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#i think about stories a lot
mystery-moose · 7 months
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Someone in my life posed some interesting questions about stories recently! In considering them I figured I'd keep a record of my thoughts here on my tumblr web log, because what void should I holler into if not this one?
First, how I think about stories. I try to avoid thinking about them as morality plays or parables (mostly because this can keep me from engaging with challenging art) but I also don't like thinking about them purely as escapism. Each story has a reason it exists, whether that's entertainment, communication, or contemplation. They're designed to draw out our empathy, communicate a feeling, create a mood. Sometimes that's in service of something important to the author. Other times, it's something meant to distract. I don't judge a story based on its pretensions, or on its naked commercialism -- I try to judge based on its execution, how it's doing what it's doing, and how well it succeeds. There are great artists right now working solely with other people's licenses, doing work-for-hire gigs, and their skills are just as worthy of praise and appreciation as the latest semi-original high-concept novel hanging in the middle of the New York Times bestseller list.
Basically, I think about stories like stories! Or, if I absolutely have to be metaphorical, like buildings. Are the foundations strong? Is it doing anything special? Can I navigate it easily? How accessible is it? That last matters a lot to me, because it doesn't matter how cool the interior is if most people can't find their way inside.
Second, what do I need a story to do to recommend it to someone else? I'm gonna go with "accessibility" at the top, not in the disability sense but the populist one. Yeah, playing to the cheap seats can hurt a story a lot, and you obviously can't please everyone, but ignoring your audience doesn't make me appreciate your story much myself, let alone get me to recommend it to anyone else. You have to find a balance where what you're communicating isn't absolute nonsense to most of your audience. Not all! Just most. Effective communication of your thoughts, feelings, and ideas to a layman is something I think a lot of storytellers could stand to care about more when it comes to honing their craft, and that goes for folks outside of the arts especially. So if I find a story with a big concept, beautiful craft, intense emotion, and it's not too esoteric or inaccessibly written? That's great art in my book, and I'll tell everyone about it.
Next, what do I look for in stories? Now that is a tough one... I guess, beyond sheer execution (if your prose is good enough you can take me almost anywhere) I look for something that makes me care about its characters as it introduces me to their world, and does so without me feeling like I'm being told why I should care about the characters or what their world is like. This goes for everything from period pieces to stories set in places or communities I'm unfamiliar with, just as much as it goes for fantasy or science-fiction. I do generally have to care about the characters in a piece to really devote a significant amount of time to a story, though. If I don't, the other elements of the work (craft, originality, feeling) have to carry a whole lot more of the weight in order to get me to finish something.
What are red flags for me? Honestly, a big one is feeling either preached or condescended to. Even if it's politics or perspectives I agree with, if I feel like I'm being told what to think rather than thinking it on my own, or if I simply think the author doesn't trust me to understand what they're trying to say? I check out. Beyond that, when a story excuses terrible behavior in the interests of forcing me to sympathize with a character the author clearly favors, I also check out. There's other stuff too -- I don't much care for certain tropes when they feel obvious or sufficiently undisguised (at least try to put some kind of spin on it!) -- but those are the big ones I think. If I see those, my desire to continue drops real sharp.
A recent example of a story I really loved, because I try to stay positive: earlier this year I finished a book called A Memory Called Empire by Arkady Martine, which almost instantly became one of my favorite stories. I had to sit with my feelings for days before I really settled on that, too! I worry about recency bias sometimes, that an impact will dull with time, but Empire has lived in my head since I read it. It's a well-told and compelling yarn that dips into a number of my favorite genres (science-fiction, murder-mystery, political intrigue, thriller) told from one of my favorite POVs (first-person) that also happens to dig into concepts that I find super cool and interesting! Things like history, how it's recorded, who makes it, what matters versus what historians only think matters. Things like the colonialism, cultural imperialism, and the politics of empire -- the pressure of being a small community being subsumed by a larger, more dominant one, the complicated nature of being a person from two worlds, whether by choice or by birth, and so on. It's got a lot of thoughts about that stuff, and it can't touch on all of them with the depth that they deserve, but it knows enough to know there's no easy answer for a lot of its questions, and it manages to make that feel like a natural conclusion rather than a copout. A great novel, and one I recommend to most everyone I know!
