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qqueenofhades · 4 months

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Hi! This question has been noodling in my head for a few weeks, and I’ve been really curious to hear your opinion. I’ve appreciated your very thoughtful commentary on the ways the online left in particular have hurt the real and concerted efforts that have been made to navigate through the Gaza war in support of Palestine. I’ve seen a lot of outrage online about Biden bypassing congress in order to make another emergency weapons sale to Israel, which does indeed read as counter to helping to the Palestinians facing endless and indiscriminate violence. I understand that you might not want to answer this ask, because the work that you already do in your life offline and the work that you do here on tumblr to respond to and explain these issues is exhausting enough. Thanks so much for your time and your thoughtful contributions! It’s always really helped me remember to slow down and think critically about the media I consume.

Because you have asked this thoughtfully and in good faith, I will return the favor and give you a careful and extensive answer to the best of my ability. However, obligatory top-of-post disclaimer that I will disable reblogs at the first hint of any wankery in the notes and I will not answer any follow-ups or secondary asks at this time (unless I decide to do so, but I engage with this topic sparingly, judiciously, and only in small doses, so don't count on it).

First, let me say that the moment, I disagree with substantial portions of how Biden is handling the two main foreign-policy crises (Ukraine and Gaza). In regard to Ukraine, I think he's backed off, taken his foot off the gas, and otherwise given Republicans ammunition to keep delaying or watering down a new aid bill, is refusing to disburse military aid packages from the $4 billion of funding remaining that was previously approved by Congress, hasn't sent long-range ATACMS and other critical military hardware that might bring the war to an end sooner, and is not (as of the moment, though recent reporting suggests this might change) pushing hard enough for frozen Russian assets to be transferred to Ukraine for military and/or humanitarian financial assistance. However, I am also aware (unlike, it seems, much of the left-leaning internet) that I am basing these judgments only on my personal impressions, on what is reported (or not reported) in the media (which has plenty of its own problems) and otherwise what is formed in my role as an ordinary American citizen without any kind of special, classified, high-level, or government access. I know nothing more than any of you, and I also know that a lot of what goes on behind closed doors does not appear on Political Twitter and/or the Washington Post or the Guardian or Daily Kos or whatever other aggregate sources of information I or any left-leaning person typically consumes. So it's highly possible (and this is my cautious academic instinct speaking) that I do not, in fact, have a full picture of events. There are also contributing factors that Biden cannot simply handwave aside, even if he did, say, dip back into the $4 billion pot in the meantime. Congress will need to pass a new funding bill for Ukraine aid and the MAGA Republicans have been enthusiastically blocking it to the point where Putin's cronies on Russian state TV praise them effusively for it. We all know about the Republicans and Russia's mutual love affair. So.

The same goes for Gaza, and even more because we have already had reporting about how the Biden administration is walking a behind-the-scenes tightrope in a number of seemingly impossible tasks: keeping the war from spreading to a larger theater, pressuring Netanyahu to dial down, y'know, the rampant genocide (when Netanyahu notoriously doesn't like Biden, was very close with Trump, and would be happy to keep the war going in order to boost Trump's chances of being re-elected and save Netanyahu himself from his own criminal prosecutions), and pursuing a complex policy toward the state of Israel that does not follow the antisemitic Western Online Left's fever dream of "Israel suddenly disappears overnight and falls into the ocean and all Jews die or disappear." We have had multiple credibly sourced reports about this. Blinken is back in the Middle East right now trying to keep the war from spreading. The US under Biden has criticized Israel's essentially empty policy document for post-war Gaza as not being remotely feasible (because it's so vague) and gone so far as to voice support for a two-state solution with Palestinian self-determination (which is itself quite radically different from previous administrations). However, they have also vetoed UN ceasefire resolutions and other essentially meaningless political theater (the UN as a whole has been ruthlessly exposed in the last few years for being completely useless) that are easy to gin up outrage about, and that's what the internet focuses on, rather than any of the other complicated actions taking place.

All of this is to say that no, in fact, I don't blindly support everything the Biden administration is doing in regard to either Ukraine or Israel right now, but I actually have a sense of real-world perspective about it and understand that there are certain immutable realities that we are working with and which will not be erased by some absolute jackasses yelling at Biden in a historically black church at the commemoration of an anti-black terrorist attack. Likewise, as I've said it before and I'll say it again, and as plenty of other people have noticed and pointed out, the Western left is using this as an orgy of pseudo-revolutionary fervor that focuses on using Hamas as a proxy for their own fantasies of violent uprising against their own governments. Because while yes, anti-zionism and antisemitism are two distinct things and represent different aims and goals, it's become more or less irrelevant in allegedly pro-Palestine Western leftist spaces. It's just increasingly rabid, accelerationist, and nihilistic antisemitism all the time, or the obvious usage of "Zionist" to mean "Jew." It's not good. There is no concept of actual restorative justice for Palestinians or other people, such as Ukrainians, Syrians, Uyghurs, Taiwanese, etc, either undergoing genocide or facing the threat of it, because Western leftists have latched onto this cause solely as a stick to beat the Democratic Party with and have no actual moral interest or concern in stopping genocide elsewhere in the world or repudiating it as a method overall. They just want the state of Israel (which they characterize as a "proxy state for white western colonialism" despite the many, many things historically, religiously, and politically wrong with that statement, because it means it now Contains the Right Buzzwords to Oppose It) to be destroyed altogether in the name of "opposing colonialism," but it really seems to be all about opposing Jews. Hmm.

Simply put, Biden is not ever going to pursue a policy of "let's totally abandon Israel tomorrow, never sell it any weapons or allow it to defend its own civilians, and agree that Hamas is actually a good representation or advocate for the Palestinian people" in the way a number of Western Online Leftists seem to think he should do. There is still the fact that Israeli civilians do exist and that Hamas has continued to launch missiles at them daily, inconvenient as that fact might be for the Hamas fanboys (and fangirls) who now populate much of what passes for Western leftist discourse spaces. (Either that or they don't care, because in their view, Israeli civilians are fully acceptable collateral damage by virtue of simply living in Israel in the first place, which -- yikes. Fucking yikes. That is all.) The number of people professing to be lifelong leftists who are Just Shocked at all the antisemitism, or thinking that any and all antisemitism is just artificially introduced into leftist spaces by bad-faith right-wing/Nazi psyops either has not spent any actual time around leftists, or (more likely) simply does not listen to what they openly say. The antisemitism is virulent, constant, and only getting worse. On the most basic level, regardless of the other difficulties around the founding of Israel as a state in 1948 and the fact that doing so on some of the most bitterly religiously, politically, ethnically, and culturally contested territory in the world for over two thousand years was always going to be a massive clusterfuck, the fact of its immediate post-Holocaust creation simply cannot be ignored the way many Online Leftists do. Israel exists because of the worst antisemitic mass murder in recorded history (and that's a high bar). That fact must be incorporated into any actual discussions about its right either to exist or to protect its own civilians. But this gets turned into "Israel exists only as a puppet state of white western colonialists" which is just bad on so, so many levels.

The collective Western Online Leftist feeling seems to be that Hamas are innocent and wronged freedom fighters who are begging for a ceasefire and the cruel Israelis aren't granting them one. This is not true. Hamas has rejected multiple ceasefire opportunities, and continued to launch missiles and retaliatory attacks, because they are terrorists and they do not want or represent any serious opportunity to negotiate in the framework of western liberal democracy. They are treated as helpless woobified blorbos by much of the Western leftist-leaning internet. They are not. In that case, Biden bypassing Congress to sell Israel weapons (which was just something like 100 million of artillery shells, which is not nothing but still not a huge systematic thing like, say, Reagan's Iran-Contra scandal) is not great. I do not support anything Israel is doing to Gaza. It is abhorrent. However, there are reasons for Biden to provide some limited amount of weapons to Israel without congressional approval that do not automatically and mindlessly equate to BIDEN SUPPORTS TOTAL GENOCIDE IN GAZA!!!!!!1 Especially when as I've said, the Online Leftists only care about stopping genocide when it fits their political self-righteousness, and absolutely not at all the rest of the time.

This is representative of the fact that Western Online Leftism has now completed its all-out descent into blind Noam Chomskyism. Chomsky has never met a "leftist" or "anti-Western" genocide he couldn't deny, excuse, or openly cheerlead (going all the way back to the 1970s and Pol Pot/the Khmer Rouge in Cambodia and going up to the minute with Russia/Ukraine and Israel/Palestine). Noam Chomsky is the leftist Henry Kissinger. His ethics and morals are equally abhorrent, he's just as willing to justify total genocide in the name of advancing his preferred political ideology, and while there were (justifiably) celebrations and gloating memes across Tumblr when Kissinger finally bit the dust, Chomsky's beliefs are replicated with slavish adoration in many other Tumblr spaces and spread in some form or another to the rest of the website, which now takes them as leftist gospel (and let's not even talk about Twitter). This represents my absolute frustration with the fact that Western Online Leftism has devolved to such a degraded, mindless, useless, and malevolent level that "cheerlead for any anti-western/Leftist TM terrorist group or state" is taken to be the be-all and end-all of their moral philosophy. Someone remarked that ISIS peaked too early; if they were still at the height of their powers today, they would have a legion of devoted white so-called progressive Twitter users shilling earnestly and angrily for them, and Christ, isn't that the fucking truth.

I know we live in a hard, frightening, complex, and difficult world, and it's hard to sort out what our moral responsibility and action should be at any given time, especially since the answer is always so frustratingly partial and incomplete. Nobody of basic good sense and decency wants to see Gaza leveled while the Israeli state continues to apply a number of violently cruel collective punishments even outside the actual daily bombing of civilians. But for the love of god, let's get rid of the idea that the continued mindless violence doesn't benefit Hamas (because it does; unsurprisingly, sympathy for their cause has soared in Gaza) as much as it does Israel, or that Hamas is some kind of benevolent peacemaker that is being thwarted by the cruel imperialist US/West. And going back to the incident that prompted you to send me this ask: white leftists have often and repeatedly demonstrated their withering disdain for black people, Democratic voters, "mainstream" Americans, and anyone else doesn't buy into the twisted tankie fantasy land where getting rid of Biden would somehow be a massive coup for social justice (by getting Trump, now openly announcing at every turn that he will be a dictator, back into office! Very praxis, much justice. Wow.)

In short: if you, a white person, stand up in Mother Emanuel AME -- one of the most sacred sites for Black churchgoers, who are indeed often heavily Democratic voters -- in the middle of a remembrance service for victims of white supremacist terrorism, after the Black pastor has asked you not to protest inside the church out of respect for the Black community coming together to relive its trauma -- just so you can heckle Biden and feel good about yourself, then Jesus Christ. You don't care about restorative justice for people of color, or literally any justice at all, much less "stopping genocide." You just want to use them as props for your Chomsky cosplay revolutionary fantasies and your sense of self-righteous superiority over literally everyone else, regardless of the real-world consequences. So I have no hesitation whatsoever in telling those people to get fucked. Often and repeatedly.

#anonymous #ask #politics for ts #israel hamas war #russia ukraine war #history #long post

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mysisters-bike · 8 months

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How did the Harris' parenting style affect Eric?

Thanks to the Diversion documents, we can form a pretty clear understanding of what type of parenting style Wayne and Kathy employed in their household. At the time the families completed the Diversion paperwork, Eric had started seeing a therapist and was placed on an SSRI to control his anxiety and depression.

The intake paperwork has a section in which the parents and the child fill out a summary of known issues. There's a disturbing discrepancy between Wayne Harris's and Eric's answers. Below is what Eric submitted:

He had issues with: anger, anxiety, opposition to authority figures, depression, disorganized thoughts, homicidal thoughts, jealousy, loneliness, mood swings, obsessive thoughts, racing thoughts, stress, suspiciousness, and issues controlling temper.

Here is what Wayne submitted:

He only marked: anger, depression, and suicidal thoughts. Wayne only knew about these issues because a third party told him so. This information was not given to Wayne by Eric himself...rather, the psychologist spilled the beans and recommended an SSRI.

Of conflict in the household, Eric states his mother, Kathy, is easier to talk to:

He lists Wayne as the lease supportive family member...though he comments that they're "basically equal," it's important that Eric thought of Kathy first.

Then, according to Eric, Wayne is identified as one of the sources of conflict in the household:

Dad yells (at me) or me and my brother yell at each other.

Then, Eric states that conflict is over when "my parents say so."

Wayne, however, describes it differently:

He says that conflict is discussed as well as the reason for conflict in the house. It is over when everyone agrees upon the facts and what a reasonable punishment should be. Then, his child must accept responsibility for his actions.

