translation of the event on YT to check for differences

The line ends up being similar in meaning, more or less, but a bit more vague. That also ties to my second doubt though, which is that Emu's father might be referring not to Tsukasa himself, per se, but rather to the character of Miles he's playing

I feel like both can make sense, in their own way (and the event is a Tsukasa focus for a reason, too), but for here I'm throwing it more as a hint than any kind of outright proof. Food for thought

3) Tsukasa and Rakunosuke's deams

Then, as we reach Popping in my Heart! and learn more of Rakunosuke from Riley's pov, there's another interesting thing that pops up. That is, the fact that Tsukasa and Rakunosuke share the same dream

And then, that's when Emu confirms what I've talked about before – that this whole time, she's felt something about Tsukasa being so reminding of her Grandpa

So Tsukasa has all this time "carried the same spirit" as Rakunosuke – which is possibly the reason why Emu has been feeling strangely drawn to him from the beginning

4) The Wonderland SEKAI

Hey. Hey. Remember this line?

(tl by tsukasa's #3 fan on YT)

Yeah, this one. The same reason why wxs even has "Wonderlands" in their troupe name

You know what else has Wonderland in its name?

That's right! Tsukasa's SEKAI!

Tsukasa's SEKAI. A different world that's created from his feelings, that's a place born from his desire to make everyone smile with his shows. A world that just recently expanded to include plushies representing all those different shows – different worlds – wxs created as a troupe. It's a world that Tsukasa, in a way, made by himself (albeit unconsciously)

Oh did I mention the Wonderland SEKAI is also, primarily, pre-wl, a theme park? With a big ass ferris wheel and several stages and a castle and a train and a merry-go-round, a rollercoaster and more? You know, kind of just like Phoenix Wonderland? Which was built by Emu's grandpa?

Do you ever think about that? That both Tsukasa and Rakunosuke "made" their own "Wonderlands"? That the SEKAI is so similar to PXL? Because I do

Anyway. Those were the main similarities or references I noticed, but I still have some few other miscellaneous thoughts i had aside from that that I'll sum up a bit quicker

Tsukasa and Emu's grandpa both care more about the shows (& pxl) themselves and the effect they have on people to make them smile than any kind of fame or recognition

A reminder, too, that despite the movie's popularity, nobody really knew that Rakunosuke worked on "Smiley" (or that it was even a Riley Entertainment movie at all)

There's also the fact that both tsks and rknsk get stuck more on the excitement they want their audiences to feel rather than on the technical sides or worries about how it would be possible – as seen with Rakunosuke convincing Riley to include all his dreams and ideas in "Smiley" without focusing as much on the budget and all to install that wonder in the viewers, and Tsukasa doing anything to perfect his acting, and also agreeing to most of Rui's stunts and experiments and production ideas as long as it gets the audience to become more immersed

I noticed as well that they're both people who wear their hearts on their sleeves, who easily get emotional and enthusiastic, who empathise a lot with the others' emotions and struggles, becoming happy when something good happens to them

^ he cried here. And later at the fan festa seeing nene sing confidently and happily he teared up again

And also just *gestures vaguely at pandemonium event and Rui's "tsukasa's friends' happiness is his own happiness" line*. Yeah

Most importantly, Tsks and Rknsk both care so, so much about shows ending with smiles and not tears

And overall about everyone smiling and being happy. Like Tsukasa telling Emu in the main story, on the ferris wheel, that when her grandpa meant making EVERYONE smile, it included Emu, too, and he wanted to make sure she's happy as well

There's also everything with Emu, too. The way she's very clingy with Tsukasa, always throwing herself at him (not that she isn't with everyone, but she does seem to jump at him the most often)

She's also implied to open up a bit more around him – in Smile of a Dreamer, when wxs expressed their worries about emu hiding her problems, KAITO implies that its unusual she "hasn't told EVEN Tsukasa"

And it's Tsukasa who first understood that, despite how it may seem that "she always is so optimistic and says whatever's on her mind", in the end "the bigger the problem, the less likely she is to talk" (paraphrased quotes from smile of a dreamer). And also underdstood what's the most important to her and how to give her a push to voice her worries to them

It's Tsukasa who Emu first got so scared of leaving their troupe and her behind

I simply feel like Emu is aware of the similarities her grandpa and Tsukasa share and, subconsciously, trusts him a lot and gets attached to him easily

Anyway. This is just a bunch of thoughts that came to mind that I wanted to share and hear your thoughts on maybe too. I love emukasa so much they have such a great dynamic, and I feel the implied similarities between Rakunosuke and Tsukasa add a lot to that too. I'm really curious if it'll be something they'll explore more in future events. Because I feel these parallels are there for some reason

