catching up on docs streams, and he's talking about religion/spirituality and how it guides people's beliefs etc. he mentions how (generally) people like to be outraged by things [that dont affect them], like who other people are, and then immediately says 'if you're lgbtq you'll know what im talking about'
and i absolutely do. and its so wild to me how he just. drops that in. then starts talking about how it shouldn't matter who you are, how you can still do be incredibly religious and respect queer people, that the most important thing is that your beliefs don't hurt other people. how you should respect pronouns, that being 'indoctrinated' into being queer isn't a thing.
all whilst he's mining for diamonds using a freaking mega tunnel bore. like its any other conversation you might have
which it certainly is, for me. but a 40 something cishet man? not your standard casual conversation topic, not usually. and even though i already knew he was a supportive guy, hearing a conversation like this outside of an explicitly queer space, unprompted by a queer person. just solidifies what kind of person he is. and gives me faith that even outside of queer specific spaces, important conversations are happening, its not just us protesting and yelling into the wind, no one giving a shit. and its happening in some pretty unexpected places. which id say is pretty neat. its nice to have some hope for a change.
(all that to say, this is a docm77 stan household)
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Suddenly thinking about an AU where Vox erased his memories about Alastor and how that might affect the show's timeline.
Though to be honest I just want to think about how Alastor is going to react and feel about waiting for Vox to eventually find out about his return...
Only to find out in the Overlord meeting that Vox completely forgot about him as he smiled at him and offered his hand with a practiced professional air.
"Nice to meet you. I'm Vox from Voxtek, the Leader of the Vees. Are you new around here?"
In this AU, Episode 2 changes drastically. There was never a "Stayed Gone" segment nor was Sir Pentious sent to the Hazbin Hotel to spy on them. Which means that a lot would've changed in this timeline since the First Redeemed would be mostly out of the picture.
And Vox not giving Alastor the time of day means that if Alastor launched his radio show again, he has to slowly win back his viewership instead of having free advertising in the shape of a tv-headed obsessed fool.
Honestly, with how Vox's obsession on Alastor gives him a reliable source of attention and entertainment, he would be rather upset that the TV Overlord wouldn't give him the time of day. Not only that but he completely forgot about him! New? What do you mean new? He has been an Overlord far longer than he had! He is The Radio Demon. And he dares to ask him if HE is new?
What the hell happened to Vox? Why doesn't he remember him? Is this the reason why Vox never gave him the attention he knew he would give him once he realized he returned? What was he supposed to do now?
His feelings are hurt. His ego was bruised.
Vox was never like this.
And he'll be damned if Vox stays that way.
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hello fellow fandom people on tumblr, i have a question as someone who is very autistic and has had a lot of conversations where i feel like there are miscommunications going on
talking purely about discussion of actual canon rather than headcanons, and specifically in terms of same-gender attraction (i.e. gay/lesbian/bi/pan/etc characters, just for the sake of simplicity in categories here, since conveying characters as trans/nb and aro/ace is a bit different, and trying to handle specifically separating out gay/lesbian characters and bi/pan/etc characters in one would also be messy):
i'd also be curious to know how old you are and what your main fandom(s) are (and what characters in those might fit this) if you feel like adding that in the tags as well, but no pressure!
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Comedy Is A Lie: I’m Going To Explain The Joke And It’s Going To Make Everything Worse
A buddy asked me why I cut a good joke from one of my fics and my immediate answer was “it killed the tension,” which, upon reflection, is a pathetic answer that is mostly inaccurate and does not even come CLOSE to how much thought I put into comedy in my writing. So I guess I’m going to write this out and excise the demon of over-explanation.
Part The First: What Is Funny
The biggest thing I try and keep in mind when writing editing comedy (and anything, really, but especially for comedy) is rhythm. Lots of parts to rhythm! Most obvious is the word-to-word/sentence-to-sentence flow. Timing is a really important aspect of verbal comedy, which is why performance is a good medium to use. You get to control the delivery of every sentence and the spaces in between. But when you’re writing, you have significantly less control over how a reader will interpret the rhythm: all you can do is word your sentences as best as you can and give them rhythm cues via punctuation. (This is why I use so many em dashes and commas… I'm working on that…)
The other part to rhythm is on a more macro scale. There are jokes that will roll along with the flow of a story. For me, these are jokes that don't deviate from the context of the scene too much. They connect one subject to the next, or they build off of each other (a ‘yes, and’ sequence, for example). Alternatively, the joke is delivered in a really understated way. Like passing off something objectively batshit as status quo. Either way, they flow!
Then there are jokes that will halt a scene in its tracks. These are jokes that recontextualize a situation, or make a particularly large leap from the current topic. Or, you've been setting up for this punchline for a while and this joke is payoff. Or the joke is just really, really funny. These are the kind of jokes where you need to give the characters (or the reader) a beat to process them. Sometimes. We’ll get back to that.