One I'm still in the middle of that I need to get back to: Gene Wolfe's Book of the New Sun. That's a work that I think is a bit inaccessible, with characters that I don't necessarily love (the protagonist is a professional torturer, if that tells you anything) but the sheer craft on display... my god. There are whole sections I've read, passages that describe a feeling that I've had before but never put to words, and it expresses them so effectively and with such excellent language that it carries me forward on those passages even when I'm unsure what this person's quest is or whether or not I even like them. And that's to say nothing of the depth of the text itself -- Ursula K. Le Guin famously called Gene Wolfe genre fiction's Herman Melville, and that's been borne out in what I've read so far. I've been listening to the Shelved by Genre podcast as I've been reading the book, and their own insights and analysis illuminate whole sections of the text that I would never have noticed otherwise, or would have without knowing exactly why! Awesome stuff.
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ibtisams · 6 months
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middleeasteye
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soranker · 3 months
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tomorrow :)
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nibbelraz · 4 months
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A writer and His number one fan hater
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egophiliac · 10 months
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redesigning my headcanon for Sebek's parents, based on important new information (SCALES)
(you can't see it but they're both wearing crocs)
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chihirolovebot · 5 months
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on a real note that bit near the end of the video was genuinely haunting. hearing somerton talk about how gay writers are erased from history was one thing (with all the irony being that he stepped on the backs of numerous underpaid, underprivileged and uncredited queer writers to build his youtube channel) but when h revealed it wasn't even somerton's quote in the first place? the worst, most crushing sort of irony. how do you lament about the erasure of gay people and gay writers in history... whilst erasing a gay writer and taking his words as your own?
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bucklikethedollar · 1 year
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idk how to say this without sounding really boomer-ey, but like, what happened to horror content for kids? maybe i’m using the word “horror” a little liberally but i remember when i was a kid there was SO much out there that existed solely for the purpose of scaring kids in a safe, fun, age-appropriate way. just off the top of my head there’s goosebumps, scary stories to tell in the dark, tales from the crypt (little before my time though), coraline, mirror mask, monster house, dark crystal (more incidentally scary but w/e), even courage the cowardly dog; all these really fantastic books and shows and movies that let kids explore being scared on their own terms.
now there’s idk, those new addams family movies? but those aren’t really scary.
i see people talking about the “kid-ification” of horror games and i can’t help but wonder if part of the reason kids latch onto that stuff so much now is because there’s nowhere else for them to experience healthy, safe fear. a little kid wants to get the thrill of being scared, but their parents won’t let them watch any actual horror movies, so they go on youtube and what do you know, there’s markiplier playing another cheap horror game set in a toy store or whatever, and now that kid’s fear quota is being met. (obviously there’s more to it than that, but it’s a theory i have)
this like, doesn’t really matter probably but idk, i feel bad that ~kids these days~ aren’t getting the experience of something scary made specifically for them with their genuine enjoyment in mind, rather than whatever the next fnaf ripoff is that just wants to sell them merch. being a kid and watching a well-made scary movie feels like you’re finally being taken seriously; you’re not being babied or coddled, you’re being trusted to face the skeksis and the other mother and the nebbercracker house and not back down. i wish people were still making media that respected kids that much.
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bookishjules · 4 months
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i think the show is playing a smart game of chess here, getting each of our characters in the positions they need to be in. in the arch museum, percy almost tells annabeth that he'd choose her side over his dad's. we know in the books, that this is the sentiment annabeth gives percy in the zoo transport van.. but at the point that percy says this in the show, i don't think annabeth would be prepared to respond in kind. she's too loyal to her mom, to the systems she's learned to abide within. in order to get her to that point, she needs a reason to put percy first.
by making the echidna attack at the arch occur because athena got embarassed and upset about her daughter standing by while another kid made a decision.. and then having percy be the one to stand up and defend annabeth against the monsters that had basically come from athena at this point.. the show is giving annabeth that reason. athena will fight her. percy will fight for her. and now suddenly her character is perfectly positioned to choose percy.