#this might make sense or not #i just want to throw it out there #keri rambles #prsk #project sekai #wxs #tenma tsukasa #ootori emu #wonderlands x showtime #someone take these characters away from me or else

[gilly-moon]

PERCY JACKSON TV SHOW REVIEW

(SPOILER ALERT! I Did Not Like It)

It has been 16 long years since I first picked up The Lightning Thief, and once again...I am faced with an adaption of one of my favorite books that is so painfully disappointing. And now that the tv show is completely out, it's time to purge the collection of thoughts I compiled on it:

Starting on one of the (few) positives, the cast was incredible. I know for a FACT that they are all wonderfully talented individuals, and I aim all of my gripes with their acting at the directors and writers.

So much telling. So little showing. Stop explaining the plot and the mythology to me. SHOW it to me. Explain later only when necessary.

And yet, some things weren't explained at all! I know, as someone who read the books, what blue food means to Sally and Percy. But the show never explains its significance. To the unknowing watcher, it's just a weird quirk, not a small rebellion between a woman and her kid against the life they're stuck in. It baffles me what the writers chose to over explain versus under explain. There's no clear reason for either behavior, and it permeates the writing in a bad way.

There's also a lot of the kids just being dragged from point A to point B by an outside force, rather than their own actions. They never really felt alone or even in danger on their quest, because gods kept showing up to help them along. I did not like that.

These kids aren't allowed to be kids. I stg you could make them teens or young adults and the dialogue/their actions would be the same. That's not good.

Why do they always have all of the information!!!?? They immediately know it's Medusa. Echidna introduces herself and they immediately know who she is and that it's a Chimera in her bag. They immediately know what the Lotus casino is. Why? It makes the stakes feel so low, rather than the mad dash scramble in the books that happens a lot when characters have to remember the myths and how to beat a monster mid-fight. And it makes all these scenarios so boring!!!

Also so many of the fight/chase scenes were boring or anticlimactic. The only good ones I can think of were in the first two episodes, and then one with Ares. Someone actually slipped in some good choreo in those few fights, but completely forgot to add it in to....the rest of the show....

There's very little about the show that feels magical. CG is used, obviously, but at times it feels like they should've gone further with it, or used it even more, and they just....didn't. The visuals end up feeling clunky and not very cohesive, with zero whimsy. Hate to make this comparison, but the Harry Potter movies were VERY good at showing the lines between the magical world and the muggle world, and the tension that occurs when the two interact. There is....none of that in the PJO series. Zip. Zero. And the mythological CG that is there is more often than not static or boring.

Break for a positive! I actually really liked that Percy was learning mythology from Mythomagic. The show wasn't really consistent on that point - saying it was his mom instead most of the time - but that was such a fun and clever way to work in the card game and make it plot-relevant. As someone with ADHD, I can confirm I would also learn mythology WAY better if it was for my favorite game.

Ok back to the negatives - Wtf is up with the portrayal of the gods? For one, they're boring to look at. Nothing about their designs makes them feel 'godly' and while that's ok with some gods (Hermes for one, tho I have issues with his weird beige sweat suit look) why is Ares just some regular ass biker dude? Where are the flaming eyes?? And radical skin-leather bike?? He couldn't even have a CUSTOM bike with red bloody paint and boar heads and chain link handles or something???

And the gods are way too fucking nice. Sorry. I don't have an issue with Hermes being nice but. Ares having a heart-to-heart with Grover? When his presence is supposed to stir everyone up into a rage? And Hephaestus sees Annabeth refuse to give up on her friend and just goes 'awww, ok, you and Percy can go, and take my rival's shield back to him too cause I'm just so nice.' Sorry, no. I'm fine with gods being helpful - Hephaestus helps (reluctantly) in the later books. But it was at a price! A favor for a favor! Not a 'get out of jail free' card just because he was moved by normal ass human compassion!!

Hades gets his own bullet point because who the fuck was that. As a child of Hades, I'm offended that this sweet fruity guy just wanders up and goes 'hey, how's it going, wanna snack?' like, that is NOT my dad. My dad had skeleton soldiers filling his halls and a garden of jewels and a voice so loud it rattled the whole Underworld. Whoever that was in the show was a pathetic imitation.