To understand this last bit, it's important you know what authoritarian parenting is. Authoritarian parents show their children a lack of trust, demand results without being receptive to the child, do not nurture the child, do not explain or accept explanations for punishments, disallow the child from making their own choices, will not negotiate, and are highly critical of their children’s behavior. (Read more here. Does this sound familiar?)

Authoritarian parenting results in children that struggle with self-control, cannot make their own decisions, become aggressive with peers, believe obedience = love, suffer with low self-esteem, and are socially inept. I ask again: DOES THIS SOUND FAMILIAR?

When it comes to conflict, Wayne acknowledges that he has the final word. It's over when he says it's over. There is no justification or reasoning -- perhaps he will explain that to his children, but in the end, their opinion does not matter. Therefore, what autonomy does the child have in the relationship?

Eric laments over feeling like he doesn't fit in and hates everyone because everyone hates him. Hate is never justified, but can you truly fault a child for believing everyone hated them when, at home, he didn't feel emotionally secure?

#columbine #eric harris #dylan klebold #tcc #true crime #psychology

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emblazons · 11 months

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So (because I cannot go three seconds without noticing new little things that tell the wider story in this show):

Let’s talk about how the music that plays during the S3 Byler fight is the exact same music that plays during the S4 conversation Mike & Dustin have with Lucas as they walk to class after the pep rally—

—and how that parallel gives us insight not only into how Mike (and his devotion to Will) has evolved between seasons 3 and 4….but also how The Duffers are evolving Mike as a character in the wake of the "conflict" of forced conformity they introduced in S3.

To start: here are snippets of both scenes where “Not Kids Anymore” plays, both in Season 3 and Season 4.

Now, even though Mike is present in both scenes, it’s not entirely obvious why these things would be parallels, given the radical difference in tone. That said: when we look at these scenes in their wider contexts, we see that they are both exploring the exact same issue, only with Mike on opposite sides of the convo each time—

—namely, whether or not its worth it for Mike to embrace conformity, given that there are behaviors/roles he is meant to fill when trying to keep up with being normal/growing up...and "society" says that DnD / nerdiness (and a refusal / lack of desire to participate in performative relationships) stands entirely apart from that.

Let me see if I can explain.

First: these things are parallels because they are asking us to compare the Mikes in each situation—to notice how he took Will’s words to heart, and decided on some level that Will was right, not him. How do we know? Because in the time between these two convos (aka the rain fight and then the first few episodes of S4), we learn that Mike has made a point to address and rectify all criticisms Will had of him & his behavior during the rain fight.

As of the very first episode of S4, we are shown that Mike is 1) paying attention to both the party/DnD the way Will criticized him for not doing (to the point of calling out Lucas for not prioritizing it the way he now wants to)—

—2) he is focusing on keeping closeness with Dustin (even to the point of judging Lucas for not doing the same), because Will accused him of ignoring Dustin as readily as he ignored him—

—and 3) he has entirely stopped "swapping spit" with El (to the point of removing her from a hug at the airport, kissing her on the forehead...and then never kissing her again lmao) while letting his relationship fall apart without much of a fight…right before apologizing to Will for letting El get in the way of their time spent together in the first place.

Basically: even though he is still struggling in many ways to defend himself from being bullied/being an outcast by hiding behind his relationship with El (the same way Lucas is with “being popular” and basketball), we can see that Mike has made clear strides towards embracing the sides of him that aren’t conformist, which is reflected in all of his decision-making in Will's absence.

Though Mike is getting older and the party “aren’t kids anymore,” them paralleling these scenes is showing us that Mike, at least on some level, has realized that growing up is not at odds with embracing the things he enjoys & his various identities, whether that be through playing DnD—

—wearing clothes he chose on his own—

—or willingly choosing closeness with Will over the performance of relationships with girls (the same way Will already had in Season 3, and Dustin reflected as well).

Now...this isn't to say that he's entirely succeeded at the task, given how many times we see him fumble through actually implementing these changes/revelations in himself, whether with clothes (hello 'shitty knockoff'), embracing his actual interests, or even letting himself want to admit he wants to be with/around Will and not El—

—on top of the fact that I've already talked (many, many times) about how the journey of "feeling like you lost" the Duffers took us on had Mike ending up in a position where "conformity" temporarily wins, how that plays into his relationship with El versus Will, and why it matters for his character even outside of his queerness.

Still: I think this parallel in particular is important to understanding his character because it rules out any idea that Mike is somehow oblivious rather than intentionally working through to the changes happening in himself, whether they be in regards to him re-choosing DnD, making decisions about his clothing for himself...or wanting to be closer to Will / not participate in "liking girls," which is what he gets projection-mad at Will about during the rain fight.

tl;dr: Mike has realized on some level that he wants to be more like / closer to Will than his S3 "conformity" self—and the war we see on his face throughout the season in conversations with Will has a lot to do with that, among other things.

This musical parallel in particular draws attention to the fact that there have been changes happening within Mike that he sees and recognizes—he just "lost" like every other character this season, aka failed at walking into a more secure sense of self / out of his "conformist" relationship in its entirety...which we'll resolve in S5. :)

#byler #anti mlvn #mike wheeler #will byers #mike wheeler core #this could have gotten SO MUCH LONGER and I know I'm gonna do a companion piece on lucas right after this but lmao I had to START SOMEWHERE #like? one day I'm just gonna have to write a fucking book on mike wheeler because I have SO MUCH TO SAY LMAO #my st commentary #st parallels #stranger things #st music analysis

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quatregats · 5 months

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There’s been a lot of (very excellent!) discussion recently about Brigid and Stephen and how much she’s loved, and I feel like that’s a very good segue into a topic which I’ve been musing over for a while: namely, Patrick O’Brian’s treatment of love in general. Because honestly I feel like one of the things that’s most captivated me about the Aubreyad in general is the sheer amount of love it contains, the vast majority of which is (canonically, at least) non-romantic, and I think that the further I get into the series, the more that strikes me.

Like honestly I cannot even begin to explain how incredibly good POB is at portraying loving relationships, whether they’re friendships, marriages, or parents and children (/surrogate parent and child, as the case may be). I’m actually genuinely not sure if I’ve ever read something like it. I think that a lot of media really struggles with platonic relationships, which is a question that probably deserves a 400-page thesis about it and that I’m not really qualified to answer, but the Aubreyad somehow manages to create relationships that are all so imbued with love that it genuinely does not matter whether or not the people in them are in love or not. While I’m certainly here for reading Stephen and Jack as a romantic relationship, there’s a certain point where I actually don’t care whether or not they’re friends or lovers, because the complexities of what they feel for each other and what they mean in each other’s lives is just as deep either way. And all the relationships in the book are like that: Bonden and the Surprises looking after Stephen, Jack with Mowett and Pullings, Stephen and Sophie, and on and on into infinity.

I think the thing that makes me the most insane about this is that these relationships all feel so unbelievably, viscerally real. The love that’s stored there is the same sort of love that I feel for the people in my own life, with all the inevitable disagreements and exasperation and imperfection that it comes with. I think it’s incredibly difficult to capture that exact feeling in writing, and yet somehow he’s managed to do it. There’s been so much talk about the way in which people in our day and age and media in general struggle to talk about friendship and platonic relationships as meaningful, and I’m not saying that just any writer could go out and weave a tapestry so complex as the Aubreyad does, but reading these books is like a balm for that. There’s something so reassuring in knowing that a romantic relationship is not the be-all-end-all for any of the characters in these books, no matter how you look at it. Each of them is surrounded by a web of people who are deeply implicated in their existence and who truly care what happens to them.

I think fiction, by its nature of needing to bring characters in to serve a role in a linear plot, doesn’t often leave room for love of this kind, and I don't want to be critical of that, because not all narratives can be like the one Patrick O'Brian's written (which is 100% okay—it should be that way, that's how narratives work!). But there’s something so healing about reading a story in which all of the characters are so deeply loved. It’s like a mirror; looking into it, you can see your own relationships, and by extension, just how loved you are, even if most of the time you don’t realize it. Humans are not lonely creatures, and no one captures that better than Patrick O’Brian.

#it's just. god #love is stored in the aubreyad that's all good night #i don't think i've ever read anything that compares to it and i don't know if i ever will #but yeah. sometimes realism means relationships that mean something actually. get loved idiot #struggled a bit to frame this in a way that did not say 'just friendship' because as much as i hate that mentality #the world that i live in has very much ingrained it and i do have to work to undo that #hope it came across successfully that all these friendships and all friendships are on the same level as romantic relationships actually #aubreyad #perce rambles

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arealtrashact · 6 months

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What is the appeal/what do you like about Saw? I enjoy horror as a genre and have seen people post about saw a lot on here and had the opportunity to watch it so I did. But. I'm kind of confused? what I enjoy about horror is (a lot of different things, some of which are:) the anticipation, the contrast of good, pleasant times and the deeply horrific things which then happen, a plot that is unpredictable even if it's clear it will only end badly, I enjoy not knowing how exactly it will be bad and then the film slowly revealing that to me. Saw did very few of these things. Maybe it's just not a film for me, (I haven't watched many slashers and I can imagine they might be similar and it's just a subgenre I don't understand/am destined not to like?) but even so I just cannot understand what people enjoy about it??? from the get go it's grim and horrific, which means that when things get worse, they never really feel that bad because you have no example of goodness in that universe to compare it to? The characters are. Pretty two dimensional and also not necessarily likeable. Idk I could go on but I don't want to sound like a dickhead who loves the sound of their own voice writing a really critical review of something I don't understand. I feel like with the fanbase it has on this website, I must be missing something. Please enlighten me!!! And if you can't explain it I would love any articles/analyses of the franchise that go some way to explain why people like it if you know of any. Sorry for littering your inbox with this mini essay lol but I watched it last week and I'm still just like. Disappointed and confused and you're the first person on my dash to post something related to it so lucky you, you get to be the receiver of this ask !!! Thank you in advance if you even read this far lol, I'd really appreciate if you could point me in the direction of some kind of explanation !!! No worries if not tho, have a good rest of your week 🌻🧡

I think you had it when you said, 'Maybe it's just not a film for me'. It really is as simple as that.

There isn't always a deeper meaning or some secret detail everyone else who does enjoy it is privy to. There is no magic answer that will enlighten you into the appeal that something holds for certain people.

That being said, you shouldn't feel confused or left out by being perturbed by something as polarizing as Saw lol.

I can't answer for everybody who likes this franchise because I'm sure everyone has different reasons but speaking solely for myself : I like these movies for all the reasons you listed that you don't.

These films are like chicken soup for my soul, and have been since I was about ten years old. They make me laugh, they provide me with catharsis, and ( contrary to your statement) I find the characters very charming. I could wax on about what these movies did for me at that tender age but I am not in the habit of analyzing why I love the things that I do ( I think I'd find some patterns I wouldn't want to acknowledge /coughs/ ). All I know is that when Hello Zepp starts playing at the end of every installment, my heart swells with uncomplicated joy.

#Trashtalk #Anonymous #The short answer to your question : Hoffman's stacked rack.

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betweenlands · 1 year

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[ID: Two asks from my inbox. The first is from @12u3ie and reads "Drop the essay, Solar /nf". The second is from @artisticgryfess and reads "wait no tell me about joe being technos hels". /End ID]

holy shit you guys i'm not even a hermitcraft or dsmp blog rn. fair enough this is a longstanding conspiracy theory of mine, though. ok, so. Joe Is Techno's Hels, the not-an-essay (mainly because i'm not going to cite SHIT, this is PURELY in the realm of headcanon/theory except if i explicitly indicate something is supported by canon)

so, the joke theory starts like this: back when hermitcraft/dsmp crossovers were first getting popular, there were a lot of crack theories about "hels!joe is technoblade" because... well, a lot of factors. they're both loosely english majors (i know joe is a history major just humor me), both slightly strange guys who operate by their own logic, both have somewhat similar (ish?) accents, both have a very deadpan sense of humor and incredible delivery on that deadpan, and most of all both of them Cannot Be Killed In A Way That Matters.

however, i am your local Hels Analyst, no like seriously there's so much weird shit about helsknight we haven't discussed yet, and one (implied? this is a theory but i feel it holds water) thing that's always been key to me about Hels versions is... they represent bad traits present in the original individual. whether or not those bad traits are the Objectively Bad ones or the traits the original self-identifies as bad is pretty up in the air right now (welsknight come off anon i just need you to tell me if helsknight likes pineapple on pizza it is absolutely fucking critical to our understanding of hels lore) but we'll be going with the latter, for reasons i'll explain later and by later i mean right now.

so! assuming there are hels versions of more players than just welsknight (i cannot stress enough how much we technically don't know this in canon -- it can reasonably be extrapolated but we really aren't sure!), that brings up an interesting issue with techno being joe's hels.

joe is not a particularly violent person.