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expelliarmus · 7 months
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ruporas · 6 months
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feast (ID in alt)
#vashwood#vash the stampede#nicholas d wolfwood#trigun#trigun maximum#tw blood#im posting this so late because october escaped me Suddenly.. hello....#i wanted to make it a photoset with this other vampire vw wip but i don't think i'm finishing it any time soon and the mood of it is#completely different anyway. also i don't think i ever shared anything about my vampire au on here !!! it's all old art by now so im shy lo#but maybe i'll do a photodump of it. long story short vash is a vampire since birth and ww is a human vampire hunter that turns during thei#travels together due to EoM experiments + getting vash to drink from him at some point.#humans turn once they get bitten but bc ww has been experimented on#& got bitten by a bunch of human turned vampires thruout his hunts he thought it wouldn't be a problem for vash to drink from him but alas.#theyre both ok though theyre traveling together definitely not hating themselves for what theyve become and feeling guilty for what theyve#done to each other. theyre completely normal about it. the biting part is really appealing to me in vampire aus so i draw it a lot but#in reality vash only drank from ww once and ww mightve done it twice under the realization he might actually die otherwise#since he wont drink from humans after being turned.... he's combatting the 5 stages of grief at all times#if this is all nonsense im sorry DMGKSDF I'M NOT good at explaining and this au came from nowhere in the depths of my mind its a mess#ruporas art
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retellingthehobbit · 8 months
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A quick Bilbo/Thorin drawing
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yellowocaballero · 11 months
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Miguel is Fine, Actually (Being Spider-Man's Just Toxic As Hell)
Before I watched ATSV I said that I would defend my man Miguel O'Hara's actions no matter what, because he's always valid and I support women's wrongs. I was joking, and I did not actually expect to start defending him on Tumblr.edu. But I'm seeing a lot of commentary that's super reductive, so I do want to bring up another perspective on his character.
Miguel wasn't acting against the spirit of Spider-Man, or what being Spider-Man means. Miguel isn't meant to represent the antithesis of Spider-Man. Miles is the antithesis of Spider-Man. Miguel represents Spider-Man taken to its extreme.
Think about Miguel's actions from his perspective. If you were a hero who genuinely, legitimately, 100%, no doubt about it, believed that somebody is going to make a selfish decision that will destroy an entire universe and put the entire multiverse at severe risk - if you had an over-burdened sense of responsibility and believed in doing the right thing no matter what - you would also chase down the kid and put him in baby jail to try and prevent it. He believed that he was saving the multiverse, and that Miles was putting it in danger for selfish reasons. Which is completely unforgivable to him, because selfishness is what he hates the most. And then he goes completely out of pocket and starts beefing with a 15yo lmfaooo he's such a dick.
But why did Miguel believe that? Why did he believe that Miles choosing himself and his own happiness over the well-being of others was the worst possible thing? Why did he believe that tragedy was inevitable in their lives, and that without tragedy Spider-Man can't exist?
Because he's Spider-Man.
Peter Parker was once a fifteen year old who chose his own happiness over protecting others. It was the greatest regret of his life and he never forgave himself. Peter's ethos means that he will put himself last every time, and that he will sacrifice anything and everything in his life - his relationships, his health, his future - to protecting and helping others. Peter dropped out of college because it interfered with Spider-Man. He destroyed his own future for Spider-Man. He ruins friendships and romantic relationships because Spider-Man was more important. If Peter ever tries to protect himself and his own happiness, then he's a bad person.
That is intrinsic to Peter. Peter would not be Peter without it. A story that is not defined by Peter's unhappiness is not a Spider-Man story. If Peter doesn't make himself miserable, then he's just not Peter.
That is a Spider-Man story: that not only is tragedy inevitable, that if you don't allow yourself to be defined by your tragedy then you're a bad person. If you don't suffer, then you're a bad person. If you ever put anything above Spider-Man, then you're killing Uncle Ben all over again. Miguel isn't the only one that believes this - as we saw, every Spider-Man buys into what he's saying. There's no Spider-Man without these beliefs.
