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hunxi-after-hours · 1 year

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hunxi’s danmei awards 2.0! (aka 2022 edition)

Featuring the return of some categories such as:

Best Worldbuilding

Best Interrogation of Themes (aka the “Rent-Free Award”)

Best Moment That Wrecked Me (aka the Knifiest Award)

Best Beleaguered Side Character Award

Best Unreliable Narrator

As well as never-before-seen categories like:

Best Himbo

Most Brilliant Moment of Backstabbery

Most Ambitious Scope

Most Heartwrenching Line Delivery in an Audiodrama

…and more!

This year’s candidates in the running:

《小蘑菇》 Xiao Mo Gu by 一十四洲 Yi Shi Si Zhou

《不小心救了江湖公敌》 Bu Xiao Xin Jiule Jianghu Gong Di by 六木乔 Liu Muqiao (有声漫画 audiomanhua season 1)

《无双》 Wu Shuang by 梦溪石 Meng Xishi

《问鹿三千》 Wen Lu San Qian by 光合积木 Voicegem, 吼浪文化 Houlang Studio, and 斗木獬编剧工作室 Doumuxie Screenwriting Studio

《师弟还不杀我灭口》 Shidi Hai Bu Sha Wo Mie Kou by 子鹿 Zi Lu

《默读》 Mo Du by priest

《督主有病》 Du Zhu You Bing by 杨溯 Yang Su

《海中爵》 Hai Zhong Jue by 七药 Qi Yao

《哏儿》 Gen’er by 南北逐风 Nan Bei Zhu Feng

《杀破狼》 Sha Po Lang by priest

《金牌助理之弯弯没想到》 Jin Pai Zhu Li zhi Wan Wan Mei Xiang Dao by (nominally) 非天夜翔 Fei Tian Ye Xiang and (mostly) 传奇火箭队 The Legendary Rocket Team

(unmarked spoilers, including but not limited to these titles, under the cut. for introductions of these titles, click here. for last year’s danmei awards, click here)

Best Worldbuilding

Winner: 《杀破狼》 Sha Po Lang by priest

This award goes to 《杀破狼》 Sha Po Lang for the effortless ease with which p大 manages to merge the genres of imperial intrigue, steampunk mecha, alternate history, and wuxia elements. Over the course of the novel, priest explores how the development of 紫流金-based technology leads the fictional Liang Dynasty into industrial revolution, and doesn’t hesitate to include all the negative consequences of early industrialization. So you’ve rolled out mechanical alternatives for farming? Have fun dealing with the uprisings of unemployed farmers while fending off international threats on your borders. So you want to roll out paper currency/government bonds to stimulate your war-torn economy? Good luck even getting people to trust the validity of paper the way they trust the hardness of coin. In a way, 《杀破狼》 Sha Po Lang carries on the tradition set down in priest’s earlier novel 《七爷》 Qi Ye of protagonists using decidedly underhanded methods to effect the change they wish to see in the world, and the morality thereof remains just as thorny in 《杀破狼》. what would you do in the name of peace? how much of yourself can you give away before you are no longer the same person?

oh and I have to give a shout-out to the trains in this book, I’d give this award to 《杀破狼》 Sha Po Lang for its (re-)invention of trains alone

Best Interrogation of Themes (aka the “Rent-Free Award”)

Winner: 《小蘑菇》 Xiao Mo Gu by 一十四洲 Yi Shi Si Zhou

I listened to 《小蘑菇》 Xiao Mo Gu via audiodrama before I read the novel, and every time I finished an episode I would have to just sit for a few hours, processing. Despite its seemingly lighthearted premise, 《小蘑菇》 Xiao Mo Gu shows us an apocalypse in all its cruel magnificence. The oppressive atmosphere of unending martial law, the seductive proximity of despair, the omnipresence and unpredictability of death, the utter lack of justice or closure or meaning in a world slowly grinding to a halt, the vast, inhuman lengths civilization will go to in the name of survival... to this day, 《小蘑菇》 Xiao Mo Gu haunts the solemnity of my early mornings with questions like what would you condone to survive? and wherein lies the locus of meaning when everything it means to be human has been stripped away? and like. I haven’t been the same since my mushroom phase, okay

Best Beleaguered Side Character Award

Winner: Ji Bolan from 《小蘑菇》 Xiao Mo Gu by 一十四洲 Yi Shi Si Zhou

This poor man had to deal with his childhood friend growing up to be a governmentally-licensed and universally-reviled mass murderer, the complete breakdown of the laws of physics, and witnessing Lu Feng and An Zhe flirt in front of his salad soup, all during the apocalypse that he is frantically trying to solve. Frankly, he’s allowed to roast Lu Feng as much as he wants, and the fact that he’s voiced by the same person who did AD!Jiang Cheng and AD!Xiao Zheng (winner of last year’s Best Beleaguered Side Character Award) is 1) extremely funny, 2) very on-brand, and 3) further proof that being in voice actor fandom 其乐无穷

Best Moment That Wrecked Me (aka the Knifiest Award)

