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wetcatspellcaster · 1 month

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Metapost: "The Ascendent"

**this is a meta for my fic, Pieces Still Stuck in Your Teeth, and NOT a discussion of the BG3 game canon in any way. If you try and make this into a disk-horse, I will BITE you**

(spoilers under the cut for Chapters 1-23 of Pieces Still Stuck in Your Teeth).

So... remember in the Chapter One endnote when I said I was a Spike/Buffy fan first, and a person second? x

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In more seriousness, there was a number of fictional seasonings/ingredients that went into creating what I felt was the villain of a Gothic horror, and what I felt could turn the Ascendent into something that was both 'fixable', and something I enjoyed writing.

Those ingredients were:

Spike and the idea of 'soulless' vampires in the BtVS canon - do I like this conceit of BtVS worldbuilding and how it's used in the show? No. I think it often underlines how bad Whedon is at writing romance. BUT I do think it gives Buffy this free pass for which vampires she can/can't like or adopt, and I needed some of that for my protagonist. I need a 'I can fix him' moment - BtVS has those in fucking SPADES.

Howl's Moving Castle (this one was accidental, I'm still mad at myself but I can't deny it's there) - man conducts magic ritual for power, removing an essential part of himself in the process that needs to be returned

Picture of Dorian Gray (the idea of an exterior staying pristine while something hidden suffers and decays)

Curse of Strahd (the soulless in Barovia, which I mentioned in Chapter 23)

The idea of default moral alignments in D&D. I have a whole chapter arguing against this in my thesis (mostly bc it's often applied to entire races) but I was fascinated by creating a set of circumstances where I feel like a default moral alignment is valid, actually. 7,000 deaths seems like a good set up. I wanted to imagine a being that was trapped within a default moral alignment, and the laws of its very being prevent it from being good no matter what it tries, and it knows that (this kind of creates a feedback loop with the Spike/Buffy stuff)

The parts of the BG3 canon I took and REMADE (I'm stressing this throughout, I was making a horror story and a horror monster your honour):

Astarion conducts the Rite of Profane Ascension with scars on his back, but has to scar Cazador's back personally, suggesting that um... the Rite REALLY SHOULDN'T BE CONDUCTED BY SOMEONE WHO'S GOT THOSE SCARS. Cazador wasn't going to do it that way, is all I'm saying!!

The idea that Ascended!Ending Astarion is a concentrated version of certain traits that have persisted throughout his story - his flirtiness, his understanding of sex as a mechanism and expression of power, his use of a façade as a mask for trauma he refuses to acknowledge.

The lines alluding to dissociation in the brothel foursome, post-Ascension.

The idea that Astarion seduced Tav to survive or protect himself- in my case, because I made the Ascendent empty save for Astarion's survival instinct, the idea that he would gravitate towards Tav as one of his default modes to potentially survive made sense to me - this is why it becomes an obsession.

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For me, when writing, the Ascendent is a few things:

An intensification of vampirism in a different, fucked-up direction. Yeah, A!Astarion, you can walk in sunlight and you can eat and drink and don't need blood. But you are still a hungering maw of emptiness that feels like it will never be whole or close and connected to the living - just now in a wildly different, metaphysical/existential direction! Welcome to depression, alienation, and otherness!

A soulless being, that knows it is soulless - that initially was very happy with its life but then as the years passed, increasingly spends its every waking moment knowing there is something innately wrong with it that it can't seem to shake, no matter how much it engages with life and all the pleasures of life. (see the 'every meal without savour' speech)

A magically literal metaphor for Astarion's dissociation in moments of extreme trauma, up to and including the fight with Cazador - essentially, the moments when there is nothing but a performance or an exterior, because the self/soul are suffering and they cant' come to phone right now

Astarion's survival instinct. As I say in Chapter 23 - Mephistopheles thinks it is an empty body, who's performance is trying to deny the reality of it's own existence. Rosalie, who has a bit more understanding of Astarion, sees that the performance is not just a coping mechanism but one of Astarion's main modes of survival. The Ascendent is Astarion's survival instinct/techniques for endurance, without any soul or person behind them to protect. This is how I tried to tie in the flirty, hypersexual persona and wrap it with a bow.

I wanted a monster that was undeniably scary, and monstrous to me (oh? you can't fit in or be happy no matter what you do and no matter how hard you try, and you think there's something intrinsically off? how's that autism diagnosis going Emma) but that I also felt sympathy and true sorrow for. I needed to have motivations for him chasing after Tav that I could write meaningfully from and sympathise with.

Not only has Astarion used Tav as a life-raft once before, they've also proven to be the most secure thing he's ever clung to. Of course a rabid survival instinct Astarion would become obsessed, and see them as a potential solution to the problem (this was then intensified by Rosalie also being a walking, overbearing moral compass, and having bound him in a contract in the first week of living, accidentally - a lawful good immoveable objects meets a default moral alignment unstoppable force.)

...Because I also wanted that moral alignment spice!! Wizards of the Coast, default moral alignment is fucked up actually!!! Imagine something trying so desperately to be good - literally being bound in a pact and having been told to be good - but the laws of the universe and its very essence are like "nah mate, we kind of want to destroy and annihilate everything, we're neutral evil personified". That's scary!! that's fucked up!! that's what a birth from 7000 deaths gets you!!!

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So, now for the actual timeline, for people who aren't interested in my silly musings but mostly just want answers lmfao.

Rosalie makes the decision not to intervene in Cazador's mansion, making it seem like she'll support whatever decision Astarion will make there.

Rite of Profane Ascension happens. Astarion conducts the ritual, rips his own soul from his body, the Ascendent is born with literally zero context. Mephistopheles is fucked in Cania, because a bunch of stuff has just gone wrong.

(oh, by the way, the Ascendent knows Infernal as a default language. Bc it's born from an Infernal rite.)

The Ascendent is now default neutral evil, and feeling some kind of way. Rosalie and him break up. He's supposed to have everything, but the one thing he thought was a done deal - his most stalwart suppporter - just rejected him.

Netherbrain defeat (the Ascendent is not invited. Imagine being an all-powerful, hypersexual survival instinct vampire, and your ex-girlfriend neither wants you for sex, nor your power.)

Rosalie accidentally binds the Ascendent (a soulless devil) in a pact demanding that he never kill anyone, when that's literally what the Ascendent's new existence/new default moral alignment is driving him to do. Then, she fucks off and goes into hiding.

Well. The Ascendent can just get another wizard, to help him learn all of Cazador's secrets to cope [Hemlock is recruited].

The years go by! The Ascendent is doing sooooo well. Everything is great, guys! I'm rich, I'm beautiful, I have lavish parties and lots of sex - why do I feel nothing? I'm a vampire perfected - I have no hunger for blood, I can walk in the sun, I can enjoy all the freedoms of a living, breathing man - why do I feel like I'm starving? Why does everything turn to ashes in my mouth? I have friends - oops, I've sabotaged all those friendships with my innate neutral evil destruction. Why can't I feel anything? What's wrong with me? I'm doing everything right? Why doesn't it feel that way?

Also, I can't kill anything to feel better about it, because my hidden ex-girlfriend bound me in a pact.

In this time, to reflect the gradual degradation of the Ascendent's happiness and it's increasing awareness that it is something Other and innately wrong, the reflection starts going weird. Starts going strange. Starts getting a bit fucked up. Almost as if, when he looks in the mirror and sees a person, *nothing* should be what's there. Imagine being a spawn who couldn't see your reflection, and then a vampire who could see it's reflection, but knows that they're innately empty. Knows there's nothing there. I'd freak out a little bit about it as well tbh, I'd go a bit tooth and claw and elongated jaw about it.

The Ascendent finally admits that's there must be something kinda fucked about it. Life just ain't working out, lads. He starts looking for any and all impossible cures that will help with the malaise in his soul (and that innate essence problem, caused by default moral alignment). These include: more bad decisions, such as a house in Cania bc the Ascendent is hoping he'll feel more at home with devils than he does with mortals. All it does is make him feel more isolated and alone.

But eventually, he settles on two things! - Wish (Hemlock's idea), and Rosalie (the Ascendent's idea). Clearly, we just need Rosalie back! Her leaving is actually what fucked him up in the first place - none of this existential bullshit! She fixed us one, she can fix us again.

But looking for Rosalie hasn't worked out. In order to get a shot at her, the Ascendent goes and bargains for his own soul from Mephistopheles. Mephistopheles, adding a new sheet in excel titled 'what the fuck happens when i give this soulless monster a soul to play with?', agrees and starts tracking his new data.

Obviously, just putting the soul back in yourself will fix you. But the Ascendent, the nothingness living inside Astarion's body, will die. Taking the soul back would erase itself. The Ascendent - who is survival instinct personified - would never do this.

So instead, it starts interviewing and cannibalising the soul. Bc a soul is what it needs, this is the closest it's ever felt to being alive. Bc it's made this all about Rosalie, he thinks he's found his solution. The chase is making him feel alive again. It's true love, lads! not the soul.

Wish auction happens - the Ascendent is beaten to the punch by some unknown (hot) wizard.

This avenue cut off, the Ascendent makes the decision to try and win Rosalie back.

Astarion advises that to make her come back to the Gate, he should murder a bunch of people. Because this comes from the soul, not the soulless devil nothingness, it circumvents the pact.

...The events of Pieces begin!

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And finally - the Ascendent tries to destroy Jar!Starion for many reasons in Chapter 19:

The Ascendent knows that it dies, if the soul and the body get reunited (or is that constant high alert survival instinct just no longer needed, because the problem is fixed? you decide.)