"well solar," you say, "what does that have to do with techno being joe's hels?"

"well, strawman i have made up to make this long-ass post more visually broken-up and less formal-feeling," i reply, "hels versions of players only exhibit traits that are present in the original person." and this is confirmed canon, by the way -- wels himself has explicitly cited specific ways he can sometimes suck that are directly visible in the way helsknight acts!

so. joe is not a particularly violent person, and... okay yes listen i know there's a lot of very good writing on how technoblade isn't entirely 100% down for violence all the time and maybe wants to peacefully retire, okay. i get it. i am not calling techno a murder machine all i'm saying is that one of them enjoys pvp enough that he helped train other people and the other one is recording as he always does from nashville tennessee. i am a variety mcyt blogger and the only dsmp essay i have ever written before now is about how the tftsmp metaplot parallels redstoner. just bear with me.

imo joe also exhibits a lot of self-awareness about his own bad qualities as a character, and none of those traits are really... present in technoblade? but here's where it gets interesting.

i am no genius and certainly no master c!technoblade analyst, but if we assume technoblade trained to become a fighter and identified certain of his traits as being Not Ideal for someone who focuses on pvp and being a strong pigman, we can. kind of see those traits in joe, even if we can assume technoblade has learned enough to stop displaying those traits:

will commit to the bit even if it's inconvenient for him

obnoxious about whatever form of literature is closest to him

will start quoting from that work of literature to fit the situation even when it totally doesn't fit the situation

zero bloodlust and an active need to avoid direct conflict; a tendency towards pacifism even

malicious compliance

perfectly timed awful timing

overwhelming amounts of Just Some Guy and also English Major energy

exceedingly stubborn and would rather go through a problem than around it; will also see a tunnel through a mountain and climb over the hill instead

and. hm! yeah that feels like a joe hills description. you could make a joe hills out of this. add to that the fact that both of them refuse to die, but technoblade never dies whereas joe conquers death by dying over and over and coming back repeatedly out of sheer spite -- yeah i'd say joe could very easily be seen as the hels of the two.

and if Hels, the dimension, is the hostile and horrible place that helsknight claims it is -- where "everyone's unyielding and everyone there rebels" -- well, only one of them has a (mostly) canonical backstory that involves struggling through a hellish landscape designed by a hostile architect who wishes to cause pain and suffering. and it's not technoblade.

#anyway! i hope this helsknight finds you before i do #i have to go feed Animals in my House now. thanks for humoring me #yt #txt #ask #orig #solar scraps #solar scrawls #12u3ie #artisticgryfess #technoblade #joe hills #joehills #hermits #dsmp #hc x dsmp

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thecoddaughter · 2 months

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In my real life, I am working on being an essayist and I don’t talk too much about irl stuff here but I think it’s important right now. Often times the fandoms I am in are direct criticisms of society so I feel like k want to.

When I was younger, I struggled forming my own opinions because I thought I was stealing other peoples opinions and not thinking for myself. I didn’t consider it education and I thought myself to be societally and politically uneducated (back then I would have said dumb). It all overwhelmed me. Throughout that whole time, I was leaning left anyway, even though I didn’t understand everything, I believed in human rights and decency. I took the things I was told and processed them through the lens of my own experiences.

Where does fandom come in? Brennan Lee Mulligan. Outside of being a role model as a DM, he is a role model for being a person to me. With FH specifically, he shows how life experiences impact us in our opinions with such subtleties that I retrospectively understand why I am the way I am and how I pulled specific things out of my experience.

I grew up religious like Kristen, not as extreme as evangelical but Roman Catholic so not too far off. I didn’t realize I was queer until I graduated high school and I am still religious just not with the church. Kristen’s life experiences helped me see how I also ended up here. Ally does great with that and they work with Brennan wonderfully.

The case of the Cubbys is the best example of what I am talking about. Bud Cubby explains the police state and being anti-capitalistic to the kids, they never read theory or anything, they just take that interaction with everything else that they experience and know in life and process that information for themselves. This moment is one of many in the series that made me realize how opinions cannot be stolen, they just inform each other.

#brennan lee mulligan #ally beardsley #fantasy high #sociopolitical beliefs #essay writing #fantasy high junior year #fhjy #fantasy high freshman year #kristen applebees #bud cubby #dimesion 20 #d20

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bloodyshadow1 · 2 months

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I think Brennan went too far in nerfing Fig being a bard this season.

I get Fig/Emily made a deal but to make nerf her entire class without explaining how, it's not really fair. Brennan is a great DM, but I don't think anyone should be free from criticism, Emily seemed to like it according to her interview, but it's still something bad DM's do. Brennan is a good DM and friend so I don't think he is being malicious, I think he's doing it to tell a better story that he knows Emily will enjoy in the end so it is okay for them, it doesn't change that it's an overreach of what a DM should be able to do in my eyes.

As a viewer, my opinion does not matter, because the game is not for me, but also as a viewer I am allowed to criticize what I watch. I get that Brennan is trying to do something cool for the story, but at the very least to me, he went too far. Right now, Fig/Emily are afraid of their bardic inspiration, it's poisoning her against the class. Bardic inspiration is a huge part of the bard class, one of it's staples. It's like if a barbarian lost their rages or monks lost their ki abilities, that alone is too far without talking to the player first and explaining how the mechanic has changed.

The mall fight in episode 5 was the most egregious example, I see people talking about how it was almost a TPK and the bad kids were only saved because of Brennan, but I disagree. They were only put into that situation because of DM overreach. Yes, Brennan let them live in the end, but they were only in that situation because of an unfair and insane Diabolus Ex Machina specifically targeted against Emily/Fig. a Fire elemental that did not exist before that turn, appeared out of nowhere with a tray of shrimp and it getting knocked away with one of the shrimp somehow landing in Cassandra's mouth, and being something that she a goddess is somehow allergic to and resulting in her getting knocked out, all because Fig gave her a bardic inspiration.

That's not fair, I don't care how cursed or unlucky Fig is because of the deal she made, that's a crazy amount of bad luck to correlate to a single bardic inspiration. That's like 2 nat 1's in a row bad, not a d8 or bardic inspiration bad. That's one of the worst rolls possible on the wild magic surge table twice bad.

This is not saying that Brennan is a bad person, a bad friend to the people at the table, it's not even saying he's a bad dm. But it is a criticism for that moment because it was unfair. I might be in the minority here, but I personally don' think a dm is above the table, I think they are another player with a different rulebook. They have their own rules that they cannot/should not break just as any other player at the table.

#fantasy high #fantasy high spoilers #fantasy high junior year #fhjy #brennan lee mulligan #dimension 20 #d20 #fantasy high meta #if you think I'm being unfair or a bitch #at least have the guts to reblog or reply to it #don't hide in the tags

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waitmyturtles · 10 months

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Turtles Catches Up With Old GMMTV: Until We Meet Again Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. In a LONG POST, I’m writing today about New Siwaj’s incomparable drama, Until We Meet Again.]

TW: suicide, suicidal ideation, psychological trauma

Gah. I am so psyched to be finally sitting down to write my thoughts on Until We Meet Again, but I’m actually at a bit of a loss on where to start. There is SO MUCH TO TALK ABOUT.

I think, where I can start, is to first say that this was, in my opinion, AN ABSOLUTELY SPECTACULAR SHOW. I did NOT expect this, at all. I’ve been around the way with New Siwaj, the UWMA screenwriter and director, a few times now for the OGMMTVC -- his writing on Love Sick, his work with Cheewin on Make It Right, and his work on MAME’s novel in Love By Chance have all been on the OGMMTVC list. I know that Between Us, the UMWA WinTeam continuation, was considered mostly a let-down for weak writing, and that New’s more recent shows, including A Boss and a Babe and Double Savage, were viewed quite critically (although I am a Double Savage apologist, for which I’ll explain my viewpoints later in this post).

So. What I did not expect from 2019′s UWMA was to experience so many layers in a drama à la the work of Aof Noppharnach. Yes, I cannot believe I’m going here, to compare a New Siwaj drama to Aof’s oeuvre, but damn if I will, because good lord, New took his magic hat of tricks, pulled out THE GOOD STUFF, and made it all work.

This is a list of themes that I saw in UWMA, that will help me structure this long write-up, but by no means should it be considered complete, as I’m sure I’m missing themes that you all likely caught in your watches and re-watches:

1) A new narrative structure for New -- balancing the impact of side couples by leveraging focus, equally, on two MAIN couples 2) The continuation and end of the 2019 trend of reincarnation and spiritual connections to love 3) Intergenerational queer trauma (micro-level) 4) Generational acceptance of queerness (macro-level) 5) Food and its Proustian effect on memory 6) Reflections on filial piety and the devastating effects of expectations -- and how children and parents seek redemption, particularly in New’s work

And before I even dive into THIS list, can I just say: MY GOD, FLUKE AND OHM. And Earth and Kao! But FLUKE AND OHM. Jesus, does New have an eye for talent -- from the Make It Right guys, to Perth and Saint, and then to Fluke and Ohm. I was seriously TAKEN with their chemistry. I did hear from a number of folks during my UWMA live-blogging that they can’t rewatch UWMA because of Fluke/Pharm’s rendition of the blushing maiden trope, but for my tastes -- I think the way he rendered the trope was really necessary to communicating Intouch’s story, history, and emotions, and just -- Fluke just ATE this role, my gawd. And Ohm/Dean responding in kind vis à vis Korn’s regret. YOW. It’s been a few days since I finished the show, in a total RUSH of drama hunger, and I’m still shaking my head and MARVELING at their performance.

Okay, back to the themes list. So, early in my Thai BL journey in the fall of 2022, after I had watched KinnPorsche and The Eclipse as my first two Thai BLs, I watched A Tale of Thousand Stars (way before the OGMMTVC was born), and noted that I appreciated the lack of side couples in the ATOTS storyline. I now realize, through the OGMMTVC, that side couples are both a BL trope and a byproduct of the drama styles from which BLs were born, the ensemble-based dramas like Love Sick, Senior Secret Love, and Kiss/Kiss Me Again.

New’s Make It Right -- while beloved in my heart, for the chaotic duos of TeeFuse and FrameBook -- WAS messy, with all the other couple stuff happening around it. That, along with Love By Chance, made me wonder -- why do BLs that center fabulous dyads with sizzling chemistry take away from that energy with all the side couple action? Even Together With Me, a non-New Siwaj and non-GMMTV drama, got sidelined in part with a VERY questionable side couple plot in BrightFarm.

Reflecting back on KP and The Eclipse, I had that question in mind as I started UWMA, and wondered where the Alex and WinTeam storylines were going to go. But, frankly, I ended up appreciating what NEEDED to happen with DeanPharm and KornIntouch, because -- the original novel storyline clearly demanded that these two couples, who were NOT side couples, but MAIN couples, needed a MAIN spotlight for their collective story to be told. @clairificusrex mentioned in a liveblog comment (THANK YOU, LOVELY HUMAN!) that New Siwaj benefitted in the screenplay from having a wonderful original novel to work with, and while I don’t read Y Series canon, I can only imagine that this was indeed the case.

So, New, in order to hew to the novel, had to perhaps hold back his usual instincts to muss up the main couple vibe, by centering DeanPharm and KornIntouch. With that control necessary to the story -- I think the narrative STRUCTURE of the drama just blew open. It was FASCINATING, it drew me in, and the structure allowed for another New predilection to be leveraged WELL, in his love for flashbacks. @lurkingshan, you mentioned that your taste wasn’t necessarily aligned with New’s fancy for flashbacks, which I totally understand -- I think flashbacks hurt the overall narrative structure of Double Savage earlier this year. But I think, here for UMWA, they were necessary, and I might very well be apologetic to that considering what I DID see in Double Savage by way of the story that New ended up screenwriting over there in regards to intergenerational family trauma (again, more on this later in the post).

This narrative structure lent itself handily to the next four themes on this list, all of which deal in memory, in spiritual roots, and/or in the generational passage and inheritance of trauma and emotion. 2019, as we know now, was a big year for shows themed around Thai spiritual culture and/or reincarnation. We have He’s Coming To Me, we have Dew the Movie -- we have art here, queer-centered art, that does not lend itself to happy endings, that depicts, through reincarnation or, in the case of HCTM, a ghostly purgatory, how DIFFICULT it had been to be comfortably queer and/or openly out in past and present Thailand.