The point of the first series is to work up to Percy throwing it in the gods' faces how awful and neglectful they've been of demigods and specifically their own children. Demanding that they do better. But if they're already showing compassion and 'humanity' in the context of the first book/first season of the tv show....Percy starts running out of ammo against the gods. There's no coherent story progression where Percy spends years seeing the worst of the gods and the best of them at very distinct, important times of his life and his story. It no longer feels like a massive change they have to make in the system, something that deserves a godly favor for Percy to demand of them. Luke no longer feels like his fury at the gods is wholly justified. The whole series begins to crumble because the gods already have a good reason for being how they are, rather than being thoroughly selfish assholes who only dote on demigods when they do something really cool. And the exceptions are presented at intelligent moments that prove to Percy when he most needs it that the gods can be better, they just need a forceful push to get there.

That being said, where was Percy getting the info that the other gods were feeling scared and abused by Zeus? I love the balls on this kid, but like...when did he make these assumptions and why? That whole scene felt really unearned.

Also Olympus was BORING. And EMPTY. And DARK. It looked like we were just back in the Underworld. Which. The Underworld was fucking boring too. Some neat visuals, sure, but put that in some high fantasy show. Not this one.

One last positive before my final point - there were some pretty good jokes scattered around. Not nearly enough, but I did really enjoy the Dionysus introduction and a handful of lines from Percy. Also releasing the animals in Vegas - Grover being like 'oh, you were worried about the humans' got me good.

The final word that kept spinning through my head after finishing episode 8 was: Pathetic. Luke's betrayal was pathetic. No deadly scorpion. No commitment to that period of time in the books we were convinced he really was evil. And Gabe just stumbling on the package with Medusa's head in it? PATHETIC. Percy outright asked his mom if she was being abused in the book, and she took fate into her own hands to statue-ify that bastard. But no. The show was through-and-through just a pathetic, watered-down version of an incredibly fun, emotional, brutal, exciting series of books. I know there was a lot of heart behind this production, but I did not feel it at all. But what else should I have expected from modern Disney?

#i could probably go on for years but #i am tired #and already went through this once with the movies so #now i merely wish to expel my thoughts and then let the memory of this show fade from my mind

[gurugirl]

Ghost!Harry Masterlist

October/Halloween 2023

On Halloween Morning

A horror-filled Halloween one-shot. Harry is a ghost and you don't believe in ghosts but you find out you were dead wrong.

Super Dark - Beware

This one shot contains the edited out parts for the ghost!Harry piece I wrote. It’s a sort of behind the scenes with extra bits you didn’t get to read the first time. I tried to make this as cohesive as possible so if seems anything feels out of order or is repetitive, just know I tried - these bits were pulled from the original one-shot and this is the result

Ghosty Blurb

Requested: i can see ghost harry using yn to attract dumb man to the houseor even fuck her while some visitors are around

The Halloween Call - A cop!harry crossover

Harry takes a call to check out the scene of crime at an old abandoned house, well known as the Slaughter House with a grim history.

The Séance Experience

A pair of spiritual mediums decide to host an underground seance on Halloween morning at the old abandoned Styles’ house, well know for being haunted. Things go awry. Not everyone escapes.

#harry styles #harry styles smut #harry styles x reader #harry styles fanfic #harry styles one shot #harry styles writing #harry styles fic #harry styles fanfiction #harry styles angst #harry styles fan fiction #harrystyles #ghost!harry #evil spirit!harry #ghost!yn #halloween harry styles #harry styles halloween #halloween #haunted house #dark!harry #harry styles fan fic #harry styles x yn #harry edward styles #harry styles au

[amourduloup]

Sorry if you've already talked about this before, but what do you think about the notion that horror is generally bad because it has a misogyny problem, and that exploitation / r&r films are problematic and the ppl who watch them are suspicious? i don't really know how to explain what i mean too well but i know you usually have very nuanced takes about this kind of thing 🤍

i think i understand what you mean, no worries 🖤

honestly i don't think horror has a greater misogyny problem than any other film genre, though how the problem presents itself may be different. it's maybe more blatant within horror but not necessarily worse. movies have a misogyny problem across all genres, i don't think horror is special in that. horror films do inspire some strong reactions though, so i can understand why it prompts more discussion in that vein.

rape & revenge is a particular case, and it's difficult to discuss. i have a lot of thoughts about it, but i find it hard to put it down in writing because they're not very cohesive. i actually did a little research and asked around for material about r&r because i wanted to give an informed opinion but i didn't find much. it'd be easier for me to discuss particular movies anyway, because i don't think i've explored the genre deeply enough.

there are some &r movies i really really love and i know some people watch them because they find the degradation of women titillating -- that upsets me but it doesn't stop me from enjoying or admiring the movie itself. some r&r movies are, in my opinion, really interesting and engaging and i'd go so far as to call them beautiful and thoughtful. of course for each of those you'll probably find a greater number of misogynistic drivel -- but i can't affirm that for sure because so much of my experience has been guided by what other women have watched, enjoyed and recommended, so i've probably avoided whatever didn't have much to offer. but then that's always really subjective -- for example, i don't care for i spit on your grave but my mom sort of loves it. i don't think her opinion is any less valid than mine, and i find opinions differ a lot when it comes to r&r.