The Ascendent values Tav above itself. Tav is going to fix them. Astarion believes he could never fix himself.

Dissociation - that soul isn't me. I'm here, looking at my soul. If I get too close, it'll kill me.

Self-hatred - that soul isn't me. That man made a mistake, and I've had to live with the consequences. He doesn't deserve to live, for what he's made me become.

The knowledge that Rosalie/Tav will only ever want that version of him, not the one that's living and breathing, that sees itself as the most wretched, fucked-up version of itself. So... give them no choice. They have to deal with me and love me at my worst.

And if the Rite didn't work - if the version of the Ascendent walking around isn't the best one, and the one people want... what was it all for? Why does the Ascendent feel like this? Why does it have to suffer?

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....And, that's my little meta post! If anyone has any questions about the timeline or any motivations at any points in the fic, I'm obviously more than happy to explain things via ask/comment, as always!

TLDR: I just wanted to make a Gothic horror. I wanted a dark romance, fucked up obsession vampire/mortal dynamic, but I also wanted a situation that was scary for both Astarion and my Tav. I personally think an Astarion who is so dissociated and separate from reality that he feels that in his bones daily, is scary. It's the lingering impact of the traumas the Rite and those 7,000 souls embodied.

I was literally just trying to make it a horror, for everyone involved.

#metaposts #long posts #my writing #wip: pieces still stuck in your teeth #spoilers!#i've never really explained my writing process before in this depth so... I hope it makes sense!#writing meta

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silverskye13 · 2 months

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how do u write fighting or do u have any tips? i have an idea for a fanfic not mcyt related but im terrified ill write the fight scene poorly as it makes up a majority of the fic.

Fighting and fight scene tips! I have a couple I guess! The tricky thing is fight scenes are really subjective. It's hard to give a "and here's all the puzzle pieces you need for a good one" kinda answer. But I can at least tell you the stuff I think about while I'm writing.

You know the drill, writing tips under the cut:

1. Research

I feel like I put this on every tip list. Research the thing you're doing. The Internet is your greatest friend and confidante. Look up YouTube videos of fighting competitions. Look up the weapons your characters are using. Figure out how many bullets are in the magazine for the gun type your character is using. Research how far you have to be to survive that explosion. Figure out if the cool sword breaker was actually useful in combat and why. Get a reasonable measure for how much blood your blorbo can lose before they pass out. This will help you paint a clear picture for yourself about what needs to happen, and why. Your readers don't necessarily have to have that clear picture, but the more you, the writer, know, the more likely you are to write a consistent, understandable narrative.

2. Character POV is important!

What does your character even know about fighting anyway? <- the most important question to ask of your POV character. This establishes what your character can tell your audience about what's going on. Has your character never fought before? Are they familiar with the weapons used? Do they know counters for fighting styles? Do they even know how to throw a punch? Do they have a high pain tolerance? These things will inform how the character informs us, the readers, about what's going on. Generally speaking, lack of consistency is what makes fight scenes frustrating, in my opinion. Sitting there and going "hey wait, how did that teenager know better battle tactics than the general they're fighting?" Takes you out of the moment and ruins whatever cool thing that teenager just did. Going "hold on, what do you mean the sniper didn't realize he was out of bullets?" Does the same thing. Keeping the characters consistent stops your readers from questioning the validity of the scene.

3. What can your readers see, and is it the same as what the characters see?

Similar to above, but a little more meta. Fight scenes are often played for drama. You're putting the character in peril, and that peril is for a reason: to make the audience have an emotional response. Can the readers see an ambush because of your 3rd person omniscient perspective, but the characters can't? Is that a good thing? Will it ruin the shock and surprise of the ambush, or will it induce dread and up the stakes? The enemy has a poisoned sword. Is this obvious to the audience in a way that isn't for the character? This is playing with suspense in a fight, adding and subtracting stakes for the readers, and it needs to be balanced against what the characters know.

I'm mentioning this as a thing because revealing your hand to the audience can be a really interesting way to add suspense, but if the audience feels like a character should've been able to see it coming [ex. How come the assassin didn't anticipate someone poisoning a blade during a fight?] it ruins the immersion of the scene, and makes it feel like you the author are shoving the characters in a direction. Generally speaking if the readers can see the hand of the author moving, it breaks immersion.

[Notably, I don't write in 3rd person omniscient. I write in 3rd person limited. I don't often have a chance or reason to reveal information to the audience that the main character doesn't know, because the audience is observing the world through that character.]

4. What are the guys in the back doing?

Everyone knows the Main Character has to fight the Antagonist at some point, but normally the MC isn't alone. They have friends and allies, or their pet dog. They have a supporting cast, and that supporting cast wants to help the main character. So... where are they exactly? A pitfall I see in Big Final Fight Scenes pretty often is, the MC brings an army, or their crew, or their super friends or whoever, and yet somehow, they end up fighting the bad guy alone, and the writer just... Doesn't address the other people in the room. And you the reader are left going, "Wait, why is no one intervening?" This gets especially immersion breaking when the main character inevitably starts losing their fight [because drama, few fights are easy]. Our MC might die! Why is no one trying to run even a basic distraction on the Antag? This isn't to say you have to have your supporting cast get involved in the final fight -- sometimes you need that solo showdown! But you do have to have a convincing reason to keep the rest of the cast away. If we the readers are under the impression there's six other people in the room just standing there, because you the writer forgot they were there, it gets kinda awkward.

5. Zoom in! Feel it. Zoom out! See it.

Okay so, you now know: Basic information on how your character(s) fight, what your POV character(s) know, what the readers can see (either the same or different from your characters), and you know where everyone is and what they're doing. You have your god's eye view ready. How do you show it?

Zoom in, zoom out.

There is a balance to fight scenes, in about the same way there is a balance to an art piece. There is a foreground, middle ground, and background. Each have importance, each need focus. The foreground is what is happening immediately in front of your POV character, it's their thoughts, what their weapon feels like, any wounds they've taken. It's bullet time, and observations, and right in their face. The middle ground is the surrounding 5-10ft. It's the people beside them, it's what's just past their opponent. It's the rest of the room, or the sound just out of view, or the object just out of reach. The background is everything past that. It's distant explosions. It's their friend getting wounded. It's an archer on the next rooftop.

How much of that you want your audience to see, how you want to vary that, depends on what you as an author view as important. If you want to focus more on the character, their struggle, their opponent, you will write most of the fight scene in the foreground. Focus on what the character feels, the sensation of movement, the pain, fear, exhilaration. Focus on the words they're saying [or not saying]. Focus on what they know, what they're telling the audience. If you want to highlight the battle, how the main character is working in their surroundings, you will focus on the middle ground. This is what the character looks like from an outside perspective, how they fight against their opponent. This is them trying to reach an item, or shove their opponent into something. This is running, and kicking, and trying to figure out if your friend is still by your side. This is seeing your comrade go down out of the corner of your eye, or admiring someone's fighting style, or screaming orders at someone. The background is anything further away, a distant problem that is putting on pressure. A ticking time bomb. This is the building catching fire, the lightning in the storm overhead. This is superman fighting off the alien army while your MC is trying to kill the general. This is you reminding the audience the rest of the world hasn't stopped turning while the MC has been doing MC things.

Generally speaking, I like to move through all three spaces several times during a fight scene? The main character is hurting and holding onto their sword, and breathing is hard. The antag is pressing the advantage, trying to back them through the space. But they can't lose too much ground, because their friend is fighting the second antag over there, and they're bleeding from a fresh cut. They have to win, they have to escape, because the sound outside says the building is groaning on its foundation-- and the main character stumbles as the building rocks. [And I've just moved through all three types of ground, giving the audience a clear view of what's happening].

You don't have to bounce reliably through the space. Not showing the background for a long time means you can surprise your audience with a new hero or villain swooping in! Or leave us in suspense about that magic ritual we're supposed to be stopping. Not showing a middle ground side character implies your MC is so distracted they won't know their friend is hurt until it's too late -- etc.

If it helps, I like to imagine there's a little invisible camera panning around, taking dramatic shots of everything, like you're making a movie, and writing accordingly.

Uhm!! Hopefully that's helpful?

Some broader quick tips:

Fight scenes are very fast, and generally happen over a period of a few minutes. That time will feel significantly longer because it's jammed packed with Stuff Happening, but the fact remains, it's only a few minutes. Keeping the timing in mind helps you figure out if backup can arrive to help, or if it's reasonable for someone to miss the fight happening, etc,

On that note, if it's a battle specifically, battles [especially medieval ones] are short. They don't last all day, unless they're a siege, and even then, sieges are long periods of digging in and waiting with short clashes peppered around.

This might just be me, but try not to overuse metaphors? We get it. The swordsmen look like they're dancing. But not everything they do is graceful or dancer-y. Sometimes you can just say "and he punched him in the face." Unless your writing style is naturally super flowery, in which case, do continue. Consistency is key.

Do some basic research on wounds. Suspension of disbelief can only carry so far, and pain is genuinely debilitating. Also, yes coughing up blood is a very dramatic "the character is dying" cue, but in real life it only happens on very bad lung/throat wounds. If what you're writing is Super Realistic, maybe don't throw that in there.

Write confusion with care. You might not want your audience to know what's going on all the time, but if your audience genuinely can't figure out what's going on, why something is happening, or who it's happening to, you will eventually lose your immersion.