And then UWMA comes along, telling TWO generational stories, intertwined by the red thread, but also, in the words of the WONDERFUL @bengiyo, connected by Korn and Intouch’s intergenerational queer trauma, the most PERFECT coinage of a theme for this show. In 1988, when Korn and Intouch die, they cannot be out. They cannot even be SECRETLY in love. Their bad dads use the foulest of language to describe their love (much like Phop’s dad in Dew). And Korn kills himself, and Intouch follows.

And what we learn, through Dean and Pharm, are the emotions, the regrets, the LEARNED BEHAVIOR that Korn and Intouch have picked up on in the afterlife, embedded in Dean and Pharm, that keeps Korn and Intouch’s love alive, with CORRECTIONS and ADJUSTMENTS made by Dean and Pharm that reflect on how not only Korn and Intouch’s love has changed and improved, but also how Dean and Pharm are learning how to love EACH OTHER, themselves, as they adjust to their OWN belonging to each other, in Pharm’s own words. GAH -- my aching heart. (Thank you to @lurkingshan for talking this through with me early on in my UWMA watch.)

I mean. THE DEPTH OF THIS. Intouch is a terrible cook, and Pharm is like, a restaurant-level chef?! Pharm is so resistant, and Dean is so FORWARD? (OHM THITIWAT, GAH!!!) (Listen. Pharm. P’Deeeean can grab MY butt, okay?) (See what I did there, @lurkingshan and @bengiyo? THANK YOOOOUU.)

And Pharm’s blushing maiden approach. Yes, I will also admit, that sometimes, it was a little cringey. But I think the blushing maiden trope was really necessary to the story -- ESPECIALLY IN THE CONTEXT of Intouch’s anger, ciphered through Pharm in the last episode. And I think that Fluke Natouch ultimately rendered the trope beautifully -- again, especially against the gorgeous ending of the show. Oh, THAT CONDO SCENE, PEOPLE. I LOST IT.

Of course, Intouch would want to hold back through Pharm in the present day. If Intouch DIDN’T hold back vis à vis Pharm -- he might lose Korn again, if Pharm missteps with Dean. Intouch may have felt that HIS forwardness lent to their troubles -- so Intouch holds back, through Pharm. And Intouch ultimately communicates his love for Korn differently in the afterlife, more hesitantly -- through a resistance to intimacy, and through food and cooking in Pharm, which itself was another amazing move in this show.

Listen. Even my pinned post says what I value in dramas, not just in BLs. You give me food in BL, and I give you my heart. But also, let’s talk about the meaning of food in Asian dramas for a second. It’s no coincidence that MANY Asian dramas and doramas center food, including my favorite BL of all time, Kinou Nani Tabeta/What Did You Eat Yesterday?. If you don’t know Asians, of any ilk -- let me make a BROAD continental and sub-continental judgement. ALL WE THINK ABOUT IS FOOD, lol. While I’m with my family, while I’m working, while I’m writing meta -- I’m thinking about food, I’m thinking about what I want to cook, what I want to order, how I can mix the cuisines I love (Thai-Indian curries, anyone? YUM). Malaysians literally boast about having multiple meals, way past three meals, a day. We Asians are proud of our cuisines, and we want y’all to be EATING, A LOT, and to try all our dishes. (ITSAY, your Hokkien mee is calling me...)

But, also: FOOD MEANS FAMILY. Let me say it again: FOOD MEANS FAMILY. You FEED the people you LOVE, with delicious food. Shiro and Kenji. Kurosawa and Adachi. The guys in Jack o’Frost. The guys in The Eighth Sense. Omg, even Kinn and Porsche. We’re seeing it in Tokyo In April Is... And Pharm, to Dean, Intouch to Korn.

And BESIDES Intouch/Pharm becoming a great cook, GOD, the story ALSO INCLUDED the Proustian reference of the madeleine and involuntary memory -- but in SUCH a stunning way, as to RECALL DEAN’S FAMILIAL MEMORY of eating his grandmother’s Thai desserts -- his grandmother, Intouch’s sister, and how Dean could get an indirect spotlight into Intouch and a depth of an understanding of Intouch’s happiness besides his love for Korn. And how Pharm EMBODIED that love for Thai desserts through Intouch’s family lineage. Oh, just get me MESSY, PEOPLE. FUCKING GENIUS SHIT.

Memory on memory on memory. Dream on dream, nightmare on nightmare, tears and red threads, inherited trauma, intergenerational trauma. The micro-level of what Dean and Pharm had to live with on a daily basis in their recollections of Korn and Intouch. The macro-level of what Pharm and Dean experienced when all of their parents accepted them for who they were as queer individuals, and their partners, as well. How Dean’s dad could ACTUALLY RELATE to Dean himself, because Dean’s dad had been rejected by Dean’s mother’s family. And how that ALLOWED Dean’s dad to accept Dean and his choice to be with Pharm. How that trauma was relieved, how Dean and Pharm DID NOT HAVE TO PHYSICALLY RELIVE what Korn and Intouch had gone through, and how those involuntary memories that Dean and Pharm carried vis à vis Korn and Intouch traumatized them until Dean and Pharm could RECEIVE their OWN familial acceptance.

The LAYERS OF THIS SHOW. Before I get to the last theme on my list, I really just need to metaphorically slam my palms on an allegorical table and give New Siwaj a huge hug, because THIS SHIT IS NOT EASY TO PROCESS ALL AT ONCE, and I can’t wait to do a UWMA rewatch to try to catch more (and I’ll likely need to write another meta, ha, when I do that). I mean, again, just to use food as an example of a kind of storytelling TOOL to INDICATE memory, especially in the context of lost and found love, of intergenerational trauma and relieving regret -- BRILLIANT. BRILLIANT.

And. The last theme on the list, the theme of filial piety, of Asian family systems and devotion and loyalty and expectations, and the devastating effects on the micro-individual level (and even the macro-social level as well) that those expectations can have.

So, I watched Double Savage, screenwritten by New Siwaj, out of order from UWMA. Very quickly, since many of you have likely NOT watched Double Savage because it’s not a BL (but it DID have Ohm Pawat and Perth Tanapon in a hose-off scene -- you can’t take the New Siwaj out of New Siwaj, amirite): Double Savage is about Korn (Ohm P.), a middle son who is branded a jinx by a HORRENDOUS Thai-Chinese father, and how the abuse leveled on Korn by his dad has intergenerational ripple effects across their family and community.

Let’s break this down. I now know that New Siwaj does bad dads from Thai-Chinese lineage very well. UWMA’s Korn is expected to take over a mafia business. His dad is disapproving that Korn doesn’t want to take over the business -- which is an UNQUESTIONABLE and EMBEDDED expectation in most Asian family lineages (hello, Jeng and Step By Step) -- AND Korn’s dad is ALSO disapproving in Korn’s love for Intouch and vice versa. Separately, Intouch’s dad is disapproving that Intouch is in love with Korn, a mafia scion.

Modern times are modern for a reason. 1988 was 31 years from 2019. I want to emphasize here the understanding that Korn and Intouch likely had -- that besides running away, there was no other existence for them to be together than to kill themselves and be together in the afterlife. And running away, and still living and existing, would have been a guilt-ridden and dangerous existence, for what Asian children are expected to do and live for vis à vis their parents. Korn likely HAD NO OTHER IMAGINATION for a life that he could live OTHER THAN to take over his father’s business and to be a heteronormative adult in the late 1980s. And, to top that all off, both of their dads were fucking assholes.

I really liked how this was juxtaposed to the relationship between Dean and his father. Dean was clearly set up to be as stubborn as his dad. Meaning, at least to me -- that Dean was FAR less likely to be told what to do by his dad, that Dean would and maybe COULD, stand up to his dad. We didn’t see it happen, but I could have imagined Dean not accepting “no” for an answer from his dad to accept Pharm. (Makes you think about Pat, Pran, and Ming, no?) Dean had Korn in him. Dean/Korn was NOT GOING TO TAKE THAT SHIT AGAIN, and that was CLEAR. I want to emphasize: THAT’S BIG. That was BIG on New Siwaj and the UWMA novel writer to include that in the story. That’s parental defiance. That needed to happen in order for Dean and Pharm to survive. As an Asian, that gives me a kick of welcome energy.

But I also really want to note what New Siwaj did at the end of the show, something so deft, it might have left non-Asian viewers wondering what was going on. In the condo scene, Dean and Pharm are ciphering Korn and Intouch -- and when Korn’s father shows up in the wheelchair, Korn’s father knows what’s happening.

And Korn apologizes to his dad. Korn had already apologized to Intouch, but Korn also apologizes to his dad, and to his brother, and to his nephew in Sin. This really gets me, y’all, I understand this as an Asian. Korn is APOLOGIZING for the PAIN he caused in his family AND in Intouch, because -- filial piety. He knows what he did to himself was devastating to the Asian family system he was born into, to the Asian society he was born into, and he apologized for the suicide he committed unto himself that caused that extra-social pain.

Like. As crazy as that sounds, it’s also an INCREDIBLY SOPHISTICATED way to ACKNOWLEDGE that Korn had broached a social boundary, and Intouch had followed him. THAT IS A HELL OF A LAYER TO ADD TO THIS STORY, ONE THAT I DID NOT EXPECT, and that SHOOK ME at the end of this series.

A similar situation happened in Double Savage. Despite the horrendous psychological abuse that Double Savage’s Korn received from his father -- an adult Korn ends up apologizing to his father for the trouble that HE may have caused. Now, what I appreciated about Double Savage was that THAT dad was like -- no, no, *I* should be the one apologizing. BUT, I want to indicate and emphasize here, that BOTH storylines acknowledge that Asian children NEED to know, SHOULD know, ARE BORN TO KNOW, that their actions have collective effects on a wider family system. We are born to understand and think like that. We are not dealing with an individualist Western perspective here. (I literally FLIPPED when I realized that New Siwaj has had MULTIPLE CHARACTERS NAMED KORN APOLOGIZING TO BAD DADS, and I’m an Asian over here UNDERSTANDING WHY, and I’m just like, pfffftt GGGAAAHHHH.)

Why am I harping on this? BECAUSE: vis à vis EVERYTHING ELSE that is lineage-based in this story -- from children being born, to intergenerational trauma, to reincarnation -- UWMA is structured around an über-macro theme of worlds being linked, by threads, by genes, by history, by spirit, by trauma. We are collectively linked. Babies are born -- we saw many babies in this show. Children belong to families. Lovers belong to lovers. Dean PHYSICALLY belongs to Intouch’s family, and Pharm to Korn’s family. A happy existence will be when a family accepts a child’s partner. Happiness is in a family growing, not a family shrinking. Warmth and growth and love happens when a happy family sits at a table and eats together.

As Pharm says at the end of the show -- oh, my HEART -- “I belong to Dean.” Yes, you do -- because you have become Dean’s family, and Dean has become Pharm’s family. Korn’s family BELONGS to Intouch’s family, and vice versa. They are destined, MEANT to be linked together, AND TO BE FAMILY, ALL TOGETHER.

Kurosawa and Adachi become family in the Cherry Magic movie. WDYEY’s Shiro and Kenji become family by way of living and eating together. Even if BBS’s Ming doesn’t acknowledge Pran -- Pran is Ming’s family. LOVE. MAKES. FAMILY.

What Korn apologized for was the impact his decision had on his family — WHILE HE WAS IN LOVE WITH INTOUCH, WHO KORN’S FAMILY WAS NOT ALLOWING KORN TO MAKE AS KORN’S NEW FAMILY in the 1980s. Korn was able to apologize in the afterlife — BECAUSE Dean and Pharm DID WHAT HE AND INTOUCH COULD NOT DO, by way of generations, by way of family acceptance, by way of inherited trauma and STOPPING that inherited trauma in its tracks -- very much like Pat and Pran banding together and doing the same for themselves. Dean and Pharm did the hard work of making the relationship a real one, in every aspect of their intimate, micro-level family lives, to a public, external existence in the world. Korn could FINALLY experience the release of GUILT he had towards Intouch and towards Korn’s family, now that Korn’s love for Intouch could FINALLY flourish outside the constraints of filial piety through Dean. THIS IS HUGE. I have no words to tell you what the BRILLIANCE of this means to me as an Asian. LOVE MAKES FAMILY, and LOVE THAT IS ALLOWED TO FLOURISH GIVES YOU THE RELEASE TO BE YOUR TRUE SELF.