Part the Second: How Is Funny
So the point of all that rhythm stuff is that comedy has a flow! If every line is a witty one-liner, none of the lines are witty one-liners! If every joke is a one-hit-KO, you have left your reader unconscious. Basically, if you are constantly being #Funny, you become repetitive and predictable, and that is the death of tension (and humor is a tension-driven element).
One way to think of comedic pacing is setup (AKA building tension) and punchline (AKA payoff). It’s a balancing act: the more you build up tension, the more satisfying the payoff is going to be, but if you spend too long building up, you start dragging. You want the reader to think, “I can’t wait for the punchline!” and not, “oh my god, PLEASE get to the punchline already.”
Fun way to make the tension last longer is to put all those flow-y connector jokes along the way. The reader’s anticipating the Joke, so by giving them little jokes, it meets their expectations in little ways so that they don’t get too antsy.
Hey, what’s tension, you ask?
Part The Third: Why Is Funny
When I read a book, there are two emotions that get me to turn the page:
I don’t know what’s going to happen next, and I’m curious!
I know X is going to happen, and I’m anticipating it!
That’s tension. (Something something semantics—I’ve never taken a creative writing class, I don’t have a vocabulary)
You can have the calmest, low-stakes fluffiest fic in the world but as long as your readers are experiencing either curiosity or anticipation, Congrats! You have tension! I, however, like putting readers on fast-paced rollercoasters, so that’s the lens through which I’m tackling this section, which is: how do I use jokes in a story structure context? What purpose does a clown serve?
I mentioned earlier that some jokes are bricks to the face: they demand to be processed. Most of the time, I put high-impact jokes in places where I need the story to “reset” in a way: force a beat so the reader can process both the joke and the plot. That’s using humor to release tension. Literally. Laughter relieves stress.
But! You can also use those jokes to make the tension even worse! If you drop a bomb and immediately press forward, no processing allowed, you get stressful comedy. You want to laugh, but also a bunch of other stuff is happening and it feels kind of rude to laugh, so you get stressed. Sometimes humor can undermine a climactic moment, but if you use the right joke in the right spot you create shrimp emotions. If you’ve read DotF ch8 you know what I’m talking about.
Jokes also just make for good plot points? A lot of jokes are built on recontextualization. Everybody loves a good twist/reversal/surprise in a plot. Just make a joke and re-frame it, and bam! You’ve plotted! (Everything I’ve ever written started off as a joke.)
Wait, What Was The Question?
Why did I cut the joke? It was a waste of a brick to the face. It was too referential, it required the audience to know/agree with something completely unrelated to the story, it didn’t build upon what I already established. It ruined the rhythm.
I need to emphasize that, despite all my Thoughts on this, the way I appraise my jokes is 80% vibe-based. I probably could have kept the joke, and it would have been totally fine. But I would know. I would know that my intended rhythm is broken… it would haunt me until the end of time…
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So, how rare ARE Ford's extra fingers, anyway?
I'm not gonna lie, at first I was skeptical of Ford's claims that the Weirdness Magnetism had an effect on him. Like, yeah, the whole having six fingers thing isn't exactly common, but it's a naturally-occurring event. Stan describes it as a birth defect, and there doesn't seem to be a noticeably great number of people with those in Gravity Falls. It wouldn't be all that farfetched for Ford to think he was just Built Different, for like, at least 7 reasons, but then you start actually thinking about it.
Polydactyly isn't exactly common. Approximately 1 in 1,000 babies are born with some form of polydactyly. While it's true that postaxial polydactyly (extra digit is past the pinkie) is the most common form, which is shown to be the kind Ford has in the x-ray at the beginning of AToTS, there are several other extreme circumstances.
Extra digits in polydactyly aren't usually found on all limbs. It can occur on hands and feet (and Alex has confirmed that Ford does, indeed, have six toes on both feet) but rarely does it occur on both feet, or both hands, much less both hands and both feet. And even when it does occur more than once on one person, the extra digits aren't usually fully-formed. Oftentimes they don't even have bones. When they do have bones, they're usually much smaller, or barely opposable (if they have joints at all). When they're big enough to be maneuverable, they usually interfere with the structure of the hands/feet in negative ways. All this means that an extra finger or toe which doesn't direly require a surgery to remove the extra digit within the first year or two of life is incredibly uncommon.
And let's remember: that's just for one extra digit. Ford has four.
For Ford to have fully functional polydactyly on both hands and both feet, to the point where it's basically impossible to tell which one is finger x without x-rays... the odds of that are astronomically unlikely. Never-before-recorded, one in a kazillion, borderline medically unfathomable sort of rare.
I think I do believe the Weirdness Magnetism could've affected Ford, actually.
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