Write comedy with care. If your fight is non-serious, or if your character in a serious fight doesn't normally take things seriously, jokes are allowed to happen. But sometimes if you don't take it seriously enough, you will chop the knees off your drama. Maybe save some of the jokes for after the life-threatening battle is over.

I think! That's everything I can think of just now! I hope it helps :'D

#answering asks #anonymous #writing advice #writing tips #writing #apologies if this was incoherent at all #its 2am im very tired and this week has been hell #i wanted to answer this before i forgot it and it got buried

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hallowsden · 1 year

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DC x DP Idea Thing #2

Child of Freeze AU

MR. FREEZE WOULD BE SUCH A GOOD DAD, YOU CAN'T TELL ME OTHERWISE.

When I first discovered the DC x DP crossover, specifically when the realization sank in that Danny had ice powers, my brain immediately went into overdrive about that and added "WHAT IF DAD!FREEZE" into the mix here.

It's only now my brain wanted to expand on it.

We have the usual trope here that Danny's parents reacted badly to learning about him being Fenton, causing him to get experimented on briefly before running and later settling in Gotham. Here, they found out he was Phantom when his ghost form's appearance started to bleed through to his human form.

His black hair kept gaining white strands every day, his skin gained a paler hue with a tinge of blue only seen in the dead and the ghosts, his body temperature dropped while his heart beats were slower. Hell, he had felt some of the more subtle changes. How his eyes were sore and couldn't see properly for a week before they got better, how his ears became irritated as they shifted to be slightly pointed, and even his limbs throbbed in pain for a while.

At first, his parents chalked it up as a result of being exposed to ectoplasm for most of his life, leading to them practicing lab safety for once in hopes that these changes were temporary.

It didn't take long for them to come up with the conclusion the Phantom replaced their son and used his appearance as a disguise. At least, Maddie came to that conclusion and went immediately to dissect him.

Jack couldn't stand seeing Danny getting opened up like that. Even if he's still conflicted about whether or not Danny is Phantom or Phantom replaced him, he couldn't get the image and the cries of his son in pain out of his head. He helped Danny escape while he distracts Maddie.

Danny ends up coming to Gotham after flying as fast as he could while injured. He ends up finding a frozen place underground and proceeds to pass out as his body tries to regenerate/heal itself. He didn't notice the body suspended in a capsule nearby, having been too tired and too drained.

That's how Mr. Freeze finds him. A teen, likely 16 at most, severely injured, and surprisingly, not bothered by the sub-zero temperatures of his hideout.

I'm all for the idea that before Nora's illness came into effect, she and Victor wanted to have children. The two always had a bit of a soft spot for them anyways. (During the winter season, Freeze doesn't try to cause much villainy as this is the only time of the year he can go around without his suit. Instead, he ends up helping decorate Gotham with some Ice Sculptures and tends to entertain the children of Gotham if possible.)

Essentially, paternal instincts took over and helped Danny get better. Will he be surprised at the exponential rate Danny's healing? Yes, but he just chalks it up to him being a meta. Mr. Freeze will notice some of the unnatural traits present in Danny after all, but who is he to judge? Plus, Metas had it hard in Gotham, even if the no meta rule loosened up when Signal came about in the Batfamily.

Mr. Freeze now has two people to fret and take care of.

(Just- Danny gets adopted by Mr. Freeze, and later on, so do Ellie and Jazz even though she is already over 18 and needs to wear thick clothes)

#Oh those two? Those are the Fries twins. Guess the lonliness got to Mr. Freeze #dc x dp #dp x dc #dc x dp prompt #Danny Phantom #batman rogues #Mr. Freeze #Victor Fries #Danny Fenton #Ice Dad meet Ghost Child with Ice Powers #Gotham will definetly notice the new resident who likes to stick around Mr. Freeze's turf #They will likely theorize Danny's a clone child of Mr. Freeze and Nora #Just because he's able to walk around in the cold without a jacket #Does that how Danny's powers work? idk but let me have this please #Then came Dani who Gotham theorizes is Danny's clone twin #Dani goes by Ellie #Gotham: The Fries twins got powers? Wack.#Batfam: PLEASE NOT MORE ROGUES #Danny: Just vibbing trying to heal from trauma and debating to still do heroing yet or not #Ellie: Hurt my family and I'mma freeze you! Oh wait Danny try suggesting ectoplasm for Mrs. Fries!#Will ectoplasm help Nora? Maybe? Might take a while #Jack will come to Gotham to find Danny later after he deals with Maddie #The GIW is still a threat though #Mr. Freeze and Jack will reluctantly share custody for Danny #Danny's afraid of his mom and is sorta wary of Jack #I like to think Mr. Freeze knows german and Danny picks it up #Eventually calls Mr. Freeze Vati cause yes it would make the man very happy #Vlad and GIW better watch out #Amity Park learning what Maddie Fenton did though- they are not happy and Jack's leading the charge #Child of Freeze AU

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hms-no-fun · 3 months

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i just want you to know that i read... i think Most of godfeels and had to stop because i was not enjoying it. but i think its really good and i really respect what you do. i think it's all too easy for people to mix up "this is not my cup of tea" with "this is bad and/or problematic". they dont take the time to see the artistry in it, why it is what it is, what it might be saying beyond their surface level read and the kneejerk reaction to it.

i also wanted to note that ive always been kind of scared of sharing fanworks for fear of writing "out of character" - and ive also even been afraid of it in original works. character isn't real and concrete, so anyone can decide something's out of character. so your exploration of that concept gives me more confidence as a writer. i really appreciate that and everything else you do. :)

thank you so much for this message! i'm glad you tapped out rather than force your way through something you weren't enjoying, that's a very mature response and something i wish more folks would recognize as a perfectly valid option. in fact i think pushing through and reading long after you've given up on the material, so to speak, is a great way to wind up angry at a writer for having "forced" you to endure such a trying experience. as i've said before, an author can't force you to do anything. you can close the book any time you like.

as far as the tension of "in character/out of character" goes, i think a lot of people in fandom struggle with the fact that "character" is very much in the eye of the beholder. sub-groups form within fandoms based on identities, politics, sexual predilections, etc, and typically gather around the fire that is their particular interpretation of a character. but from within that sub-group, it's rarely considered "an interpretation" so much as the obvious intended truth of the text. it's that intoxicating mood of finding people who share a perspective you rarely see elsewhere, like oh my god, you GET it, finally someone GETS it!

in homestuck fandom, for instance, quite a lot of people hate vriska and think she sucks, with a vocal sub-group of that sub-group still actively beating the drum that everything about her arc after [S] Game Over is the worst part of homestuck. but i love vriska, and my corner of the fandom very much organized around a full-throated defense of her. some folks think homestuck did tavros and gamzee dirty and that this is a fatal flaw in the text; when i countenance these people, i am convinced we read two very different comics. who's right and who's wrong? there are degrees. i can pull out any number of quotes from andrew hussie about the importance of vriska and the weenieness of tavros, but then, authors love to say things, and there's plenty of stories i love in ways that directly oppose to the authors' stated intent. the debate can never end because we are only ever talking about the version of a character or story that exists in our heads, based on the things that stuck with us when we read the thing (however long ago that was-- which is important because i find a LOT of people adamantly defending their headcanons haven't read the source text in a number of years. as time passes, your perception of the media you've experienced in the past morphs and distorts. someone who was right five years ago can be wrong today and not even notice the difference).

something i've realized in the last year is how much godfeels emerged from a very specific milieu, not just in terms of how we interpreted certain characters but in our approach to analyzing and talking about the text altogether. i believe most of the important stuff in godfeels is "in character" in most of the ways that matter, but it's built on a very specific meta that centered vrisrezi and transness and radical leftist politics and experimental hypertext. really, it's a post-Epilogues fanwork even despite the fact that godfeels 1 predates their release by a few weeks. and i think to this day a lot of homestuck fans haven't read the epilogues but have read fandom posts about how terrible they are (quite a lot of which will have either been written by teens, by people who already didn't like homestuck very much, or by one of the regressive stalkery weirdos prominent in the homestuck reddit/discord), and that misapprehension keeps them in the dark about just how many amazing tools the epilogues introduce to the homestuck formula that exponentially expand the expressive possibilities of attentive fanworks. and it of course elides the fact that the homestuck epilogues are a story about being in your 30s. i think we'll be getting a big re-appraisal of the epilogues in 5-10 years. it'll be the "twin peaks: fire walk with me" of homestuck, just you wait.

so these readers see my version of dirk being an unhinged murderous dick to a newly-out trans woman and go "he would never do that." then if i point at the epilogues, they'll say "i didn't read them/they're not even canon/that wasn't in character either." at which point there's nothing really to say, because we have two completely different perceptions of the text. who's right and who's wrong is almost always infinitely subjective, a circumstance that humans are notable for being very good at handling in a mature and politely discursive manner.

so i've got an "author's introduction" to godfeels baking in my docs to provide some context about the meta this story is built on, the milieu it came out of, that sort of thing. it won't make much of a difference in practical terms, but it'll at least be something i can point to.

in any event, thanks for this message. all i ever want is for people to give it an honest shot. i hope you can continue harvesting confidence from wherever it can be found. it takes a lot of audacity and backbone to be an artist, especially when you have something worthwhile to say. remember that you're not writing for the haters, you're writing for the kind of person, like you, who wants to see more stories like the thing you're writing. they're the ones who'll get it, they're the ones who'll stick around long after the haters have lost interest.