i do have a question that i'd like to pose to you but also anyone else reading this, which is -- what you think of when you think of rape & revenge? do you consider only exploitation movies or do you also consider titles like the virgin spring or kuroneko? because of course there's a lot to be discussed about exploitation films, and how some directors managed to make genuinely interesting works while trying to remain commercial and please a certain audience. like, there are things in r&r exploitation films that i could do without but i can still admire the final result. but then sometimes i think of like, thriller: a cruel picture and how the pornographic scenes impact the movie in a way that i personally find interesting because it makes it all the more brutal, and the director really managed to make it all very non-erotic and even cold and distant... sort of going through the motions in a way that imo fits perfectly with what's going on.

but there's just so much to discuss about exploitation and about r&r specifically, a lot of my thoughts are not very cohesive or well informed. i'm curious to know how others feel about it, especially other women, and i'd love to discuss it more. but it's hard to give a solid opinion because i can see the matter through many different angles. like, of course the fact that r&r often targets a male audience while exploiting the suffering and degradation of women is a problem and reflective of a bigger one. but many r&r movies have genuine value and, more importantly, have real value to a lot women.

#idk i could go on and on without ever giving a final opinion ksksks i think there are many sides to this #and mostly i'm interested in women's varied opinions on these movies but like #i can say i've taken a lot from some r&r movies which remain personal favorites #asks

[lucysarah-c]

What do you think about Levi not mentioning Farlan and Isabel throughout the anime? They were literally his first real friends and family. Even in their deaths he was frustrated. But strangely we don't see any flashback scenes about them or Levi talking about them. It's obviously disturbing to me.

I have an Oc an underground childhood friend that I ship with Levi in particular and I didn't write their story down, but it makes me think that if my character was in danger or if she died with Farlan and Isabel or if she ended up dying long after their deaths, Levi would never remember her or talk about her, just like Farlan and Isabel's deaths, and that bothers me.

I know it's a bit strange to get this kind of analysis-like question since you are a Levi writer's blog. But since I love your writings and I really liked and found comfort in your answer to anon's question about whether Levi likes weak people. Because I am also a person who gets caught up in rumors and doubts whether Levi will like us or not haha.

Anyway, I don't want to deviate too much from the subject and make it too weird. You can answer question if you want.

Hi, sweetie! Oh, I see. Yes, I understand where you're coming from. First of all, I'd like to thank you for saying that you love my writing, and I'm so happy you found comfort in my answer about Levi and a "weak person." It's alright that we get lost in what the fandom discusses too frequently; it has happened to me too. And do not worry, rest assured, I don't find these "analysis questions" weird at all. Though my analysis will never be as good as my close friends', like my friend Sushi who used to have a meta-analysis blog of SnK or Cosmic! They are beyond amazing.

But to answer your question, before I get lost in my thoughts, long story short, Isayama is extremely bad at writing emotional connections in my humble opinion. In my personal group chat with my SnK close friends, we discuss this in great detail at least twice per week haha. In my opinion, Isayama is a writer or a storyteller who struggles to find a balance between keeping the plot going and creating a cohesive society and interrelationships between characters. I personally think that the story was always advancing so fast, full gas, no stop, that we hardly got any real details about the characters that made them human beyond their mere roles in the story.

I always use as an example, if one chapter in the manga or anime started with different panels of the veterans getting ready and sitting down all together for a meeting, we could have seen how their personal chambers were, how their interactions were not only between them aside the presence of the cadets, but we could have also seen how they confront early mornings, if they had paintings of loved ones, flowers on their desks, etc. It would have taken ... 5-10 pages at most, and we could have learned so much. It's something I even keep in mind while planning my own stories; I have an entire notebook of "backstory" for all the characters of Holy Ground, canon or not. So when the time comes around, I can drop little details of their lives here and there because... Let's be honest, has someone ever sat down next to you and said "here, let me tell you my whole life"? No, usually, you get to know someone organically, and that's also what, in my opinion, should happen in stories.

Now, going back to why Levi doesn't talk about Farlan and Isabel. Well, my best answer to you is, sadly, another question. Tell me one scene in the whole anime or manga where Levi was having some quality time with someone he felt comfortable enough to open up and talk about fond memories, be vulnerable, or even crack a joke about some silly hormonal stuff he did as a young man with Farlan. Tell me, I will wait... Haha.