Dean had learned from the inherited trauma that he got from Korn that he needed to stop the trauma train in his tracks, and he did, and he confronted his father, and his father blessed the union of Dean and Pharm. When Dean took the gun away from Pharm, and embraced Pharm, Korn and Intouch KNEW that they could finally be safe in the afterlife. Dean and Pharm were the ciphers that finally ALLOWED Korn and Intouch to exist happily together in spirit. Korn, especially, could exist freely, now that he was relieved of his guilt. Dean and Pharm were, LITERALLY, Korn and Intouch’s FAMILY -- the FAMILY that ALLOWED the FINAL RELEASE for Korn and Intouch to be together as their true selves and spirits.

And Dean and Pharm confirmed that in FRONT of the family member, in Korn’s father, that had originally caused all this pain. The intricate layers, communicated to a primarily Asian audience, of Korn apologizing to his father, and then of Dean embracing Pharm and confirming their love AND Korn and Intouch’s love, in front of that former barrier -- that is GROWTH and FLOURISHING in the face of generational defiance, and about as sophisticated and eloquent a communication of familial transcendence as I could possibly imagine seeing in Asian drama art. WHOA. I’m a little out of breath with this.

Wow. And speaking of being one’s true self: I deeply loved that Dean and Pharm took a three-month break. I loved that Pharm was smart and strong enough to demand a break to understand if DEAN and PHARM -- INDEPENDENT of ANYTHING they had INHERITED from ANYONE -- actually loved each other and belonged together. Fuck. Pharm was like, no -- this one’s on me. I need to see, outside of ANY INFLUENCES, FROM ANYONE, ANYWHERE -- if I love Dean, if Dean loves me, and if we belong together. Brave. Badass.

AND, I truly loved how Korn and Intouch -- DEAN AND PHARM’S FAMILY -- came BACK to Dean and Pharm’s dreams to offer thanks. I loved how, in the end, the past and his family came back to give Pharm that little contextual nudge to say to Pharm, it’s okay to love Dean for Dean, AND to love how you two came together, through Korn and Intouch. And Pharm could acknowledge, finally, that he belonged to Dean. God damn.

This story was so multilayered, SO complex, SO filled with a respect for love at its highest and most complicated levels. This story was filled with CRITICAL SCRUTINY towards Asian family systems and the trauma that those systems can render. This story was filled with an acknowledgement for the power of LOVE that those same family systems can offer unto children who NEED pillars of love and support (Pharm’s mom and brother, badasses!).

Y’ALL. I just, I DID NOT KNOW that New Siwaj could DO THIS! I know that UWMA is considered his best show, but like, this is his best show BY A LOT, A LOT. Double Savage, in contrast, had a lot of narrative and structural issues that detracted from the core stories of filial piety that were ultimately very important to tell.

UWMA did not fall into that trap. It was SMART, it MOVED (FOR SEVENTEEN EPISODES! I SLAMMED THIS SERIES! I could have watched MORE, I cannot believe I’m SAYING THAT!), it was. It was just BRILLIANT. It was an ode to romantic love, to family love, to the power of memory. In 2019, it joined He’s Coming To Me in a burgeoning echelon of cinema-influenced BLs in storytelling, soon to be joined by I Told Sunset About You, ATOTS, and others. It took the sad endings of He’s Coming To Me and Dew the Movie and said -- not today. Today, we will let love LIVE, let QUEER LOVE live, in REAL LIFE, in REAL TIME, and we will not let our lovers live in regret. We will take queer love, we will give queer love FAMILY, and we will give it the HONOR IT DESERVES.

Until We Meet Again is a must-watch of the highest order, and goes on the shortlist of shows that I will refer to as one that makes me proud to be an Asian. It was easily one of the most important shows I’ve watched in this project. All credit to New, Fluke, Ohm, Earth, and Kao for a PHENOMENAL experience -- my heart and mind have been bettered because of this show.

[FLUKE. AND. OHM. Fluke and Singto coming thru in Shadow the Series? Sign me the FUCK up. Actors on actors. WOW. Did UWMA ever introduce me to another crop of dudes who can fucking tear up a screen. I had SO much fun watching UWMA, whew!

And, yep. I had to follow this up with 2gether, ha. I’m going to spare myself a little pain, if y’all don’t mind, and combine my write-up of 2gether with Still 2gether. I know there’s a lot to be said about the lack of intimacy in 2G, which I can’t wait to dive into, but I can’t help but to also run into another wall of analysis with dear P’Aof’s work in S2G. I’ll make it all work!

After I get myself together with 2gether (HA) -- it’s ITSAY time. I will be planning on watching ITSAY TWICE before writing, as I’m preparing myself to catch EVERYTHING I can before I pen words. Stay tuned.

Status of the list below. As always -- if you have feedback, send it my way!

1) Love Sick and Love Sick 2 (2014 and 2015) (review here) 2) Make It Right (2016) (review here) 3) SOTUS (2016-2017) (review here) 4) Make It Right 2 (2017) (review here) 5) Together With Me (2017) (review here) 6) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 7) Love By Chance (2018) (review here) 8) Kiss Me Again: PeteKao cuts (2018) (no review) 9) He’s Coming To Me (2019) (review here) 10) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 11) TharnType (2019-2020) (review here) 12) Senior Secret Love: Puppy Honey (BL cuts) (2016 and 2017) (I’m watching this out of order just to get familiar with OffGun before Theory of Love -- will likely not review) 13) Theory of Love (2019) (review here) 14) 3 Will Be Free (2019) (not a BL or an official part of the OGMMTVC watchlist, but an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 15) Dew the Movie (2019) (review here) 16) Until We Meet Again (2019-2020) 17) 2gether (2020) and Still 2gether (2020) (watching) 18) I Told Sunset About You (2020) 19) YYY (2020, out of chronological order) 20) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) 21) A Tale of Thousand Stars (2021) (review here) 22) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS 23) Lovely Writer (2021) 24) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 25) I Promised You the Moon (2021) 26) Not Me (2021-2022) 27) Bad Buddy (2021-2022) (thesis here) 28) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 29) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 30) KinnPorsche (2022) (tag here) 31) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 32) The Eclipse (2022) (tag here) 33) GAP (2022-2023) (Thailand’s first GL) 34) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 35) Moonlight Chicken (2023) (tag here) 36) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults)]

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determinate-negation · 3 months

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Hii. I'm not sure how to phrase this question, but how does one draw the line between the most effective way of getting people into engaging critically with art and politics (which is imo, being nice and encouraging and yes coddling a little bit people's fragile egos) and expressing your own discontent with people's lack of curiosity and desire to learn and form well funded opinions beyond base level takes, paired with an immovable conviction that anything that isn't immediately comfortable (such as your blorbo show (?) Being criticized) must be Evil.

What I mean is that as an individual you'd want to basically shake these people who shut down every discussion with the slogan Let People Enjoy Things, and rightfully call them idiots for throwing a tantrum at the grown age of 36 because someone said maybe watching something other than Steven universe would be good or whatever, but on the other hand telling people they are unintelligent for exclusively engaging with surface level ideas/ uninspired art does Not encourage anyone who does that into going beyond that comfort zone. At the same time tho it does feel like you're doing airplane sounds so the baby eats the pudding without crying. You cannot condescend anyone into critical thought but the fact that so many people are unwilling to engage in it out of laziness is making everyone's life worse. How do we get out of that point ig is my question. Sorry if that made 0 sense English isn't my first language :P hope you're having a good day/night

idk i honestly get very annoyed by watching people or interacting with people who respond to any mild critical thought with some iteration of 'let people enjoy things' and 'youre being elitist for not liking the popular thing,' and a million other things. ngl i dont think tumblr is also the greatest place for like... scholarly discourse although it can actually be quite productive for it somethings. but a lot of people genuinely dont want to look into shit. theres an attitude here (not just on tumblr but i just think in the capitalist west) of incuriosity and its difficult to say how to overcomme. for example ill post links to books and essays about a topic and have people complain that i dont specify what chapters to read. this pisses me off to no end and i end up ranting about it and probably coming off like a dick lol. thus the posts...

i also do post like essays and articles and shit that i think explains my position on this and the theoretical basis for it, and if people ask questions ill try to explain any concepts and give recommendations for stuff to read about mass culture and cultural criticism. i think this has been more productive, idk. i dont think political education and class consciousness will rise from social media though, which is where these tendencies are allowed to develop to the extreme. organization and education irl will be the most fruitful, but still i just think to show people the stuff that influenced me and how i think of it is a net positive. ty and same to you

#also ur english is great its a completely coherent message

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pagesfromthevoid · 1 year

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Whatever the Poets Say | b.b. | Epilogue

Benedict Bridgerton x fem!reader

Word Count: 1.4K

Warnings: Tooth aching fluff

Author’s Note: This is it. The end. I’m so proud of this story 🥹

Series Masterlist | Talk to Me!

6 Months Later

Queen Charlotte’s eyes darted back and forth, reading the book in front of her intently. Her expression gave nothing away; there was no way to tell if she liked what she was reading or if she hated it. And truly, that was the most anxiety inducing part of it all. However, she refused to show her stress.

In the Queen’s hands was a copy of Whatever the Poets Say, written by an Anonymous Young Woman. Though, it was no longer all that anonymous given that the Queen –and her cohorts –all sat with the author in the room. However, the author now was not the timid, shaking girl she was when the Queen first met her months ago. Now, Mrs. Bridgerton sat confidently in front of her Queen, sipping her tea with a sly grin on her face as the Queen finally slammed the book shut.

If the Queen of England liked her writing before, there was plenty of hope that she would like it now as well.

Mrs. Bridgerton set her tea down on the table beside her, leaning back in her seat. Her grin had turned into a soft smile, waiting for the criticism that she knew would be coming. But Queen Charlotte just smirked.

“I am in need of a biographer,” she said simply.

Mrs. Bridgerton furrowed her brows. “Excuse me?”

“I need a biographer, Mrs. Bridgerton. Must I repeat myself again?”

She quickly shook her head, sitting up straight. Any confidence she once had had disappeared, and was replaced by confusion. “No, your Majesty. I just…You want me to write your biography?”

“I want someone with a keen eye and a way with words. You happen to have both.” The Queen waved dismissively. “You will be compensated for your work, of course.”

Mrs. Bridgerton broke out into a smile and she stood, bowing to the Queen now. “Yes, of course. I-I would be honored to tell your story, your Majesty. More than honored, truly.”

Queen Charlotte’s smirk turned soft, and she shooed her cohorts out of the room. When the door shut, leaving the two women alone, the Queen stood before Mrs. Bridgerton. “You are far more useful to me here than you are as the lady of the house. I do hope your husband does not mind me keeping you during the day.”

“Benedict will surely understand, my Queen,” she reassured, hands behind her back now. “He knows well what I want to do with my life –he will not stand in the way of it.”

“How refreshing,” the Queen hummed, turning now to walk to the window. “A gentleman who wants his wife to work.”

“A gentleman who wants his wife to be happy,” she corrected softly, watching her for a moment. “And this…this is an opportunity one cannot ignore.”

“It’s not, is it?”

*****

“Where have you been all day!” Eloise yelled as she slipped into the Bridgerton family home.

The two had been invited over to dinner with the Lord and Lady Bridgerton, though Benedict had rolled his eyes when the invitation arrived so prettily written. She couldn’t help but laugh at the idea that Kate had made Anthony write a formal invite to dinner.

“I was in town,” she explained simply. It wasn’t a lie, technically.

“What did I say about becoming a better liar?” Benedict asked, stepping out of Anthony’s study with a grin. His hand found her’s without a moment's hesitation.

“I’m not lying,” she insisted, rolling her eyes. “I am simply omitting details. I was in town, though.”

Benedict pressed a kiss to her cheek, and Eloise gagged playfully. “Just you wait until you find your match –then you won’t be gagging at the sight of love,” he teased.

“I need to speak to your wife,” Eloise insisted, pushing him aside and taking her sister-in-law’s hand. “Privately.”

Before Benedict could argue, Eloise pulled his wife into the sitting room –where Edwina and Kate both sat.

Holding her book.

“Oh dear.”

“‘Oh dear,’ indeed,” Edwina teased, crossing her arms with a smirk. “I thought I was going crazy, reading the book.”

“As did I,” Kate agreed, brow raised as she flipped through her book. “I kept reading it, and thinking, ‘This sounds rather familiar.’”

“Oh yes, and then of course, Elric tells the King of France that the main character is a gossiper…that is when I knew,” Eloise pointed at her now, eyes narrowed. She seemed less entertained by the whole thing. “A little warning would have been nice!”