#sarahposts #in character #out of character #homestuck #godfeels #fanworks #writing advice #headcanon #fandom #long post

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isa-ghost · 5 months

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I need the headcanons, Isa. I need them like I need air. (I also have had very little time to watch QSMP overall, so all of my q!Phil info comes from you) -River

OH FUCK I WASN'T EXPECTING TO GET MULTIPLE ASKS ABOUT THEM. /POS

Here's Headcanon Set 1

NOW MORE

He's an expert at playing stupid. I don't have any actual situations from canon off the top of my head to apply this to, but his wits are sharp enough for him to pull it off when shit isn't explosively hitting the fan

He hates not being able to fly, flying is/was the main way he would de-stress. Nothing makes him feel lighter than the breeze in his feathers and a breathtaking view

This man's commitment to The Bit is so underestimated. If The Bit was a person, it'd be part of his polycule. People just overlook his ability to commit to a bit because he has to personally find the bit worth committing to

Obligatory Shiny Good Crow Brain mention. Why do you think his backpacks need sorting like once every few weeks (though he neglects them for longer than that)? And shiny is not always literal. Sometimes it means flowers or pretty types of wood or a neat mob.

Every once in a while someone can get him to laugh in a way that Almost sounds like a squawk. He doesn't know how it happens, it's like an involuntary snort laugh, but with cawing.

Unfortunately for him, playfully raising his blood pressure (stares at the kids, Tubbo, the polycule, some others) is kinda funny. It's the way he gets louder the more exasperated he gets.

He has 100% slept so hard that he snored loud enough to earn a kick in the side from Chayanne

Speaking of sleep, this idiot will pass out in that wooden chair and then wake up in the morning and bitch about his neck aching as if he isn't the reason it's aching. Tallulah especially has roasted him for this

His dedication to Chayanne and Tallulah can go unmentioned bc it's just so obvious but I need everyone to understand it's not just how he'd burn the island to ashes for them. It's also how he'd stop mid-tea party with Tallulah, Pomme & Co, dressed the whole nine yards in a tutu, tiara & obnoxious amounts of pretend jewelry to beat the ever-loving SHIT out of a threat

At first Irish Goodbyes were unintentional (which is what made them so funny) but now it's become one of the biggest bits he's committed to. This man loves embodying that gif of the dude going ✌🏻 and vanishing.

Tallulah totally told him about the Duolingo "It's Spanish or Vanish" meme. It won't leave his head now

Anytime he does the reverb voice or something he is pulling a megaphone out of his backpack and yelling into it

Because I forgot it in the first hc set and it's too funny for me not to include, I must once again tap the sign that says "Phil and Fit fuck nasty behind Fit's gym." Why do you think the shit Fit says like "big boy" gets such a reaction out of Phil? He's heard it elsewhere

He thinks he has too much self-respect to do it but if he didn't, he'd 100% be the dad to dab or whip-nae nae just to make Chayanne and Tallulah faceplant on the ground out of embarrassment

Speaking of faceplanting, Tallulah is so good at timing when she does it, it absolutely kills Phil every time. It's like one of the Top 5 ways to get him to crack up

Calling back to the Bit Commitment hc: "The 4th Wall" is a bit he made up and won't stop referencing. It's not that he's fail rping in meta, he's getting conspiracy-style existential as a joke and that's why Tallulah hates it so much

Stealing this one from my hcs about my angel OC inspired by Phil: If you put him in water, his wings will involuntarily flap like a bird in a bath. It isn't nonstop, it's like a stim he can't help doing every so often.

He loves Rose so much. She instantly makes him feel safe. He regularly has to resist the urge to passionately gush about her to people because he knows they'd be like What The Fuck Are You On About. Rose is blorbo from his brain (little does he know, she isn't entirely)

He likes to pretend he isn't, but he's sentimental as hell. Why do you think he hasn't changed the ugly dirt shack? Why do you think he has so many backpacks of stuff? He's got that crow hoarder brain but he also just attaches to things to easily. Nostalgia and love for history has him in a death grip. Little does he know, it's a trait he's kept from his past

Speaking of his past, until I get canon story explaining otherwise, in my mind he IS hardcore!Phil but the Federation wiped his memory after somehow managing to invite him to the island. The Ender King & Rose's arrivals into qsmp canon are two very different ways of attempting to trigger his memories. What he thinks are dreams are actually those forgotten memories of what he was doing before coming to the island

Okay that's long enough, look out for a third set because I got another ask waiting for more >:)

EDIT: Here's Set 3 :D

#qsmp #qsmp philza #philza #q!philza #philza headcanons #qphil headcanons

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vidavalor · 6 months

Note

hi again! rewatched the 1st season now. so first off thanks again for the excuse i appreciate it lol. but secondly hoping you wouldn't mind explaining the satan's obssession with crowley thing? cos he's obvs creepy as all hell pun not intended in the 11 years ago scene but i haven't found the bit that confirms it's a fixation on crowley and not just satan being satan. tysm!

Hi! Thanks for the ask. I can try and we can see what you think after, yeah? :) Christmas cookie? *passes plate and pours some tea*

TWs: discussion of PTSD, sexual assault, including rape, intimate partner abuse, anxiety, depression. We're looking at Crowley as an assault survivor here so it's a bit dark. Lindsay's abuse of Nina is also mentioned here. This will wind up having a companion meta at some point soon as I was also asked in comments on another post to talk about Crowley and intimacy issues which is then really also talking about Aziraphale as a trauma-informed partner so a less intense Part 2 at some point soon...

If you're the anon who asked me this (or anybody else) and you can't read something with these warnings but you'd like to see what I'm saying, PM me or throw something in my Asks and I'll see if I can do a version of this that gets the points across while omitting the darker aspects.

Meta on Lucifer and Crowley under the cut.

The Ask here was about why I see Lucifer as fixating on Crowley, in particular, and not just being generally evil as, ya know, he's Satan. It's a fair question since Satan's evil isn't exactly something that anyone would consider restrained as he's the devil. Some of this is inference here when it comes to Lucifer, since the show intentionally holds the character back a bit... but I also think that holding Lucifer back is by design to help illustrate some things that we'll look at here.

The first clue to me that Lucifer has a bit of a fixation on Crowley comes from Crowley's gigs in Hell. Before the end of S1, Crowley was high-ranked in Hell. He seems to go by quite a few names in his demonic world. By making himself Nanny Astoreth when he's looking after Warlock, it alludes the idea that Crowley is also the demon of that name, who is considered part of the "evil trinity" of Hell, along with Lucifer and Beezlebub, with whom Crowley used to spend time with pre-Fall and with whom he has history.

Astoreth is a genderbent serpent goddess in lore with an abundance of other Crowley traits so safe to say that Crowley is meant to be Astoreth as well. Aziraphale proposed in 33 AD that Crowley is also Mephistopheles and Asmodeus, which Crowley didn't exactly deny. Mephistopheles is one of the most famous demons to ever exist-- he of the Faustian bargain-- and Asmodeus is the demonic prince of lust. Crowley's already been shown to be a Bible figure in disguise-- Bildad the Shuite being a Biblical character-- so the idea that we are at the 2/3rds mark of the show and we've met all the high-ranking demons in Hell but several famous ones appear to not exist in Good Omens, despite more minor ones (Shax, Furfur) making appearances, implies that we probably actually have met demons like Mephistopheles and Asmodeus because they're all really Crowley.

Crowley retained power in Hell because it allows him what little freedom he can have in damnation. It means he likely won't be removed from Earth if he proves he's "good" at being a demon and that means he won't get stuffed in some cluttered, dark, cubicle in Hell for millennia. (Or destroyed.) More importantly, it means he'll be able to be on Earth with Aziraphale. That's easily worth taking credit for a bunch of human wars to fool Hell into thinking he's evil.

While we see that Crowley, when forced to come up with a demonic plot of his own, picks more annoying things than evil things and sells them as evil-- the M-25 design, taking down mobile phone networks, he's sometimes forced into doing things he doesn't want to do in order to not be outed as a demon who isn't super jazzed about being a demon and is really, secretly, a free-flying crow. He doesn't live to serve their Master Satan like some of the other demons do. He's going along with Hell as best he can and sometimes, he finds himself in a situation where he has to get creative because he's been tasked with something he disagrees with-- like we saw in the Job minisode. Other times, he might be forced into something he can't find a way out of, which is implied a little to be at the root of his terrible mood when he and Aziraphale meet up in Ancient Rome. He's wearing military garb that implies the temptations he's saying he's in Rome to accomplish are tied to Caligula, who wasn't exactly a swell guy.

What's interesting, though, is that Crowley is in this position of power in the first place. Other demons are shown in both seasons so far to be jealous of Crowley. He gets all the good gigs. Satan makes a bet with God that has both Upstairs and Downstairs in a tizzy for weeks and who is sent to whack the kids? Crowley. Who was sent on the first ever really Earth mission-- to get up into the Garden of Eden and "make some trouble"? Crowley, long before he'd cemented his big reputation. Who gets to deliver the antichrist baby and so kick off Armageddon, the thing that angels and demons basically "live" for? Crowley...

Across both seasons so far, Hastur, Ligur and Furfur are all given scenes of showing that they're jealous of Crowley being a favorite of Satan's and given the best assignments while they slum it in middle-management at best. What Crowley never says or admits to with other demons is that they actually don't want to be the favorite of Lucifer over here because he's the actual fucking devil and it's an absolute horror show. Crowley isn't about to admit that to them because he's supposed to want nothing more than to be Satan's slave and to express anything else is not demonic.