Levi doesn't talk about Farlan or Isabel because he doesn't have screen time to talk about almost anything besides the plot moving haha. I would put my hands on a burning fire and swear that Farlan and Isabel are still extremely important to Levi! And so would be your OC! Don't let Isayama's literary limitations fence your story. That's my best advice; explore feelings that he didn't have the production time for (perhaps he wasn't allowed to write about it because of financial stuff) or he simply wasn't good at it.

Hope that helps!

Love ya!

#levi ackerman #aot #attack on titan #levi #snk #shingeki no kyojin #captain levi #levi aot #snk levi #attack on titans

[gffa]

As someone who grew up on the clone wars, but didn’t watch rebels—I can’t really comment on cohesiveness of continuity of the story—but in general do you think Felony (that cracks me up) could have fleshed stuff out better in terms of characterization if season was given 12 episodes instead of 8?

I think it could have helped, but ultimately, no, I don't think the runtime was the problem--because it's not just 8 episodes, it's 8 full length episodes, which would be the equivalent of 16 animated/half-length episodes. I think there would have been plenty of room in these episodes to put more content in, because some of those fight scenes were hella long and not always that interesting, and I get that he wanted to write the story of how they found Ezra, but honestly he could have included some flashbacks if he'd wanted to flesh things out more, they wouldn't have had to be more than a few minutes long, and I think he could have spared the time for that. I'm trying to have sympathy for this, because I know you can't show every little thing--think about the jump between Attack of the Clones and Revenge of the Sith, that before we ever had The Clone Wars, that was a massive chunk of the story that just didn't get covered beyond showing the start of it and showing the Battle Over Coruscant! But Felony isn't in the same place as George Lucas was--this is the Disney era of Star Wars, there have been multiple animated series, multiple live action series, and the Ahsoka series seems designed to have always been at least two seasons, so he had the room for it, if the equivalent of 16 episodes wasn't enough time. Ultimately, though, I just don't get the sense that he was interested in the set-up, that it had been cooking in his brain for too long and he wanted to get to the meat of it without the ramp up for those of us outside his head. I mean, maybe I might be wrong, but I found his writing for TCW s7 to be pretty thin as well, so I think he's just kind of Like That for me these days. There's plenty that's really good in the Ahsoka series! There's a lot I loved about Ahsoka herself, especially when she's prickly and almost kind of mean to Sabine, I love that she teases Huyang and clearly loves him so much, I love when she sighs and tries not to roll her eyes because everyone just has to make her day harder, the lightsaber fights were a lot of fun, her interactions with Baylan where he was hitting all her sensitive spots were delicious, I'm glad we got the show and I have great affection for Ahsoka's character in it! But I also stand by my criticisms of how a lot of it was just very, very aggressively less than it could be and I don't think more space would net us anything but more of the same. (But I do enjoy when my dash is excited about the show because it reminds me that my experience is not universal and some people got an absolute charge out of it and I really want to read about exactly what they loved about it. And I hope that I can give that back to, say, someone who found the Obi-Wan Kenobi series kinda disappointing, but I was over the moon for it, it's okay that you don't agree, but let me tell you about my joy for it anyway, just indulge me for a minute--!)

#star wars #ahsoka series #dave filoni #meta

[daenerystargaryen06]

I was rewatching Game of Thrones...

I was watching Game of Thrones with my friend, and was just reminded that the ending really had no sort of cohesive thought put into it.

Let's start with the North becoming independent.

So, the North going independent really was a dumb decision. It is assumed that winter is still going, I don't think winter would suddenly just end that fast even with the NK having been killed. The North being independent would mean that other Kingdoms would have no obligation to send them resources, food, or men when needed. Meaning if another Kingdom were to suddenly attack the North, they can't call for help from other areas to get more men, and a majority of their men were assumed to have been depleted after the war against the dead. Sansa mentions that she has no resources to feed Dany's army when they arrive (and pretended as though she didn't even know when they were coming, even though Jon had sent her a letter about it); and the glass gardens within Winterfell were likely destroyed from two battles occurring- so where does Sansa plan on obtaining food to feed her people, especially during winter? Not even Bran has an obligation to send her help, and even if he wanted to, he himself likely doesn't have the resources to do so. Highgarden had been sacked previously by the Lannister's, and gold is needed to be spent on rebuilding King's Landing (or apparently focused on building brothels, as Bronn suggests). So how exactly does Sansa plan on ruling her people and getting them through the coming winter, when she has no experience with ruling and the few scenes shown of her looking after Winterfell while Jon is gone, she barely does anything?