“I did not think you would read it,” Mrs. Bridgerton defended, putting her hands up while she felt a blush creep up her cheeks. “Truly, I did not even know it was on the shelf yet –the Queen had a copy, but I assumed the Queen just had everything first –,”

“What do you mean, the Queen had a copy?” Edwina asked, eyes going wide.

“Is that why you were in town?” Eloise continued, not letting her a word in.

“The Queen loves gossip more than any of us,” Kate hummed, rolling her eyes.

Mrs. Bridgerton took a moment to let the ladies chat, then shook her head. “The Queen…she wanted me to finish the story, remember? When Eloise told her I was Whistledown…She read the book when it was published.”

“Well, did she like it?” Eloise demanded, eyes wide with excitement, having forgotten her annoyance.

Mrs. Bridgerton nodded. “She asked me to be her biographer. She…gave me a job.”

The three ladies stared in surprise, clearly failing at producing a coherent sentence outside of, “Really? “Oh my goodness,” and “Bloody hell.” It was a far better reaction than she anticipated, though she didn’t think anyone would react negatively to the news.

“I haven’t told Benedict yet, which I’d very much like to do now –,”

“Yes, yes of course. Go tell him –that is so exciting!” Edwina exclaimed, standing up and hugging her now. “I am very jealous, honestly.”

“As am I,” Eloise hummed, though she still seemed a bit frustrated. “I am still mad at you however.”

“Why on earth are you mad?”

“Because you let me read…read smut about my brother!”

Mrs. Bridgerton considered, for a moment, Eloise’s plights. Then she just laughed. “Was it at least good smut?”

“I hate you,” Eloise seethed, throwing her hands in the air. She repeated the phrase over and over as her sister-in-law slipped out the door with a laugh.

Benedict was leaning against the wall, as if he had been there waiting the entire time she was with the ladies.

“Do you not have something else to do while I am busy?” She teased, taking his arm when he offered it.

“I have plenty to do,” he replied, guiding them towards the back doors and into the gardens. “I just have not seen you all day –I missed you.”

“You will need to get used to that, then, I suppose.”

“Used to what?”

“Missing me during the day.”

They stopped at the steps of the house, and he looked down at her with his brow raised. “What do you mean?”

“I mean…I have been given a job. With the Queen.”

Benedict’s face lit up with excitement as he turned to face her fully. “The Queen gave you a job? Doing what? How can I help? Can I help? I know this is yours but I want to –,”

“Benedict,” she interrupted, laughing at his excitement. Her hand reached up to rest over his heart. “She wants me to be her biographer –to write the story of her life.”

He couldn’t help himself as he wrapped his arms around her, lifting her up to spin her around. She squealed some in response, unable to keep herself from laughing as she held onto his shoulders. “I am so proud of you!” He exclaimed, keeping her off the ground as he held her close. “My wife –the Queen’s biographer. What an honor it is to be married to you.”

She turned sheepish, feeling that blush creeping back up again. “You flatter me, Benedict. I –,”

“I must flatter you! You are a writer! For the Queen!”

When he finally set her down, Benedict rested his hands on her waist, looking down at her with adoration and awe. Her heart ached with joy –something inside her blossomed with Benedict’s support. His overjoyed reaction gave her exactly what she needed.

“I love you, Benedict. So very much. Thank you for believing in me.”

“I love you too,” he promised, leaning down to rest his forehead against hers. “And there’s no need to thank me for doing something that is easier than breathing.”

———

Taglist: @queensgirl718 @drowninginaseaofbooks @severewobblerlightdragon @wildflowerel @just-an-ace-elf @kamala-khann @iwantmyredvelvetcupcake @imheretobeinvisible

#benedict bridgerton x fem!reader #benedict bridgerton x reader #benedict Bridgerton imagine #benedict Bridgerton #Bridgerton

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gryficowa · 5 months

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Something pisses me off that people in the fandom reduce all the criticism of the episode with Marinette's trauma to the fact that people in the fandom are stupid or love Chloe too much and hate Marinette

No, people don't like this episode because it has no respect for the viewer and it has many problems that are revealed later in the same season, on top of that, I question whether Adrien's trauma was addressed at all in a respectful way, or whether they justified everything by that he is a senti monster? Exactly

By the way, defenders of this episode, I hope you were going after Felix like you were going after Chloe? Oh no, wait, he was a victim of domestic violence and he was rich, so like Chloe, but he was a boy, so his trauma is more important

But coming back, this episode with Marinette's trauma is problematic on many levels, mainly because it fucks with the logic even more than in the first season when in the episode "Origins" when they rescued Chloe, and then in "Lady Wi-Fi", the chat noir suspects that Chloe it's a ladybug and don't ask about logic, because there is none

Not only does Kim and Chloe make so much sense that Chat Noir from the episode "Lady Wi-Fi" could give a high five on this topic, but calling it "Feature Sharpening" is an understatement, it's more like Thomas had too much to drink before writing the entire script for the episode, and like a typical kid, he created the episode like one of the "Scooby-Doo" movies, where Scrappy-Doo was an out-of-character character in order to be antagonized (Because the fandom didn't like him, so it's better to kill off the whole character this way)

What's the best way to end the story of a father who abuses his child? Give him a statue, the fandom will 100% love it

Seriously, Thomas, we all know you didn't write this episode for traumatized people, but just to go the way people did to kill Scrappy-Doo, which was to kill Chloe herself so that the fandom would hate her and Kim in the process suffered, because why not?

And by the way, to explain your imaginary daughter with your ex…

The standards of this series also contributed to the reception of this episode, and I would also like to remind you that Zag wanted redemption for Chloe, but Thomas himself did not want it, so when Zag left to create the film, Thomas went to destroy the whole Chloe, because like a child he cannot reconcile with this, that a fictional character can have any development and tried his hardest to kill Chloe like a Scappy-Doo movie, seriously Thomas, I understand a lot, but as a creator you should use it to your advantage and not kill her off because you hate your character so much (Like a child what creates illustrations of cartoon characters dying because he hates them)

Seriously, this show has 00's to 2010 vibes, but today? Such productions are more annoying than entertaining (And I say this as a 01-year-old)

This writing by Chloe and Kim seriously has Scrappy-Doo movie vibes to me

So the episode with Marinette's trauma is even more irritating, because anyone sensitive will notice what Thomas did here and it is a seriously conscious murder of his characters.

The context of this episode makes you feel offended rather than understood by the creator, because it's not about empathy towards people with trauma like Marinette, but about killing off the characters of Chloe and Kim

No matter how much I love the trope of the main character who, over time, turns out to have a trauma that the viewer doesn't know about, this show fucked it up and resulted in a not-so-good taste

It's just the context of this episode that causes it, I'm seriously sensitive to this way of writing and it has irritated me since I was a child, I was hoping that the newer the cartoons, the more it would disappear, but then Thomas appeared and did my hated trope, but turned it up to the max

Sometimes I wonder why many great creators get as few seasons as possible, while Thomas gets more

Because no matter how much I liked this show, after Chloe's arc fell apart and the writing fell apart because killing Chloe is more important than everything else in this show, it made me fed up

And because of creators like Thomas, many people consider animations as worthless and only entertainment for small children, because Thomas' writing style is effortless (And even productions for preschoolers can handle it, yes, I'm talking about "Bluey"), just as little as possible, and the fact that the fandom swallows everything has a simple task in this topic

Thomas had a good idea, but Miracolous's greatest enemy was Thomas himself

Damn, it's hard for me to come back to the series, but "Ladybug PV" is awesome, so Thomas himself has gone backwards in the development of his work, literally.

Ok, Felix was still problematic (It was chat noir back then, for those who don't know the history of the miracolous creation process)

But if Thomas could develop the character… Oh no, wait, he can't, that's why Felix became Adrien

By the way, Mr. Pigeon and the mime from the first season appeared in this version, just an interesting fact

I also have the impression that the characters had a better design than in the current series

There was another 3D version, which also looked amazing, so the version we got is the worst and this thought kills me, because this series could have been something more, but Thomas himself killed it, i.e. the creator killed his creation before showing it in its entirety to the world (Congratulations, Thomas)

Yes, I had to let go of all my frustration with the show and the fandom, because it's fucked up that when you criticize the bad writing of Marinette's trauma, people come up with their theories on why you do it, not why you do it and why you don't like it

#cartoon #cartoonist #ml critical #ml fandom salt #ml ladybug #ml salt #ml writers salt #ml writing salt #miraculous ladybug #adrien agreste #marinette dupain cheng #chat noir #chloe bourgeois #thomas why?#thomas astruc #thomas astruc salt #miraculous ladybug salt #ml writing critical #anti thomas astruc

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soyouareandrewdobson · 9 months

Text

Asians are all the same, right? The racism of a company cock gurgling moron

Like herpes and unlike the Dobbear, I am back baby.

At this point, deepest apology for my long absence. Personal issues over the last two years prevented me from writing anything and also destroyed for the longest time any desire to really continue the blog.

However, I don’t want to let things unfinished and seeing how the hypocricyofandrewdobson still manages to get some rise out of old Dobson related stuff, I wanted to just return, in order to properly contribute a bit more critical thinking in regard to his old comics.

And while I will not immediately return to my retrospective of SYAC, here is at least (for a start) my opinion on one comic of his, that in my opinion just proved hilarious and controversial in hindsight, and rather racist even back then.

I admit, I don’t know anymore what the title of the comic here is. All I know is, that it came out around 2018, shortly after the release of his “Black Panther” comic, another malignant piece of Dobtrash that has made the rounds online ever since. However, unlike the Black Panther comic, which became the center of a lot of discussion regarding Dobson’s racist assumptions about comic book fans while ironically trying to present himself as woke, this one was weirdly drifting off into obscurity. Which is kinda weird, cause in my opinion, it is way more racist and actually kinda insulting to the very craft Dobson supposedly “dedicated” his life to.

Let me explain.

First, over the course of three panels, Dobson comes essentially off like he is considering the medium of comics as inferior to the medium of movies. Making it look as if comics are unsuccessful because they cannot rail in the same amount of money than certain flics and calling them at best nothing more but a pitching ground for corporations to create new shallow mass product.

Now I am a bit of a realist and I know that, especially in the world of mainstream American superhero comics, this is kinda the case. Most comic book characters, stories and franchises are owned by multibillion dollar corporations, who either have a direct hand in the creation of the product (via corporate mandate for example) and/or use the likeness of the product to make profit in additional, more valuable revenues than the printed medium. Such as cartoons, merchandise and movies. One example I can think of, to show that it isn’t just an American issue: Yugioh. The card game wouldn’t have come to be if there hadn’t been a manga starring a little boy putting together an ancient Egyptian puzzle, but while the original manga ended way back in March of 2004, the card game makes millions globally still after 25 years and counting.

But that doesn’t change the fact, that comics as a medium still have value. Without the stories told within their pages, we wouldn’t have characters such as Captain America, Superman, the Mask, the Ninja Turtles and so on to begin with. Don’t get me even started on stories that aren’t falling into the American mainstream comic trend, but still succeeded in the printed comic medium partly because of genuine artistic and profound value such as Maus, Barefoot Gen, Watchmen, V for Vendetta, TinTin and a shitton of (other) stuff from Europe and Asia.

So when Dobson, who always acted like he is proud to be a cartoonist and that comics are a superior medium to others, suddenly reduces them to just being a “pitch ground for better stuff down the line” at best, I as a fan of the medium and just the art of creating stories in itself, get kinda pissed.

Additionally, the way how he compares movies to be better than comics, is severely flawed.

He brings up the fact, that “Captain America: Civil War” made over one billion dollars at the box office as an example, while pointing out the fact, that most single comic issues barely manage to sell 100.000 copies, while holding up a copypasted “Civil War” issue.

Already, Dobson essentially compares apples with bananas, while also giving both false and incomparable data, that also ignores many aspects to be considered.

For starters: He compares the earnings of both movies and comics with two different values. For movies, he goes by the monetary profit a superhero movie could possibly make, while for the comic issue, he goes by the total number of copies sold.

But here is the thing: Assuming the average selling price of a comic is at 4 dollars for a single 30 page issue, selling 100.000 copies would ring in like 400.000 dollars. And considering that producing one issue likely costs a company less than 20.000 dollars (obvious costs for mass production and distribution not withstanding) they can still make a decent profit this way from ONE issue alone. One issue. Not multiple issues of a long running, but sadly underperforming series. All of that by the way doesn’t even account for the fact, that most single issues at best tell only a quarter of a decent short story nowadays and ignores later “long term” factors, such as reprints of the issue, late term buying of the issue, tradepaperback sells of the issue, the longterm effect and cultural impact the issue may have on the actual series or plot continuity (such as Amazing Spiderman 122, aka “The Night Gwen Stacy Died”). Don’t get me even started on the fact, that many of these issues get first sold in the US and only over the course of one year or longer may then additionally be sold in other parts of the world, therefore bringing in even more money for the publisher.