The other demons who are antagonistic towards Crowley are invasive and creepy but they stop short long before what we've seen Lucifer do. Hastur and Ligur pop up unannounced in Crowley's electronics-- the tv in his flat, on the screen at the movies-- and that's already disturbing. Imagine having your evil coworkers able to interrupt your r&r tv time in your own apartment... let alone the fact that Shax and even Beezlebub both pop up into The Bentley unannounced in S2. There's no evidence so far that Satan is out here "delivering instructions" like this to others in Hell the way he does to Crowley in 1.01 (and there's actually a scene in S2 that we'll talk about that suggests that he's not or, at least, that it's uncommon, which we'll get to in a second.)

He might well be but when you combine assaulting Crowley with giving him all the prime gigs in Hell and the other demons' jealousy of their Master's attention towards Crowley, you wind up with the impression that Satan is a bit fixated on Crowley.

The Bentley scene with Lucifer in 1.01 is analogous to rape. Crowley's sense of personal autonomy is violated. He doesn't consent to Lucifer forcibly entering his body. Lucifer does so by first penetrating through Crowley's two foremost metaphorical defenses-- The Bentley (enters through the radio and uses it to invade Crowley) and his sunglasses, which cannot shield his eyes/himself from Lucifer. Crowley already has these signature defenses mechanisms on in the attack scene and the horror in the scene is actually watching neither of them protect him. The scene is so early in the show that it's only the second scene we've ever seen Crowley wearing his glasses (and it's pitch black dark out, to add to it) so the glasses are basically introduced to us by showing us a situation that motivates Crowley's desire to hide his eyes from people he doesn't trust, even if they aren't human and know what his eyes look like. This is Crowley's third scene in the series itself and it's really arguably the second half of his second scene (the Hastur & Ligur in the graveyard one.) It's part of our introduction to Crowley in the modern era, with only Eden preceding it. Armageddon is new but the rest of this hell-- faking being evil, suffering violating attacks-- is thousands of years old for him at this point.

Crowley is driving when this happens.

Driving is the ultimate symbol of self-control because you're literally behind the wheel, navigating yourself through the world, in control of where you are going and the decisions you need to make to get you there, trusting yourself to make decisions that protect others on the road around you. Lucifer rips that from him by rendering him unable to drive while "delivering instructions" to his mind. Crowley-- a very powerful, magical being-- is unable to fight him off. When Lucifer leaves his body, Crowley had to grab the wheel and steer The Bentley away from hitting an oncoming truck with about three seconds to spare from a head-on collision. Crowley, The Bentley and the antichrist baby all would have likely survived that crash without issue because of their magic-- but the human driving the truck likely would not have. Obviously, Crowley would prefer not to kill anybody but Satan nearly made him against his will and rendered him unable to fight him, the powerlessness of which is then interesting when tied into things like Crowley essentially drugging himself to save Elspeth, trusting the present Aziraphale to help protect him while he did, etc..

As the attack happens, parts of "Bohemian Rhapsody" are underscoring it, picking up on a musical cue from when Crowley rolled up in The Bentley to see Hastur and Ligur in the graveyard. The graveyard scene sees Crowley arrive at the big crescendo of the song and what is it but the lyrics Beezlebub, has the devil put aside for me? and, prior to that, the eerie lyrics, especially on rewatch when you know what happens as a result of this scene: we will not let you go (let him go) x a million, not to mention the no no no no no no... bit.

By the time we're back in The Bentley and Lucifer has shown up, parts of the song play through it. I see a little silhouetto of a man plays as Crowley is literally seeing the driver of the oncoming truck in front of him, just as he loses the ability to control The Bentley. When Lucifer leaves him and Crowley grabs the wheel, we hear thunderbolts and lightning/very, very frightening/me and the Galileo segment of the song. Thunderbolts and lightning is interesting since God makes it a point to point out that this night is not dark and stormy but then that type of weather is what Crowley does in S2 that causes the power to go out and his parallel, Nina, to be trapped. It's also what demons in general can do so you could say sending a storm-- like in the Job minisode-- to be demonic and of Satan. (If it's not Crowley doing it to play Cupid, anyway.) The thunderbolts and lightning of Satan/Hell is very, very frightening to Crowley...

...Me/Galileo/Galileo/Galileo/Figaro... Galileo is arguably the most famous astronomer to ever live. He was a polymath, really, like Crowley was. Crowley, as an angel, made the stars and invented gravity. The scene with Hastur and Ligur that precedes this and ties into it has Hastur mistranslate the Italian Crowley spoke during it. Crowley said "ciao", meaning "goodbye", which Hastur correctly said was Italian but he claimed it meant "food" (mistaking it for "chow" because he's an idiot.) So a scene that ends with Crowley speaking Italian then connects directly into the scene of this attack, where Italian is spoken in the song scoring it, as Galileo was Italian and figaro in Italian is "fig tree".

While Eve does eat an apple in Good Omens, the Biblical 'fruits of knowledge' that tie to the Serpent tempting Eve in Eden are interpreted in different ways throughout different religions and at different periods in history. In Good Omens, Crowley got Eve to eat an apple and the pleasure of food opened a door to sexual pleasure. Eve shared the apple with Adam and they were *Aziraphale's hilariously judgemental voice* "expecting already" with Eve about 8 months pregnant later a day later because Eve's biology is atypical of other humans and all that. It's debated as an apple, with other different fruits and sometimes even wheat mentioned as possible things Eve ate-- if she ate food at all, as some people take the entire thing as a sexual metaphor. Figs are one fruit that some people believe it was instead of an apple, so this is a reference to Crowley as the Serpent of Eden.

Me/Galileo/Galileo/Galileo/Figaro... Crowley holding onto himself while under attack and just after it, which speaks to activation of a plan, which speaks to this not being the first time he's endured something like this. Galileo and Figaro = The Starmaker and the Serpent of Eden. The things he's done that he is proud of, that make him not evil, in his mind, and not deserving of this. Things he likes about himself. Things Aziraphale loves about him.

The song is narrating for us Crowley through the attack as he's basically frozen there enduring it, seeing the driver of the truck coming at him and Scaramouche/Scaramouche/Will you do The Fandango?

A scaramouche is a kind of mischievous scamp-- so, Crowley; The Fandango is a Spanish couple dance. Historically, one version of it is done between a pair of men who try to outdo one another with skill, in a kind of homoerotic competition. It's also slang for fucking during a concert and I have the feeling that Crowley would probably enjoying doing that Fandango a lot more as that would be consenting with a partner of his choice at a live concert rather than being mind-raped to Queen by the devil in his car. Regardless, it's another allusion to sex in the scene, adding to the rape overtones.

There's also something that is pretty horrifying about the fact that these scenes of Crowley and Aziraphale being separately reintroduced to us in 2008 after we first met them both together in Eden are intercut so that Lucifer's attack on Crowley scored by "Bohemian Rhapsody" ends with the Italian sung and cuts directly into Aziraphale speaking Japanese to the chef at the sushi restaurant.

He'll try to explain to Gabriel that eating sushi is "what humans do", which is the same phrase he'll use to try to explain to Michael and Uriel in S2 what falling in love is. During the bookshop attack, Shax will bully Aziraphale about his humanity-- about the same two things (food and love) in the two previous, connected scenes. (Gabriel, initially the one repulsed by tea in 1.01, leaves the scene after Aziraphale tells him to hide by asking if anyone wants a hot chocolate, in a pretty hilarious turnabout.) Shax calls back to the food-related and the love-related "it's what humans do" moments for Aziraphale by asking if she should "send up the sushi" and by mocking his relationship with Crowley ("What are you? Crowley's emotional support angel?"). Crowley and Aziraphale are the ones in love and it's tied together throughout multiple scenes in both seasons to sushi, in reference to the night Armageddon began in 2008.

The point then is that, making this all even worse, Crowley is actually supposed to be at a back corner table in a dark sushi restaurant sneaking a date with Aziraphale when he's attacked by Lucifer in The Bentley-- and then forced into helping start Armageddon, which could bring about the end of his and Aziraphale's relationship... and that's our grim introduction to his world in the modern part of the story.

As we go learn what Aziraphale is like in the modern era and contrast him with his head office's mentality via Gabriel's arrival, we also are given clues in the scene that suggest that Aziraphale was actually expecting Crowley, as he looks to the side Crowley comes up on when he hears the miracle sound that actually signals Gabriel's arrival instead. Aziraphale will then explain that he's there, doing "what humans do" and enjoying it, to Gabriel, and it will be only eating sushi in this moment, just as Crowley will not be present when Aziraphale explains that falling in love is "what humans do" while objectively talking about Maggie & Nina but, ultimately, talking about himself and Crowley beneath it-- his real motivation for keeping Heaven off their backs is Crowley. The writers then have Shax combine the two "it's what humans do" scenes around love and sushi and throw them back at Aziraphale while Crowley is once again not with him because of Heaven/Hell but is present in his absence in the moment.

All of this happens in the first scenes of Crowley in the modern era, all the way back in the first episode, and it's done to give us an understanding that he is a survivor of attacks like this and how that impacts his behavior, his choices, his relationship with Aziraphale. It's to give us a finer appreciation for his strength and his humor and his capacity to love in the face of it. It's to show that while some of the demons are just kind of amusing idiots, if dangerous, and that there's a lot of humor to mine there, some aspects of being a demon are not at all amusing. Crowley is really just doing the best he can to survive the absolute horror show that is an eternity of damnation as Satan's favorite over here because there are very dark, very violent aspects of it that he cannot permanently avoid.