Not to mention the fact that considering the North obtained its independence, what's to stop the other kingdoms from declaring for their independence as well? Yara Greyjoy will likely be the first to declare for independence, considering Dany had promised her independence when they allied together. What is also to stop Yara from going after the North? Jon Snow was the one to kill her sworn Queen, and was barely given any sort of consequence for his actions, and the Starks were left in power. As mentioned, the North's armies have been depleted likely from the battle against the dead, and winter will likely be there as well, which means that they can't really afford needed resources and men on fighting against the Ironborn should they decide to go after the North or pillage from it.

Another contender likely to go independent is Dorne. In the show, it was mentioned that Dorne had pledged itself to Dany's side. I doubt they will want to follow the Stark's due to the same reasoning as Yara Greyjoy had- Jon Snow killed their Queen, hardly got any reasonable consequence for it, and the Stark's were left in power. That already leaves two areas independent from the crown. When the other people see Dorne and the Iron Islands go independent, what is to stop them from doing the same? War will likely start because of these independences (Westeros had warred amongst itself before Aegon the Conqueror united the lands). Neither Bran nor Sansa will have any men, supplies, or resources for these wars. And who is to even say that people would want to follow behind Bran being their King? Unlike previous rulers, Bran has no showing for why he should be respected and feared as a ruler to keep others in line, except for the fact that he can see all that goes on. Which isn't really going to stop people from rebelling when he has no actual backing to him; limited men and limited resources. Highgarden, as well, is probably going to be f*cked over from having Bronn as their Lord. Bronn has no experience ruling. His only actions showcased throughout the entire show was fighting, and going to brothels. Already as Master of Coin he is showing he has no concept for ruling and utilizing things wisely, considering he wished to focus the coin on rebuilding brothels of all things, over anything else. Also, what is to stop the Citadel from feeling slighted by Bran and his decisions as King? Samwell Tarly being made maester, when he didn't even finish his training in Oldtown, had stolen valuable items from the Citadel, and has two children with Gilly. The Citadel likely will rebel as well, or refuse to involve themselves with the Crown, considering what Bran had done.

Overall, when you truly put logical sense into the show's ending, it was a shitshow all around. Nothing made sense. And when you apply actual thinking and reasoning to it, you realize just how screwed over Westeros is going to be from this ending. It was said that G.R.R.M plans for Bran to be King, but from the way D&D did it, the ending made no credible sense and had a lot of errors within it as a whole because they can't seem to write a cohesive and good ending without plot holes, character assassination, and stupidity.

I really am crossing my fingers for the books, if they're ever going to be released, because the finality of the show just is... horrible. I would have taken Dany being Queen (even if they had made her 'mad' in the show) over this mess.

#daenerys defence squad #daenerys targeryan #daenerys appreciation #daenerys stormborn #daenerys targaryen #pro daenerys targaryen #team daenerys #anti game of thrones #anti got #anti d&d #anti sansa stark #d&d really said 'no thoughts head empty'

[supercomposite]

I discovered this woman, who I call Loab, in April. The AI reproduced her more easily than most celebrities. Her presence is persistent, and she haunts every image she touches. CW for EXTREME GORE: Take a seat. This is a true horror story, and veers sharply macabre. AdamKranz on twitter called her "The first cryptid of the latent space".

I'll explain negative prompt weights, in case you don't know. With these, instead of creating an image of the text prompt, the AI tries to make the image look as different from the prompt as possible. This logo was the result of the negatively weighted prompt "Brando::-1".

I wondered: is the opposite of that logo, in turn, going to be a picture of Marlon Brando? I typed "DIGITA PNTICS skyline logo::-1" as a prompt. I received these off-putting images, all of the same devastated-looking older woman with defined triangles of rosacea(?) on her cheeks.

My friend made this image of a "[...] hyper compressed glass tunnel surrounded by angels [...] in the style of Wes Anderson". I innocently combined this image with the original image of Loab in an image prompt, without text. For reasons we can't fully explain, nightmares ensued.

Through some kind of emergent statistical accident, something about this woman is adjacent to extremely gory and macabre imagery in the distribution of the AI's world knowledge.

Since Loab was discovered using negative prompt weights, her gestalt is made from a collection of traits that are equally far away from something. But her combined traits are still a cohesive concept for the AI, and almost all descendent images contain a recognizable Loab.

The angel hallway + Loab also produced art with such copious gore that probably very few people want to see them, but here are two. I don't feel comfortable posting the most disturbing ones, borderline snuff images of dismembered, screaming children.

There is something moving to me about these grotesque scenes and the desperation, panic, and sadness that they convey. Again, these are produced with other images as inputs, and no text. They are the result of "cross-breeding" images of Loab with images of other things.