Example: The Duck comics by Don Rosa, which earn more than four times more in Europe, than they ever did in America, despite the guy being from California. Finally, a a little add addendum: that example Dobson gives indirectly via the “Civil War” issue? A quick google search revealed, that Civil War issue 1 sold over 300k copies in May of 2006 alone. Sure, not necessarily the best numbers ever for a single issue (as evident by the following list: https://bookriot.com/bestselling-comics-of-all-time/ )but still nothing to be ashamed of.

And yes, I know that we live currently in a time, where comic book sells have dropped significantly for a variety of reasons, one of them being an overall lack of decent stories. But as long as other stuff still manages to run freaking circles around American superheroes (*cough* One Piece *cough*) I wouldn’t say the medium itself is dead. Just a specific branch of it is suffering from a lack of quality and the customers are jumping ship.

A superhere movie meanwhile is a completely different beast. Ever since “The Avengers” came out in 2012, most superhero movies are 150-250 million dollar behemoths, that get overhyped by advertisement campaigns that are almost equally as expensive and try to trick the audience into believing, that they all are somehow the next big mindblowing thing on the big screen. Plus there hasn’t really been a superhero movie in the last 10+ years, that didn’t release simultaneously worldwide, instead of only coming out in the USA, and then a few months later, in other parts of the world.

So is it any wonder then, if a superhero movie that got advertised like the second coming of a saint, makes 1 billion, when there are already billions of potential customers worldwide all at once when the product launches?

That number btw becomes actually less impressive, once you start to think about how it came to be. Something our blue bear obviously didn’t.

See, on average every movie theater demands like what, 12-14 dollars per movie nowdays?

If we divide the box office of Civil war (1.152 billion btw) with 12 dollars, that makes on average 100 million people worldwide who watched the movie. A bit more than one or two percent of the worlds population. Not to forget, that of the box office success we have to substract such things as production cost of the movie, advertisement, the earnings of the theaters… so suddenly the movie may at best have had only earned one quarter of its box office for Disney as actual profit.

Not to forget, Dobson made that comic in 2018, when superhero movies on average did ring in so much money, because of the hype machine. But now we have 2023 and within the last five years (and especially 2023 itself) we have seen how superhero movies can also utterly fail to make money or even earn just enough to make back the production cost. Birds of Prey, Eternals, Ant Man 3, that Secret Invasion streaming show that still cost over 200 million… Do I need to get on?

Bottom line, Dobson’s indirect jab at comics as the less profitable revenue doesn’t hold that much water really in the real world, where once the hype dies down, comics may actually prove themselves as the more valuable longterm medium. Even if it may just be for the fact, that they end up staying longer relevant in the popcultural subconscious than the current movies, which tend to lose relevance with each new hastily produced and released installment in the franchise.

But where this comic really shines and shows Dobson’s ignorance on a cultural level, is in the last panel. When all off sudden it turns “racial” by claiming that Asian people, unlike “traditional” comic readers (aka white, in Dobbear s eyes therefore instantly racist people), would eat a Marvel character like Amadeus Cho up.

Question Dobson: Why do you assume, they would eat him up? You give no real argument based on anything the character does storywise, that the “target audience” may find admirable. So I can only think, that your reasoning is, because he is ever so slightly east asian coded.

Boy, do we have to unpack not just a can of worms, but a whole package of cans now.

First, the chosen language by saying “eat it up”. When being a writer, you should know that you need at times to choose your words wisely, because of the sheer implications they can carry. And the statement “eat it up” sounds way to close to a negative statement like “suck it up”. Making it come off as if Dobson considers Asian people to be mindless cattle that will consume the grub the House of Mouse will give them without question or any desire for actual quality to it.

Second, it recks of a certain mind set I hate within the American entertainment industry and some of its creators and consumers. That mind set being, that “non-traditional” American cultures supposedly don’t know better than Americans in what is okay for the sake of representation and entertainment or not. It’s a mindset that goes beyond the necessity of e.g. localizing a foreign product to the national market, by e.g. creating a sterilized, corporately mandated and rather unrealistic depiction of another culture within their product, that will fall apart as soon as the people who are supposed to be represented get a proper look at it and realize, how pandering and often times badly researched, if not outright offensive, it is.

Only recently did we see in the world of animation how that can backfire, when Disney released the trailer for “Primos” an upcoming animated show supposedly about a half Latina girl spending her summer vacation with her annoying cousins, people calling it based on the intro (and a leaked pilot) pandering towards a latino audience in a racist manner. And guess what: currently, Disney shelves it and tries to bury its existence like Dobson his old inflation art.

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Dobson himself has actually indulged in that sort of shit kinda, back with his infamous Nintendo comic.

Essentially calling the “true”, Nintendo corporation approved depiction of his childhood Nintendo heroes disgraceful, for not falling in line with the late 80s depictions he saw in localized, made in America products such as the DiC cartoons. That and minor homophobia mixed with misogyny by calling Link “girly” for having longer blond hair since Ocarina of Time and blaming fangirls for it.

Third, and that is kinda related to my prior point, the reality of things is, that “Asians” actually did not eat up that sort of thing in the last couple of years. Sure, there is always that thing about a Chinese market. the big movie companies try to pander to and may succeed with some dumb action flics featuring big robots.

But the reality is, that not even people living in a dictatorship will eat up every trash you give to them, just because it comes from Hollywood or is supported by their glorious leadership. Disney tried to create two pandering messes of movies for Chinese people to watch, called Mulan (the live action adaptation) and that Shang Chi movie. And how did they do there? Oh right! The government did not even allow Shang Chi to be released and Mulan was released but supposedly didn’t do so well, considering (COVID not withstanding) it only made 70 million globally!

Don’t get me even started on every human right controversy in relation to the later, starting with filming in China near a concentration camp and ending with the main actress being essentially a Chinese propaganda puppet.

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So, if those movies flopped, why would Chinese people for example flock for an Asian Hulk? A hulk that is not even Chinese but Korean.

See, this is another issue that fails with the example: The actual choice of character Dobson name dropped is actually kinda terrible.

For those unaware: Amadeus Cho is a supporting character in the Marvel comics, created in 2005 by American writer Greg Pak and artist Takeshi Miyazawa. The later, despite the name being very east Asian, sounding, actually being from Canada. Now both do have east Asian roots so to speak (Pak e.g. is the son of an Korean-american man with a Caucasian woman), but they also have grown up within a society that taught them both western social values more so than we would see in east Asian countries. So with the creators already not necessarily having the most real life experience with the average mindset of a Korean citizen, can we really say that their actual creation helps “represent” those people of a foreign, non-american culture?

And that is not even covering stuff like the actual story of the character itself.

See, in the comics, Cho is supposed to be an American-Korean genius (wish fullfillment much, Greg?) and one of the smartest people in the Marvel Universe. His parents named him after Amadeus Mozart (a pretty white motherfucker as far as I remember) and he grew up under Methodist beliefs. So basically the “Korean heritage” of the character has already been thrown out of the window. Now I don’t expect the character to act stereotypical Korean, listen to K-pop, declare bulgogi to be his favorite dish or any of that shit. But when you want to sell me the character as being in some way or another connected to his ancestral culture, shouldn’t he engage at least in some “Korean coded” things?

I mean, the character of Anne Boonchuy in Amphibia is a Thai-American who acts more like a 13 year old girl that learns to be less selfish and impulsive over the course of the show and whose “heritage” isn’t thrown at us, the viewer, most of the time. In fact, Anne herself acknowledges that she e.g. can’t really speak thai, despite her own mother being fluent in it and a season 3 episode reveals, that Anne is “begrudgingly” a part of the L.A. thai community. And yet, in connection to the shows story and as part of Anne’s characterization, her heritage is acknowledged and plays a part of who she is. Even if it simply means she knows how to cook certain thai dishes, loves her parents and their customs, helps out in their restaurant, can speak a few words thai and knows the basics of Muay Thai, a form of martial arts (and fighting sport) from Thailand.

Amadeus doesn’t even have Korean parents anymore, because they were killed as part of his tragic hero backstory. Nor has he ever visited an Asian country. Oppps.

To build further up on it, Amadeus becomes for the longest time simply a major supporting character in the Marvel universe for the likes of Hulk and Hercules, two white coded characters. Sure, he plays a major role in the defeat of some cosmic horror level villains (such as Mikaboshi in the Chaos God storyline most people forgot even existed) but it takes a long time for him to become a “A-lister” so to speak.

In fact, according to Wikipedia, it wasn’t till after “Secret Wars” in 2016 (eleven years after the character was created), that Amadeus thanks to a chain of events eventually got his chance to Hulk out. And then they still had to kill Bruce Banner to make Amadeus “stand out” initially (don’t worry, Bruce came back. I mean, characters actually staying dead in comics, so that heroes can learn there are consequences? Preposterous) In fact, Amadeus hasn’t really proven himself as a decent “solo” act. Instead he became a member of the Champions (among Miles Morales, Mrs. Marvel, Vision’s daughter Viv. Nova and Cyclops), essentially creating yet another superhero team for teenaged vigilantes. Despite the fact, Cho himself should be by now in his mid 20s.

Now look, I do not want to shit talk the character. Partly because I haven’t read everything he was in myself and partly because in the few things I did see him in (both pre- and post Hulk) he was okay. He is a decent hero and person, who tries to do good, even if he screws up here and there. That is something I can admire in a character in general. But he is not a good “representation” of another culture, because his complexion and minor physical features aside, he is NOT embodying even minor values or traditions of that foreign culture. He is simply a Korean-American (or technically Canadian), who falls more on the American side of things.

So essentially, Dobson who virtue signaled on multiple occasions how bad it is when companies he didn’t like tried to speak on behalf of other cultures, would have no problem at all to ask for Asian people to swallow this obviously “Made in American” product. The “Made in America” line actually working both on a metaphorical and a storytelling level, cause trying to google what “east Asian coded” heroes in the Marvel Universe actually come from an Asian country instead of being simply born on American soil, is pretty damn small.

After 20 minutes I only found Shang Chi, as he was born in China, and that character was created as part of kung-fu exploitation in the 70s by white dudes.

Yaiks

However, none of that tops the next two points that really sell Dobson to me as an American centralistic racist. Or at least a twat who doesn’t understand how through bad wording he comes of as ignorant of other people’s cultures.

The way he generalizes Asian people in his statement, while also ignoring the actual accomplishments in the creation of entertainment in multiple Asian countries.

If you’ve read closely what I typed, you may have seen that I used the term Asian at times in tandem with the term “east Asian” to e.g. describe Amadeus Cho.

And that had a very deliberate reason. While I was not a fan of geography in school, even I know that Asia as a continent is not “nationally” as homogenous as let’s say Australia or North America. In fact, Asia is the biggest continent on the planet, hosts more than half of earth’s population and consists of at least 47 internationally acknowledged states.

States such as Turkey, Russia, Afghanistan, Pakistan, India, China, Japan, Malaysia, Thailand, Vietnam, North- and South Korea, Egypt, Israel, Iraq, Iran and so on.

Now what all these states have in common, is that they have their own unique historical, social and “racial” culture and background. Heck, religiously speaking, Asia is the cradle of the world.

As such, Dobson stating that a “Korean coded” character such as Amadeus Cho (who is only Korean on the most surface level and would technically just be a legacy character of yet another white person) would be an immediate hulk smash hit with all these different people of different backgrounds…. Yeah, it sounds like condescending, colonization inspired shit, a smooth brain would come up with.

To Dobson “Asia”, at least based on that comic, is only defined as the “yellow skinned” people from the far east, who like rice, noodles, spicy food and give us anime, Godzilla, fireworks, buddhism and communism. It does not include anyone from the middle east or of more European ancestry. And if you are even remotely familiar about history, you would also know that Japanese, Koreans and Chinese all around do not e.g. like to be thrown into a pot with the others for a variety of reasons. Many of them political.

Or to sum it up even shorter: Dobson insinuated that a very shallow, “east Asian” coded American comic character would be an immediate hit with more than 47 different countries, ignoring that not all of them share the same background despite being part of the “same” landmass. And in doing so, he simultaneously generalized and denounced entire groups of people based on their racial and cultural background, which in as far as I am aware of, is considered racist.

But the “racism” is supposedly justified, because “representation” matters, it would be giving the middle finger to “traditional” comic fans and those nations and their culture are underrepresented globally.