While the attack we are shown is a mercifully short, if horrifying, scene, the implications of it are even worse. The assault we are shown had a plot purpose in that moment-- Satan giving instructions on delivering the antichrist baby to the satanic nunnery-- and since everything was in motion, that was the extent of it. Armageddon took precedence. What we are left with, though, is the impression that this type of demonic assault with its massive rape overtones is something that Crowley's experienced before and that the implication is that Lucifer attacking him is not always just to deliver a message related to an assignment but to deliver one of forcible control over him and that this is something that Crowley has been dealing with periodically for the 6,000 years he's been on Earth. It's akin to a kind of rape in 1.01 and that is already way more than enough to see how that would affect Crowley in the story... but then S2 takes this scene and both alludes to it in a key moment and gives it a whole paralleling subplot, highlighting its importance and continuing to expand upon the meaning of it. Both things together then suggest that while we saw a rape-coded assault in 1.01, the feeling that the scene was alluding to other instances where it was rape itself was definitely the implication of it.

In S2, in the group scene at the end, Crowley is out of the bookshop taking Maggie and Nina away from the angels for their safety when the subject of Satan comes up for the only direct time that season. Shax demands that Gabriel and Beezlebub be taken to Hell to be given "as gifts for Satan, our Master" and Head of the Dark Council Dagon replies that "he wouldn't want them-- maybe as hors d'ouerves." On the show obsessed with food symbolism and that codes different types of food with relation to sex-- in particular, because of Serpent of Eden Crowley-- and with the brothel owner named "Mrs. Sandwich", to say someone would want a being as a "hors d'ouerves" implies sex and if we're talking about Lucifer, then we've already established that consent isn't exactly a priority. Rape isn't about sex-- it's about power-- but the show is coding Lucifer's behavior in line with its coding of sex to highlight that his violation of Crowley isn't just of the heavily rape-coded variety that we saw in 1.01 but has actually, at other times, been rape.

Dagon's most significant line in S2 is essentially to point out that Satan's a rapist-- but it's also to point out that not everyone in Hell has been through that horror. Satan's choosy. Satan's a bit fixated. Dagon's comment is actually surprising. Your first thought when Shax suggests giving Gabriel and Beez to Lucifer is that he's the devil so they'd be in danger and what you've seen of what he's done to Crowley was skin-crawling and you don't want that to happen to Gabriel and Beezlebub. You assume that it might because we're talking about Satan but then Dagon puts a check on that and says-- to not a single bit of even implied disagreement in the room-- that Satan wouldn't really care that much about getting Gabriel and Beez.

Think about how truly kind of crazy that is.

Satan would not be that interested in being handed over his old friend and the Grand Duke of Hell who betrayed him and the Supreme Archangel of Heaven? He'd maybe rape 'em, sure, possibly, casually posits Dagon, but they aren't what he's really after. They'd just be hors d'ouerves.

Not a single being in the room even so much as signals disagreement with that assessment that the not terribly subtle Dagon chose to voice aloud, which means they all agree with her. They all know who Lucifer's fixated on.

*Gabriel* and *Beezlebub* would only be fucking *appetizers* to Satan.

That implies the existence of *a main course*, does it not?

Who else but Crowley (and Aziraphale) could be on that menu? No one.

We also have that Crowley is conveniently out of the bookshop for the moment that Shax and Dagon have this exchange about Lucifer. He comes back in on Dagon saying "hors d'ouerves" but was outside when Shax was referencing Satan so he didn't hear any of it. This seems very deliberate on the part of the writers, as if Crowley had been in the room, it would have prompted some kind of response and changed what happened in the scene afterwards. Instead, the only reference to Lucifer is specifically when Crowley isn't in the room, probably because this conflict is on-going and going to continue into S3.

Prior to Dagon's line, the show also paralleled Lucifer assaulting Crowley in The Bentley in 1.01 with Lindsay abusing Nina, which adds another layer into this. You could even make an argument that one of the reasons why we never see Lindsay and we just see their abuse of Nina via the text messages they send Nina is to draw an intentional parallel to how little we've seen to date of Lucifer/Satan in the series.

It directly ties to the 1.01 scene in The Bentley because, prior to Lucifer coming through the radio and assaulting Crowley, Crowley was trying to call Aziraphale (the Maggie to his Nina in this parallel, though obviously much further along in that relationship) to tell him about Armageddon but he'd taken out the mobile phone networks earlier in the night to have something demonic to share with Hastur and Ligur. This parallels Crowley knocking out the power in S2 accidentally and Nina getting locked in the coffee shop with Maggie. Lucifer and Lindsay both attack through electronic communication devices-- The Bentley's radio and Nina's phone-- and unleash a torrent of abuse. The difference is that Nina might be more easily able to escape Lindsay and live a more peaceful life after S2 while Crowley has yet to be truly able to evade Lucifer.

While Lindsay's abuse of Nina is at least psychological and emotional in what we are shown and Lucifer's abuse of Crowley is that with physical and sexual aspects that may or may not be present in Nina's relationship with Lindsay, the type of abuse doesn't matter to the parallel as it's all terrible and that's the point. Lucifer's abuse of Crowley is paralleled with the intimate partner abuse Nina is suffering in her relationship. This is objectively pretty interesting since it sort of suggests that Lucifer is Crowley's Lindsay, in the sense that they might have once been involved pre-Fall, which might add another element to why Lucifer is fixated on Crowley.

So, while Crowley can encourage his parallel Nina all he wants to take a risk and trust more and to trust him when he promises that it will be worth it, Crowley himself can't really extract himself from his own Lindsay-ish situation yet. He does know how to survive it, though, and it's not all about the defenses he and Nina put up-- it's about learning to shed some of those defenses enough to have a sense of intimacy with a kind person you can trust to love you and help you feel safe.

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #good omens meta #aziracrow

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orionsangel86 · 1 month

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You know, I thought we were done with the ageism in fandom thinking that its purely for teenagers? Because it doesn't help anyone to have the attitude of this (now blocked) anon. People don't stop having passions and being fans of things just because they get older. Fandoms thrive BECAUSE older people put in the effort to MAKE them thrive. Do you really think that 100k word perfectly written epic fanfic that you adore so much was written by a 16 year old? Because I guarantee it was more likely to be written by a 35 year old mother of 2.

That amazing cosplay of your fave character you saw at a recent comic con that took phenomenal skill and probably a good deal of expense to look perfect wasn't put together by a 17 year old high schooler, it was perfected through years of passion into a hobby that more than likely required a full time job and a savings account to afford.

That amazing fanartist who has the BEST art of your OTP that captures their likeness in a really gorgeous style? They weren't born with that talent. It takes years to develop a personal art style, and capturing a persons likeness in art is a skill that has to be nurtured. The best artists are the ones who've had years to develop their skills. They aren't school kids. I have had mutuals on this site for a decade now and I have seen how much their art has improved and become absolutely beloved. These are people who at their youngest are in their late 20s now. Most of my mutuals are in their 30s, some of the best fanfiction writers I know are in their 40s and 50s. The meta writers I know are also in my age group. Hell, do you think teenagers run AO3? You'll be surprised just how many "old people" make the best fanworks. If you removed them from fandom spaces, I guarantee you would remove most of the talent, because no offence to you kids, but that talent is something that is nurtured over time, and time and aging go hand in hand i'm afraid.

The people who make fandoms what it is, the ones running events, pouring themselves into analytical posts, providing the best fanart, coming up with the amusing memes and textposts that go viral? Do you REALLY think they are all school kids? Fandoms are made up of PEOPLE, and newsflash assholes, people AGE.

This attitude always amazes me. There isn't an age limit in fandom. This isn't fucking Logan's Run (bet you the kids won't understand that reference) and honestly if these kids genuinely think they need to give it up and quit at a certain point in their future I just pity them.

Fandom thrives because of the older people that have nurtured it for years and carved out a space where younger people can enter in comfort and safety. Which are only possible BECAUSE older people built online fandoms and continued to put in the work to keep them going. If we all had to stop caring and leave fandom at some specific cut off date, the fandom landscape would be a vastly different space - and probably a lot worse for being predominantly run by hormonal teenagers - heh, I guess it would be a lot more like TikTok and we all know how dreadful TikTok has been for fandom so far. If nothing else that alone proves my point.

At the end of the day, no one can stop the passing of time. Even the horrible children who send adults nasty anons. Eventually, they will be the "fandom elders" and receiving their own anon hate from a future generation of brats, I personally can't wait to be the very old lady laughing at them when that day inevitably comes.

#fandom #ageism #respect your elders #fandom problems

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sapphire-weapon · 2 months

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So, in light of recent events, I've been doing a lot of thinking. People ask me a lot how to get into analysis and where to start if they want to analyze characters and media -- and, historically, my answer has always been "start with the themes."

But there's actually a point 0 place to start. I never mentioned this, because I thought it went without saying -- but that was stupid for me to do, because people are coming to me with nothing and I'm expecting them to have something by default. That's dumb.

The real place that you start?

Is with the writer and the target audience. Who is writing this story, and who are they writing it for?

This is the exact reason why I've also said, in the past, that not all readings of a text are valid. The only way to make all readings of a text valid is by invoking Death of the Author.

So, what is Death of the Author?

Very plainly, Death of the Author is defined as: a literary theory that argues that the meaning of a text is not determined by the author's intention, but rather by the reader's interpretation.

A lot of queer media analysts and scholars, for example, invoke Death of the Author in their work, because they know that an author did not intentionally set out to write a story that was reflective of the queer experience -- but their argument is that there's a way to read the text that is reflective of that experience. They're not saying "this is what the story means." They're saying "this is what the story means to me."