The images that result from crossing Loab with other images can in turn be crossbred with other images. The AI can latch onto the idea of Loab so well that she can persist through generations of this type of crossbreeding, without using the original image. Here is Loab as Kirby.

Here is Loab as a bee, and Loab celebrating Pride month. Loab can be recognizably transposed into many genres and contexts.

Even when her red cheeks or other important features disappear, the "Loabness" of the images she has a hand in making is undeniable. She haunts the images, persists through generations, and overpowers other bits of the prompt because the AI so easily optimizes toward her face.

Combining Loab with text prompts works great, too. Her signature rosacea cheeks even turn blue when I prompt for a Na'vi version of her from Avatar 2: The Way of Water (2022).

I started going kind of insane at this point. I had hundreds of Loab images and was starting to combine her with 3 or 4 other images at once. Most of the horror images I post even outside of this thread are descendents of the Loab lineage. Sometimes it takes more abstract forms.

I was ripping Loab apart, and putting her back together. She is an emergent island in the latent space that we don't know how to locate with text queries. But for the AI, Loab was an equally strong point of convergence as a verbal concept. And really, it was usually stronger!

The big lesson for me here with Loab is that image prompting can essentially be used as your custom vector to query the latent space. You can produce novel styles (and characters!) that you literally discover. Negative prompt weighting can help you find emergent accidents, too.

The other lesson is that image prompts, and later raw vectors and CLIP embeddings, can be used as adversarial attacks, targeting weird stuff in the distribution. I think my process in itself constitutes art, but it also reveals the AI's weakness for malicious use in other cases.

By the way. Loab seems to be recognized extremely consistently with (twitter) buntworthy's days-old implementation of image prompts for Stable Diffusion. She's everywhere, hiding. Good luck sleeping tonight:

I'm going to continually update this blog with Loab-influenced content since I have at least a thousand images with her fingerprints on them. Check back for your daily Loab sighting. She finds everyone sooner or later. You just have to know where to look.

#cw gore #ai art #ai artwork #aiart #ai #aiartists #ai generated #art #horror art #horror #artificial intelligence #cw horror #body horror cw #cw injury #loab

[three--rings]

So it turns out there were a lot of things from S2 I was waiting to pass judgement on until I saw how they played out and...I ended up not thrilled about. And it's all these little things that keep bothering me.

Things I'm not happy with in OFMD S2:

-Jim and Olu feel retconned into not being in love. Like I know we want to talk about happy polycule but it feels like they aren't even very close this season? They were even more of a secondary ship than Lucius and Pete in S1 but we got essentially no good Jim/Olu stuff in S2. Instead we got the Olu/Zheng Yi Sao romance which on paper sounds good, but lacked chemistry. Especially from Olu's side. I feel like they kept repeating that "break in your day" thing cause they didn't have anything else. IDK weird weird decisions were made. I don't mind the Jim/Archie stuff at all but that was also not given any real romance time. They kissed and then I guess that was that?

-While on the subject of Zhang Yi Sao...why was she there? Like, don't get me wrong, I love her character and her inclusion in the show, but while the build-up in the first few episodes was great, then...they did basically nothing with her. Her entire plan was foiled by a moron in a split second and then..IDK she's now just riding on the Revenge and not even in charge? She's come way down in the world and I don't like it.

-Izzy dying. I don't mind the death scene itself, (though i wanted Izzy's friends on the crew more involved) but I think having him die shifts the genre and is disappointing in a way that feels unlike this show. more to be said obviously but not in this post.

-Speaking of that scene I grow more and more annoyed with Izzy saying "they love you, Ed." Not because it's not a great sentiment that would be narratively meaningful, but because it's NOT DEMONSTRABLY TRUE. Who loves Ed on that crew? Maybe Fang? There was absolutely no moments between Ed and crew after ep 3. They tolerate him for Stede's sake is all I can say. They love Stede. They love Izzy. And then Ed just leaves them and they are probably relieved.

-the way the central problem the whole season with Ed and Stede was communication but they never actually do anything about that, just declare victory.

-the way there was no climax or resolution with any antagonist in the last episode, they just barely escape, swear revenge like they're gonna head into battle, and then retire. Which makes ZERO sense and it bothers me SO MUCH.

-The lack of Stede and Ed costuming. IDK if it's because I've been writing a fic for a year centered around the clothing but like the show feels incomplete if they're not getting to dress up. I was looking forward to Ed wearing more than his leathers and we got a rice sack. This is entirely a personal gripe and not important but, yeah.