Miguel attempted to find his own happiness, and he was punished in the most extreme way. He got Uncle Ben'd x10000. He tried to be happy, and it literally destroyed his entire universe. It's the Spider-narrative taken to the extreme. Of course Miguel believes all of this. Of course he believes this so firmly. He's Spider-Man. That's his story. And the one time Miguel tried to fight against that story, he was punished. And like any Spider-Man, he'll slavishly obey that narrative no matter the evil it creates and perpetuates. Because if he doesn't, the narrative will punish him. The narrative will always punish him. It's a Spider-Man story.
I don't think the universal constant between Spider-Mans, the thing that makes them Spider-Man, is tragedy. I think it's the fact that they never forgive themselves. And Miguel is what that viewpoint creates. He doesn't believe this things because he's an awful, mean person. He believes them because he's a hero. He's a good person who hates himself.
Across the Spider-verse isn't really a Spider-Man story. It's a story about Spider-Man stories. Miguel's right: if this was a Spider-Man story, then Miles acting selfishly really would destroy the universe. But Miles' story isn't interested in punishing him. It pushes back against Peter's narrative that unhappiness is inevitable and that you have to suffer to be a good person. It says that sometimes we do the right thing from love and not fear, and that Peter's way of thinking is ultimately super toxic and unhappy. ITSV was about Miles deciding that he didn't need to be Peter Parker, that all he needed to be was Miles, and ATSV is about how being Peter Parker isn't such a good thing. Miguel shows that. Whatever toxic and unhealthy beliefs he holds - they're the exact same beliefs that any Spider-Man holds. He's a dick, but I don't think he's any more awful a person than Peter is.
TL;DR: Miguel isn't a bad person, he just has Spider-Man brainrot.
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poorly-drawn-mdzs · 2 months
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I want you whipped into shape!
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lazylittledragon · 1 month
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what do you mean youre technically a detransitioner cause of terf bullshit?
it's a v long story but i detransitioned for a couple of years when i was 16/17, for multiple reasons but mostly because i fell into the blaire white/kalvin garrah chamber of "you have to be This way to be trans otherwise you're not real".
i was already Deeply insecure about myself and my 'passing' and i was led to believe that i couldn't want to wear makeup or skirts, and i couldn't choose not to have bottom surgery, and i couldn't do anything but bind for 12+ hours a day to the point that my ribcage is still misshapen. basically i thought that if i wasn't suffering enough doing 'feminine' things, i couldn't really be trans, so i should just go back to being a girl and suck it up.
the terf bullshit is because i'd seen a lot of terfs/detransitioners talking about the 'dangers' of testosterone and how it would turn me into a horrible ugly evil monster and how there was nothing worse than wanting to be a man. which combined with 'you need to fully medically transition to be valid at all' creates some very dangerous and upsetting feelings to cope with.
it also came from trying really hard to put myself in a little box before i realised that my sexuality/gender are very fluid and it's FINE for me not to have a label and just do whatever i want. when i was 19 or so i went back to using they/them (and eventually he/him) and changed my name again because even though i like doing 'feminine' things, i don't want to be seen as a woman.
tldr: i was conditioned by transphobic/terf rhetorics to think that i was being trans the 'wrong' way so i couldn't be trans at all, so i believed i must actually be a girl if i still wanted to do 'feminine' things. nowadays i am a transmasc who does feminine things because i don't give two shits about what any transmed prick thinks of me anymore.
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shrimpchipsss · 7 months
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read Living With a Tiger by x_los !
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fivepibbles · 9 months
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they have him pinned, but at least they're warm!
fanart for @tsunochizu 's backwards through the snow fic! im SO normal about this story (still emotionally recovering from chapter 15) i love this fic so much <3
they are the STINKIEST of family...
(for those who haven't read this fic, first of all, go read it now. but also pebbles is mostly ok. kinda. hes just dirty and stinky... amongst other things)
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