And this is a very valid form of literary analysis, because it provides extra meaning to a work beyond what the author intended and makes it more accessible to a broader audience.

But the thing about Death of the Author is that you need to acknowledge that you're invoking Death of the Author. Because if you don't, then you're making a completely different argument, which is: "the author/work intends for us to take this meaning from it." And you can't say that in good faith for all readings of a story. There is no way to make a claim that there's a positive allegory for the trans experience within Harry Potter, because that is most certainly not what JK Rowling set out to do. However, you could make a Death of the Author argument in favor of that -- which would be great, because it'll piss her the fuck off.

That's what I mean when I say that "not all readings of a text are valid." When I say that, what I actually mean is "that is absolutely not what the writers intended for us to take away from this scene/character/relationship/line of dialogue."

So, if you're someone who's coming to me, personally, and asking "how do I do what you do?" -- I don't make Death of the Author analyses. That's not what I do. So, my step zero to writing meta is to consider who is writing the story and who they're writing it for.

And there's a few reasons why I do this.

First and foremost, I'm in the business of theorycrafting. In order for me to try to accurately predict where a character arc or storyline is going and how it's going to manifest in future titles, I need to try to hone my focus on the writer's actual intentions. Because if I can't see things from their perspective, I'm never going to be able to chart out a course for where they might be going. And I'm not always right -- but sometimes I'm really right. Like, really super right. And I can't stop being right. And that feels really good.

The second reason is because acknowledging the writers' intentions opens them up to criticism. It's hard to criticize a writer for a lack of inclusivity if you take the stance that all readings of a text are valid and therefore any of the characters could be XYZ marginalized group. It's hard to criticize a writer for a sexist narrative or a sexist framing of events if you make the argument "but it's possible this completely alternate interpretation is also valid."

Like, I love DBZ. I love Akira Toriyama. I cried openly when he passed. But DBZ has some sexist bullshit going on in it. And you can't criticize it or him for turning all the female characters into housewives and babymakers while also supporting a reading of the text that says "but this is the happy ending that the characters are fighting for in the first place, so it's actually empowering."

So, in the case of Resident Evil...

Resident Evil is being written and developed by Japanese men in their 30s, 40s, and 50s for a group of Western cishet male gamers between the ages of 18-35. That is their target demographic. They are not talking to my coworker who's a 24 year old afab bi enby who desperately loves the series; the series just happened to reach them despite that.

And while everything in RE released prior to 2005 is pure survival horror meant to make you constantly feel like you're on the back foot, everything from RE4 onwards is a power fantasy. There are still horror elements to the games and movies, but RE more turns into a monster-of-the-week series about cool characters doing sick wrestling moves on cool monsters.

The devs and also the majority of their target audience project onto the male protagonists of the series to a certain extent -- which is why there has only been one title released since 2005 with a focus on a female protagonist, and that's Revelations 2 -- and, even then, Claire had to share the spotlight with Barry. Women have been playable here and there and been considered "main characters" -- but they've never really been the focus of any new titles that have come out. Sheva is considered Chris's partner. The RE6 campaigns are primarily about Leon, Chris, and Jake. Revelations 1 is seen as a Chris and Jill game in equal measure. And even though Death Island was supposed to be about Jill -- it wasn't, really. Because every other character had to be there with her, too.

So, when I get shit for taking a "heteronormative perspective" to my RE analysis -- there's a reason why I'm doing that. It's not because this is how I inherently view the world. It's because that is the intention with which the games are being written. That is who is writing the games and who the games are being written for.

Let's take RE4 Remake as an example, here. Capcom had to mash three different women together in order to create Ashley and turn her into an idealized fantasy woman so that she had the perfect face, the perfect body, and the perfect voice.

And the games are being developed by and for men who project onto Leon and see him as a power fantasy.

That is why it's absurd to me for people to say that Leon and Ashley never flirted with each other in the game. Of course they fucking did. Capcom created the perfect woman with giant tits and a small waist and a huge ass and a supportive personality and put her into close quarters with a male power fantasy protagonist. They put the flirting in so that their target cishet male audience could live that.

What people don't understand is that the eagleone romance wasn't created for the sake of the ship. It was made because of:

dudes who want to fuck Ashley and

Yoshiaki Hirabayashi's love for fairy tales.

(What makes me say that Hirabayashi loves fairy tales? He wrote RE5, which has a shitton of fairy tale elements surrounding Jill and Wesker specifically and even an alternate costume for Sheva that's called "fairy tale." To find that he turned RE4 into a fairy tale wasn't surprising to me at all, considering what the source material was. But the RE5 thing is for a separate post.)

Capcom doesn't care about your ships or our ship wars. They didn't create a Leon and Ashley romance because "we ship these two characters together." They created a Leon and Ashley romance so that guys who want to fuck Ashley can feel like maybe they could.

And because Hirabayashi fucking loves fairy tales.

And I also love fairy tales, which is why I love the ship. But I also do recognize that there's a sexist element behind the construction of Ashley's character and am capable of criticizing the ship for that reason.

So. Yeah. Start there. Start with the writers. Start with the intended audience.

I know that RE isn't being written for me. So I have to look at it from the perspective of the people who it is being written for. And if you want to analyze media, you have to do that, too.

#resident evil #resident evil 4 #leon kennedy #ashley graham #eagleone #meta analysis

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esther-dot · 4 months

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Hi Esther!

Would you have a tag (or tags) that I can follow for asoiaf theories and metas on your blog? I feel like I am far behind in terms of fandom speculation/theories that have come out and would really like to catch up.

Thank you <3

Sadly, I was not good about tagging when I first joined the fandom, and I’m still not consistent. 🫣 But I looked around and have found some stuff you might enjoy.

I like these posts about Dany's relationships with her nephews as being foreshadowed by her interactions with Rhaegal (Jon) and Viserion (Aegon). This post about potential foreshadowing for Dany to kill Aegon. This spec about Dany v Aegon and Jon betraying her. This one, about how killing Aegon will not be the victory she expects, and some parallels between him and Robb .

I have a tag for Dance of Dragons 2.0, but the better one to peruse is prolly sayruq's on that topic. Also, just so you know, the fandom at large seems to think "mummer's dragon" means Aegon is fake, but we tend to believe he's Elia's son and that that's about Jon. I'd recommend reading Aegor's tag for more general Aegon content.

I can't find any specific book meta about how the Starks will defeat the Others at the moment, although I linked to a meta about it happening at Winterfell in this post. If anyone has a post they like or wrote on it, please send it catofoldstone's way!

Let's see...I haven't been doing a good job keeping up with meta for the past year, but I think there's good stuff in the Stark v Tag tag which has foreshadowing for conflict between wolf and dragon and spec about Arya and/or Jon assassinating Dany. Oh, here's the tag talking about foreshadowing for Dany to face-off with Euron which I find interesting spec. I do have a few tags I’ve tried to remember to use more, Book Jonsa, R+L=J, King Bran, The Girl in Grey. This post about the Ashford Tourney Theory has links for meta on that (it's a beloved Jonsa theory), and I have a few additional things tagged for it. I also have this post with some favorite Jonsa metas. The Sansa and Lyanna tag has been fun due to @please-dot's eye for parallels.

theusurpersdog doesn't seem to be active any longer, but their posts on Dark Dany are very good. This one has links to the previous ones in their series on her. I like this one about book Jon as well.

I enjoyed howlandreads writing (also inactive), especially this post, Feminine Rebellion in ASOIAF.

Reading trinuviel's post about Dany being Azor Ahai (but that being a bad thing!) was formative for me, so even though I feel like I link that a lot, I shall again! This is the final post in the series and has links to the previous entries.

Fedonciadale is someone I thought of as our very own ASOIAF expert. She passed away a year ago, but I’d encourage you to look through her masterlist. She was a fan of LOTR and Martin is a huge fan (he said he regularly rereads it), so I was very interested in the parallels she found between the two series.

I’m not sure if you were around for this, but Istumpy did a reread project and you can find links to each of those posts in this master post. You may want to look at the summaries for each book in that post to find where the foreshadowing for a specific topic is and approach it that way.

The one meta by someone beyond our corner of the fandom that I think about often is that famous series of essays on Dany because Martin endorsed them. It was written years and years ago, and after reading Martin's words on it, it's hard to understand how Dark Dany is treated as a fringe theory or rejected as part of shipping wars.

I hope you find something you enjoy somewhere in all of that!

#dot chat

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starflungwaddledee · 2 months

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🕰️🩷🧋and 🥘 for starstuck Dee please and thank you.

[ >>> kirby oc ask meme <<< ]

🕰️ (Clock) - What would a Dreamy Gear version of them look like? What sort of accessories would they have? What kind of role do they play?

well i couldn't resist drawing it once i'd thought about it, so here she is! still pretty recognisable, but i think that large elements of her story and the suspicions surrounding her would be different, due to the fact that waddle dee/bandee is usually the one and only waddle dee. i think she'd still be found in a meteor crater at the edge of town by meta knight, but i think this time he'd bring her to bandee instead of president dedede, mostly due to the clear visual similarities. bandee would take her in instantly, and she'd follow him around the mechanic shop, learning to tinker and serving as his glorified assistant. learns to make really good apple tea instead of being a friendly chatterbox she would be shy and selectively mute, speaking out loud exclusively to bandee. though she still forms relationships with kirby and meta knight, i think that sadly in this world president dedede would frighten her, despite how highly bandee thinks of him 😭 at meta knight's suggestion, after he finds her squinting skyward on the roof at night a few too many times, she makes herself a pocket telescope for looking at stars and surveying the weather. she uses it to give bandee reports, which he discretely passes on to kirby and dedede for their races.