-Zero focus on the crew and no new info about any of them. I was really, really looking forward to getting more backstory, more personal info on characters like Roach, Frenchie, Wee John, but no.

And yanno, the thing is that I'm not unhappy with what S2 GAVE us. I like most of it. I love eps 1-6. Though 6 is showing the pacing issues badly. But what I miss is what we DIDN'T get. None of the stuff on screen was bad per se or couldn't have fit into a very excellent, cohesive season of TV. But I feel like all the connective tissue, all the thematic resolution, all the stuff that would have made it shine was missing.

Like they had a bunch of notecards of great scenes and filmed them but forgot to write the parts to connect them in a meaningful way? IDK this season feels a little like a first draft?

Not eps 1-3 though. I feel like they were perfect, and then they ran out of time/energy to polish the rest. (4-5 were also great, but they could have fit in with the rest better ultimately.)

I feel like people who are happy with this season are like 'we got this moment and this scene!' and that's great and cool and I also love that moment but I'm still left unsatisfied by the whole, yanno. Sigh.

#ofmd #ofmd critical #ofmd meta #my meta #I started writing this like thursday but then lost my computer #so yeah #I don't hate it but it's flawed...

[hua-mo-jin-is-a-cutie]

this is the only social media website where I feel like I can talk about this without getting hated by teenagers with no media literacy, but I watched (pirated) Hazbin Hotel. And while I'm still very critical of Viv herself and the decisions she's made about her staff and her public statements and her past actions, some of which are very gross, for what it's worth, I think Hazbin is alright.

There are things I'd do differently sure, but it's like... aggressively average. The music is hit or miss, with mostly catchy tunes accompanied by lyrics that often made me cringe a little by how they already feel like outdated references to current slang. I also really don't enjoy when they have a big musical number come out of nowhere and have other characters acknowledge that they're singing. It really takes away from the musical numbers themselves. it's like musical writing 101 to NOT do that.

I know this is something people tend to criticize, but I'll be honest I like most of the character designs. They have fairly distinct silhouettes and it's kinda what drew me in enough to watch it in the first place. I'm particularly fond of Nifty. I do think some of them are a bit too complex, too busy to be super appealing, and must be hell to animate. I also think there's not really much cohesion in character designs of the world other than color, and even that's a stretch. I wish we'd at least been given some sort of reason in the show that some demons are furries and others aren't.

The animation is pretty nice, though the camera movement tends to make it a bit hard for my eyes to focus when there's a lot going on.

I've seen a lot of people complain about the pacing and while I agree that things are moving too fast, that we need time to get to know these characters and this world and earn these, what are supposed to be, hard hitting moments. I also acknowledge that I like fast pacing. I want it to slow down, but not astronomically, just a smidge.

I'd say the writing is also hit or miss. Sometimes it's got me fairly entertained, but other times it's making me uncomfortable and not on purpose. Again, slang that will quickly become or already is irrelevant is a major issue for me.

Contrary to what I've seen many people saying, I actually thought episode 4 was handled decently enough. Honestly the pacing is really the only thing holding it back for me. It doesn't feel like it's glorifying or romanticizing sexual abuse or domestic violence. It frames Valentino as the abuser he is when it's most important, even when he is a bumbling idiot in other scenes. Scenes of abuse between angel and Val are taken seriously enough. I wasn't a huge fan of the song Poison, but I also don't think it's romanticizing SA. I mean it literally ends with Angel sobbing on the floor so... I dunno how anyone came to that conclusion. There are times when the show jokes about sexual assault which I do think is distasteful and is one of my gripes with the writing overall, however when it comes to the topic of angel and val, it's handled well enough.

I'm interested in seeing where the plot goes with how episode 6 ended even with it's flaws. It's going in an interesting direction so far and I think the music of that episode was pretty good, calling back to the first episode's song with Adam in a clever way.

So overall I'd give Hazbin like a 6/10. It's fine, but it's got flaws. I'd like to see the kinks ironed out in season 2 and have Viv acknowledge some of her mistakes or at least take criticism well for once.

Anyway, stan Nifty, she's best girl.

#hazbin hotel #vivziepop critical #tv review #Also I'd like to clarify for anyone that does wanna say I'm invalidating the SA survivors that dislike episode 4 #Your allowed to dislike it #If it's triggering that's totally valid #While I haven't experienced exactly what angel is going through #I have been manipulated and I was sexually asulted #though mine was a 1 time thing and also in a medical setting #so pretty different #Point being #Not every SA survivor is gonna feel the same way about it #It's okay to not like the show #But let others find comfort in it's portrayal of Angel as a victim because they might just relate to it #It's okay to depict victims that aren't perfect #Peace out yall