Which is baloney.

Don’t get me wrong, I myself think that representation does matter. But the world does not necessarily rely on the good old US-Ayy only to give it to us.

Cause a lot of the Asian nations I brought up here? They have their own entertainment industry and stories, which again, get ignored by Dobson to make a dumb and false point.

I mean, manga is currently dominating the international comic market, all while Japan has also a booming animation industry and some of the most iconic heroes in modern popculture with the likes of Son Goku, Kamen Rider, Super Sentai etc.

China has a prominent -if propaganda driven- movie industry.

India has Bollywood and delivers some of the most ridiculous but awesome musical movies on the planet.

youtube

Russia had authors such as Tolstoy and movie directors, that redefined the “art” of filmmaking.

Korea had a few years ago one of the biggest streaming hits with Squid Game, while also earning an Oscar for a movie titled Dobs- I mean “Parasite”.

Egypt, Iran, Iraq, Turkey… even nations that have not entertainment living up to “western standards” still produce stuff in some way or form to entertain the masses and their people. Just google up the character Kara Murat aka the avenger of Anatolia.

And don’t get me even started on the sheer ton of mythology, stories and history each of their cultures have provided the world with. Journey to the West? Baba Yaga, the entirety of the Gilgamesh epos...

And yet, there is this indirect assumption by Dobson, that all of them would be so deprived of “heroes” in their media and folklore, they would letch on second hand shop Hulk? Fuck off, Dobbear. I know you like to suck corporate cock as long as you think they are woke and you have childhood nostalgia for them, but this is pathetic. Take Amadeus before A Rama Raju comes around and roundhouse kicks him back to Canada. Then get the taste of mouse smegma of your Disney cock gobbling lips.

#adobsonartwork #syac #hypocrisyofandrewdobson #amadeus cho #racisim #mcu #tom preston #andrew dobson #i am back #back again #guess who's back #Youtube

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bethanydelleman · 1 year

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Darcy’s Reaction is SO REAL (and aspirational)

For those who write Jane Austen FF, any FF, or just write, or just read good stuff, one of the most skillful things that Jane Austen does, which we should all aspire to do, is give her characters legitimate reactions to criticism.

For example, Darcy learning that Jane actually was in love with Bingley and that *gasp* his judgement might have been wrong or biased. His reaction is a perfect display of real human behaviour.

First, he denies wrongdoing: “I have no wish of denying that I did everything in my power to separate my friend from your sister, or that I rejoice in my success. Towards him I have been kinder than towards myself.” or in other words, “I did the right thing, I have nothing to be sorry for.”

Second, in the letter, he excuses/explains:

Your sister I also watched. Her look and manners were open, cheerful, and engaging as ever, but without any symptom of peculiar regard; and I remained convinced, from the evening’s scrutiny, that though she received his attentions with pleasure, she did not invite them by any participation of sentiment. If you have not been mistaken here, I must have been in an error. Your superior knowledge of your sister must make the latter probable. If it be so, if I have been misled by such error to inflict pain on her, your resentment has not been unreasonable. But I shall not scruple to assert, that the serenity of your sister’s countenance and air was such as might have given the most acute observer a conviction that, however amiable her temper, her heart was not likely to be easily touched. That I was desirous of believing her indifferent is certain; but I will venture to say that my investigations and decisions are not usually influenced by my hopes or fears. I did not believe her to be indifferent because I wished it; I believed it on impartial conviction, as truly as I wished it in reason. My objections to the marriage were not merely those which I last night... [explains how terrible her family is and what he did to separate them]... I cannot blame myself for having done thus much. There is but one part of my conduct, in the whole affair, on which I do not reflect with satisfaction; it is that I condescended to adopt the measures of art so far as to conceal from him your sister’s being in town. I knew it myself, as it was known to Miss Bingley; but her brother is even yet ignorant of it. That they might have met without ill consequence is, perhaps, probable; but his regard did not appear to me enough extinguished for him to see her without some danger. Perhaps this concealment, this disguise, was beneath me. It is done, however, and it was done for the best. On this subject I have nothing more to say, no other apology to offer. If I have wounded your sister’s feelings, it was unknowingly done; and though the motives which governed me may to you very naturally appear insufficient, I have not yet learnt to condemn them.

If you read this carefully, it’s not an apology. As much as he says he might have been wrong, but he doubts it and he’s not sorry. He still thinks it was the best thing to be done. Even after he admits that Elizabeth probably knows her sister best, he goes on and on about how Jane doesn’t appear to be in love. It is pretty clear, especially from the ending lines, that Darcy still thinks he is right.

Then Darcy sits on this information for several months, which is how long it took him to come around to the idea that he was in error. When Darcy and Elizabeth meet at Pemberley, Darcy begins the third step: making amends. Darcy must have told Bingley that Elizabeth was in Lambton and invited him to visit her. Darcy would have known that bringing together Bingley and Elizabeth would reawaken Bingley’s feelings about Jane.

Lastly and most importantly, Darcy doesn't stop being himself. He relies foremost on his own judgement. He does admit that he was wrong about Jane before, which means he accepted Elizabeth’s account, but he still investigates himself:

“...I told him, moreover, that I believed myself mistaken in supposing, as I had done, that your sister was indifferent to him; and as I could easily perceive that his attachment to her was unabated, I felt no doubt of their happiness together.”

“Did you speak from your own observation,” said she, “when you told him that my sister loved him, or merely from my information last spring?”

“From the former. I had narrowly observed her, during the two visits which I had lately made her here; and I was convinced of her affection.”

Darcy doesn’t change "in essentials", he just accepts that he might have been wrong and tries again from a new perspective. This is very true to human nature, we can adjust, but we can’t change the whole of who we are as people.

This is part of why Jane Austen’s novels feel so genuine and the characters feel so real. Many characters never get past denying they did anything wrong (John Dashwood, John Thorpe, Lydia Bennet), or wallowing in the excuse phase (Willoughby, Isabella Thorpe, Mr. Bennet). Very rarely does anyone, even in real life attempt a true, positive change in their general behaviour.

But when and if they do, it would look something like what Jane Austen wrote.

#jane austen genius #jane austen #pride and prejudice #mr. darcy #inspiration for writers #not changing in essentials #JAFF #slow down your soul searching journeys #jane bennet #charles bingley #elizabeth bennet

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swaps55 · 5 months

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About (writing) Horizon

@painterofhorizons asked me to go into more detail about this post, in which I whinged about the logistical complexities I was running into while drafting Horizon for Mezzo. I proceeded to write a dissertation on the topic, so here is my Ted Talk for anyone who has some time to kill. I kept it as spoiler free as possible. :D

Not surprisingly, I’ve got a number of challenges to deal with to get this scene to have the emotional impact I want it to have, but the one I referenced in that post has mostly to do with what I refer to as setting the chess board. It’s something I do for combat scenes, or scenes where the setting plays any kind of important role in understanding where characters are in relation to one another, or when I just have too many characters in one place. Ideally, before I write the scene, I lay out in my head: what does the setting look like, and who is where?

For fight scenes, this is important so I understand what combat will look like, and so I won’t lose track of anyone during the scene. How many enemies are there? Who is taking on who? What limitations or advantages does the setting provide to influence the action? How can I use that to provide characterization or advance a character arc? Etc. In the case of Horizon, the issue isn’t the combat: it’s understanding where people start and how they get from one place to another.

Here’s the challenge: I have 3, and eventually 4 groups of people or person. Let’s call them A, B, C, and D.

A and B are in very separate locations.

C joins the fray in a 3rd location that cannot be near A or B.

A, B, and C are all aiming to reach the same location: the AA gun.

C cannot encounter A or B, which means A & B must reach the AA gun via different routes than C.

D separates off from C, and must encounter B but not A.

C needs to arrive first, then B, then A, then D.

Simple, right? D:

So instead of the chess board dictating the flow of action, I need to set the chess board in a way to facilitate the scene as I need it to play out. This means the basic layout from the game isn’t sufficient, because it’s too linear, and provides only 1 “entrance” to the area where the AA gun are, and I need two different routes to get there.

Now, am I going to waste a lot of time painstakingly explaining to the reader the layout of Horizon? No. That’s boring, and the reader doesn’t need it. But I need to know it well enough and establish it well enough that even if the reader isn’t backchecking my logic, they trust that I have not dragged them into an MC Escher painting. I don’t want people to stop and wonder, “wait, where the fuck did B come from?” in the middle of a high stakes, high adrenaline scene.

The other logistical issue I have is a very clumsy POV handoff. I do not like putting in a scene break just to switch POVs and continue the exact same scene you were just in, but there is a crucial moment where a POV handoff has to happen as a new character arrives on scene and takes over POV duties from someone who is already present. My options are:

Do the entire scene from the first POV and don’t switch. But this would completely alter the impact of the scene and shut me out of accessing some pretty critical information that only the new POV character will have.

Do the thing I don’t like: put a scene break in the middle of the scene, end the first ‘scene’ on a dramatic moment that feels like the close of a scene before jumping back in with the new character.

Do the scene break, but back up a few minutes before the new POV character arrives on scene. This does two helpful things: creates a fresh scene and minimizes the awkward handoff, while giving me a chance to fill in some of the logistics to avoid the, “where the fuck did this person come from??” problem. Because while I know where they come from, there isn’t a good opportunity for me to communicate it to the reader otherwise. Originally this is what I planned to go with, but when I got there, I changed my mind. The problem with this is that it kills the tension and feels like a bait and switch: get the reader to the moment they have been waiting for, then pull the rug and back up a few steps. The last thing I want in this chapter is for the reader to be frustrated by the way I am telling the story.

End the chapter on the POV switch and move the Big Moment to a new chapter. I don’t love this either, because it feels like a cliffhanger for the sake of a cliffhanger – if not for the POV shift, it wouldn’t occur to me to break the chapter here. While I do love it when people yell at me for things, getting yelled at for this particular cliffhanger would feel cheap and manipulative rather than earned, if that makes any sense.

Option 2 is best for the story, but it leaves me with this clumsy POV handoff that I still don’t like.

Now, on top of all the logistical complexities, I still have the other layers of this chapter: the sheer emotional complexity of it, which causes additional logistical issues. This is some of what I am trying to juggle:

Convey scene setting through the eyes of characters who are not paying a lick of attention to their surroundings because they are preoccupied or distressed by other events.

Telegraph Sam’s distress and anxiety through the eyes of someone who does not have enough context for it. This is further complicated by it being very likely this character would have more context than I would prefer them to have, so now I have to work with that in a way that feels right for the character and right for the story. Too often, supporting characters get shoehorned into plot in ways that does them a disservice, so I try to take the approach that the POV character is now the main character in THEIR story. My job is to get their priorities and motivations to circle back and support the plot while also serving their own interests. Sometimes this is very hard.

Portray Kaidan, a character known for thinking things through, as someone being extremely (and understandably) reactive in a high stakes and very personal moment while still feeling like Kaidan. He cannot be thinking straight, and he would not be thinking straight, but I have to sell that to the reader and make them believe it.

Not losing track of every other character in the scene,while also not having them interrupt the flow of the scene. If you are familiar with Arrested Development, imagine the scenes in which the camera focuses on two characters having a VERY private discussion, only to zoom out and reveal they are surrounded by a much larger, captive audience. That keeps happening in this scene, ha. These characters are not the focus of the scene, but they are still present, and therefore the reader needs to be aware of where they are and what they’re doing so they don’t seem to magically appear out of thin air when they do or say something.

So how do I put all of these pieces together? Well, it’s still in progress, so I don’t have a success story yet, but the emotional thumbtacks come first. The whole point of the scene is something I have been dying to write for years. All the details and logistics that ultimately make it work are just in the way when all I can think about is the Big Confrontation, so I just spit it out, even if it’s mostly just broad strokes, because once it’s out there I can actually think about the rest. Now I can go back through and chip away at the logistics, create a deeper and richer narrative for the POV characters, turn the volume up on the side characters who play a smaller role, and sharpen the knives so those emotional moments really land in a meaningful, gut wrenching way. Doing all of this will inevitably reshape the manner in which some of these events unfold, because drilling deeper into characters often leads to new discoveries. But I can rewire the underlying skeleton when the skeleton at least exists.

The hope is that in the end, it reads like the whole thing was effortless, and you would never guess how much work and angst and handwringing went into writing it unless you read this post. Wish me luck!!!!! I need it.

#painterofhorizons #swaps replies #how writing is written #opus!verse #i hope even a quarter of this made sense #just imagine the charlie day gif #you know the one #it me

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