🩷 (Pink Heart) - If they were a Dream Friend, what would their moveset be like? How much HP do they have? Would they be a strong attacker, or would they take on more of a support role?

she would be a support role for sure, but i also can't resist also giving her some specialised abilities... > hp: small health bar, but practically immune to damage. will still die in insta-kill scenarios like lava or crush blocks > basic attack: if bandana waddle dee, meta knight, or king dedede are on the team she'll get a simple swing attack with a toy/training version of their weapon. if at least two are on the team, it's upgraded to an attack with a three-swing combo, and she'll alternate at random between which weapon she pulls > basic support: drawing magic from the environment around her or other allies or enemies present, she can give a wide variety of power effects. i previously said she'd give blustery and i stand by it, because even if there are no other elements around there's always air, but i think she could give the others too. she cannot attack with any of these herself > healing: under CPU control she'll focus on running ahead to pick up heal items, and bring them back. if everybody has full health, she'll actually store the item and bring it out later whenever anyone gets below half health; tdlx bandee style > meteor shower: this is a charge attack that starts with a 3 minute cooldown. after charging, she can use it by jumping in the air and pressing a multi-button combo, to avoid accidental activation. this is a full screen, crash-like attack with a shooting star visual, similar to team meteor. all on screen enemies defeated, and most bosses down to at least 1/3 health. > downed: unfortunately after using the charged attack she will drop her inventory, pass out, and need to be piggy backed for about 5 minutes if you want to keep her on the team (walking over to her will activate a 'piggy back' bar instead of the standard 'revive'). she cannot heal or give buffs during this time, but can be dropped by accident or when attacked, and can take damage that cannot be healed. if she makes it she wakes up at partial health, but returns to being invulnerable while conscious

🧋 and 🥘 both answered here!

#“i won't do any drawings for these” i said. you know like a liar. anyway #steampunk design you could NOT expect me to resist it. ghhuuhh.#this one got really long SORRY AUUGH but do you see my vision of her as a simultaneously really useful & really useless dream friend!!!!#especially love that she runs ahead and picks up all the food items. this is just the cheats way of getting free kisses and we all know it #anyway this was fun! i enjoyed these! i always enjoy thinking about movesets and such and breaking 'the rules' in games #why yes my oc CAN be a special little snowflake with special mechanics what of it. what OF it.#asks #starstruck dee #ask meme

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pikahlua · 5 months

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hello! i read your meta about “control your heart” and it has some interesting elements but i think the notion that “izuku controlling his heart means suppressing emotions and is bad” is not something that many bkdk’s have the opinion of.

we understand that he has to be able to control his anger and that it’s as good thing; our beliefs of this “control your heart” plotline as it relates to katsuki is us wanting izuku to explicitly acknowledge that katsuki is a trigger and why that is for him - some deku introspection if you will. katsuki knows it, AFO knows it (so much so he told katsuki to his face about it), deku possibly knows it as well but it is not acknowledged by him both on his own or in a talk with katsuki. is it some unspoken accepted thing? would there be further discussions on katsuki specifically being a trigger that makes him lose all control? will they talk about that?

But Izuku does acknowledge it on his own.

Unless you mean you want him to specifically acknowledge that his being mad at Monoma for Katsuki's sake is what caused Black Whip to go berserk. It then sounds like the thing you're focusing on is that conversation after the Joint Training Arc in which people seem to assume Izuku is "lying" or withholding information, to which all I can say again is "I don't think they were even talking about that." I explained what I think they're talking about.

Now, I don't fault anybody if what they want is Izuku to talk about his feelings for Katsuki working as a trigger out loud, but I'll be honest--I think the time for that has long since passed. I can't imagine a way he could say this now that would sound natural or meaningful. It's as you say; he and everyone around him and the readers all KNOW this is the case. His actions proved it. Katsuki's treatment of Izuku's rage since then proves he understands to some degree too. TomurAFO himself knows this is the case and he even says so lol. It's very much in the Japanese style to let actions inform everyone's understanding such that no one needs to talk about it, such that talking about it would be seen as clunky and crass.

A lot of MHA characters and especially Izuku are meant to be read on their actions rather than waiting for their words. I've seen this desire for a verbal acknowledgement manifest in ways that seem like people just want to be told explicitly what's going on rather than being shown, like for instance some people think Izuku still hasn't acknowledged Katsuki's apology. Izuku answered it pretty loudly if you ask me, by letting his guard down and apologizing back and thinking from Katsuki's point of view and accepting Katsuki's help via allowing Katsuki to catch him. If he were to stop the story just to talk about this with Katsuki, it would probably end up sounding like exposition and not really take us anywhere other than to destroy the pacing of the story.

What I want is to encourage people to trust their interpretations of the characters' actions. Just because a character doesn't talk about something doesn't mean the thing didn't happen, that the character didn't feel important things we as readers were supposed to pick up on.

So yeah, sure, you can want that sort of verbal acknowledgement, but be careful about expecting it. You cannot deny there are plenty of people who do expect it.

#anon ask #ask pika #my hero academia manga spoilers #final arc spoilers #i mean this in the nicest way possible and i hope that's coming across

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breadvidence · 7 months

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Toggling between I.V.V and III.VIII.XXI trying to square this character with himself—how do you start with "stoical, serious, austere", a man whose "laugh was rare and terrible", and pass through "you’ve got a beard like a man, mother, but I have claws like a woman"? Lemme say, I was far more blithe about this before I had to decide how many cock jokes he might conceivably tell in a 20k span. Meta flavored by authorial navel-gazing ahead. For a somewhat unnecessary context, I'm working on a modern AU that depends on the musical but is beholden to the Brick.

First: my favorite thing about fandom is watching people hare off in wildly different directions, and while there are interpretations of this character I'd flat disagree with (the conservative ones that think he's in the right, mainly), there's many many more I'd thumbs-up gleefully even as they contradict my own reading. Shit, I will go so far as accepting your Javert who is based on the premise that Jean Valjean in I.VI.II (1) means his compliments and (2) is making a good character assessment. I might someday write a second thing that has a wildly different version of the character in it—why not? This is a sandbox, you can dig more than one hole.

Anyway, I've come to a few different conclusions.

The comedic one: When "Jean Valjean stepped up to this bed, in a twinkling wrenched off the head-piece, which was already in a dilapidated condition, an easy matter to muscles like his, grasped the principal rod like a bludgeon, and glanced at Javert" (I.VIII.IV), all of the emotional stressors and situational whiplash of the past few weeks catch up to Javert, the flexing is too much, he has a small frontal lobe aneurysm, it is nonetheless large enough to impact his inhibitions, his inner cunt is released. The "stoical, serious, austere" man described in I.V.V becomes the one who plays—plays!—cat-and-mouse with Jean Valjean during the first Gorbeau encounter and later runs his mouth at all and sundry. The contrast between the descriptions in I.V.V and subsequent on-the-page behavior is a deliberate character development and entirely the fault of Jean Valjean.

More seriously—yes, it's character development, logically because of the events in Montreuil-sur-Mer. We do not see Javert "play" with Fantine in I.V.XIII in the way he "plays" with PM in III.VIII.XXI, and while I would argue that some of his rambling in I.VI.II hints at his shitty sense of humor, there's no overt witticisms; he laughs in I.VIII.IV but absolutely not from humor. Based purely on his Tome I behavior, sure, austere and serious. Related: M-sur-M really should fuck this man up: regardless of it being set to rights, for years a figure of authority was perverse, and he himself operated as a lower functionary of that perverse authority. You could argue that Jean Valjean didn't "count" as a mayor because he was a convict, but going down that road you can end up at an almost normal psyche (one where bad authorities exist), which is undoubtedly unacceptable in interpreting Javert, so. While he's ecstatic in the moment of revelation and arrest, in the longterm—what's the impact? Bitterness and instability expressed as humor, maybe, in the way you dredge comedy out of cognitive dissonance? I can see why correctly identifying a criminal would make any other cop more confident, and how (cruel)playfulness/humor could stem from that, but I can't help but think it's a bad sign psychologically in Javert's case.

Victor Hugo looked us in the collective eye and said, "I am going to describe this character abstractly one way and then have his concrete actions be contradictory simply to fuck with you."

I'm perceiving a contradiction where there isn't one. The style of his humor—which is very dry, even morbid—and of his play—fucking with helpless people—are not in and of themselves unserious. And if I'm not mistaken, the last time we see him laugh is in I.VIII.IV (oddly the other time is in I.VI.II, but it's lugubrious/sad bitch behavior). I'm not thoroughly convinced, but I'm not thoroughly convinced of the character development theory either.

An alternative completely different from the above that I have failed to think of, but which someone will helpfully put in the tags?

(My current plan for the project semi-affectionately titled DAMMIT is to 🙈 at I.V.V in preference of III.VIII.XXI—which is not my greatest yeehaw of a characterization choice, anyway (for DAMMIT, as I don't generally, I'm digging in my heels that when Hugo talks about honesty and Javert it is always with the understanding that it is a spy's honesty, self-contradictory and self-deceptive—a decision not unrelated to choosing to go the promiscuous/closeted route for his gayness, which is itself not unrelated to the fact that promiscuous/closeted plays best into contradiction as a central character trait... and is also the funniest option, banter-wise).)

#les misérables #the brick #meta #javert #fanfic (mine)

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