Winner: 《默读》 Mo Du by priest

The character of Fei Du in priest’s 《默读》 is easily the character who had me clawing at the walls the most for the better part of this year (I’m still clawing at the walls, if we’re being honest). I am in love with everything about the way priest wrote him; from his introduction as the flamboyantly aggravating playboy chasing after Tao Ran (brilliant character work there as well as brilliant comedy, 感谢陶然不弯之恩 etc etc) to the slow, methodical reveal of his backstory and how deeply, deeply traumatized he is, Fei Du is one of the most complex and intelligent and nuanced and terribly lovable meow meows characters I’ve had the good fortune to run into

To pick a single Fei Du moment? A single one? Well if I have to choose, unfortunately it’s going to have to be chapter 180 朗诵（五） for the simple reason that it hurts me:

他恨不能撕裂时空，大步闯入七年前，一把抱起那个沉默的孩子，双手捧起他从不流露的伤痕，对他说一句“对不起，我来晚了”。

[Luo Wenzhou] wished he could tear apart time, to barge back into that moment seven years ago and pick up that silent child, to cradle those hidden wounds and say to him, “I’m sorry I was late.”

“我来晚了……”

“I was late...”

直到上了救护车，费渡才好像是有了点意识，难以聚焦的目光在骆闻舟脸上停留了许久，大概是认出了他，竟露出了一个微笑。

Fei Du only seemed to recover a semblance of consciousness when they loaded him into the ambulance. His eyes, unfocused, stopped on Luo Wenzhou’s face for a while before smiling slightly.

骆闻舟艰难地看懂了他无声的唇语。

Luo Wenzhou read his words in the soundless shape of his lips with difficulty.

他说：“没有了……怪物都清理干净了，我是最后一个，你可不可以把我关在你家？”

He said, “They’re all gone... All the monsters are taken care of, I’m the last one. Can you lock me up in your house?”

I’m just. if you need me I’ll be screaming about sunflowers in the abyss

Best Unreliable Narrator

Winner: Yan Zhuoqing and the Deer God of 《问鹿三千》 Wen Lu San Qian by 光合积木 Voicegem, 吼浪文化 Houlang Studio, and 斗木獬编剧工作室 Doumuxie Screenwriting Studio

surprising shortage of unreliable narrators in this year’s contenders, but 《问鹿三千》 makes up for it by having not one, but TWO unreliable narrators involved. can you believe that BOTH of these semi-immortal dumbasses have amnesia? smh Deer God you’re literally the god of time and memory, how you’ve even gotten this far I’ve got no idea

honorable mention: Fei Du from 《默读》 by priest. this man had the audacity to say the words “我没有创伤” / “I’m not traumatized” after asking for Luo Wenzhou’s assistance in recovering some of his repressed memories that he’d blocked out because of the — you guessed it — trauma

Best Himbo

Winner: Situ Jin from 《督主有病》 Du Zhu You Bing by 杨溯 Yang Su

I think it’s safe to say that Situ Jin is a Very Good Egg With No Braincells Whatsoever. None. This man had to be bullied into a hurt/comfort scenario by his future wife, and when she came to him for comfort, grieving her father’s death, he responded to her “now I’m all alone” with “don’t cry: you’re one, I’m one, together we’re two.” proud of u for basic math, bro, but is now really the time. his other highlights include: thinking dreamily about his wife while in prison, defending innocent bystanders regardless the personal cost, and continually failing to seek medical attention while bleeding out

Side Character I’m Still Mad About (aka the Gongyi Xiao Award)

Winner: Fu Luo from 《海中爵》 Hai Zhong Jue by 七药 Qi Yao

so it turns out that I am Weak for this very specific kind of character, the one who is a Good Kid, the one who tries their best to be responsible and reasonable, the one who could honestly be a protagonist in another novel. double points if you can trust them with a spreadsheet (Bian Yanmei), triple points if they’re delightfully lowkey devoted to the actual protagonist (can I get a wahoo for the Jiangzuo Alliance in here??)

and you know what the author does? murders them with prejudice

tl;dr I’m still not over Fu Luo, because like oh man that scene was well done but also ouch

"most memeworthy/meme-able"

(this one’s for you, @presumenothing)

Winner: 《督主有病》 Du Zhu You Bing by 杨溯 Yang Su

I mean I literally—

this book is a Very Serious and Somewhat Grimdark book, but I have to say the sheer amount of misunderstandings that occur are comical in their quantity. have you ever met two people more in love with each other and less capable of uttering a single sentence about it, it is only by the grace of the author that these two didn’t murder each other before their happy ending at the many given opportunities throughout the book

"most deserving of a shenshen OST"

(this one’s also for you, @presumenothing, ty for all the brilliant category recs)

Winner: ........?

this is such an interesting award category to consider, because it’s like asking “which one of these texts would you like to hand a steak knife to gut you with,” but it also begs the question of what a shenshen OST would bring to the text that the existing music/adaptation doesn’t. it also raises the question of what kind of narrative (grand, sweeping, vast in scale or minute, gentle, heartbreaking?) would be most compatible with a shenshen OST?

my first thought was 《小蘑菇》 Xiao Mo Gu, since it has both the monumental scope and the fragile, breakable heart that shenshen OST’s are so suited for (他只是一个小蘑菇 goodbYE—), but the music of the 《小蘑菇》 Xiao Mo Gu AD is already so perfect I don’t actually want to add anything to it. my next thought would be 《问鹿三千》 Wen Lu San Qian — again, for that blend of scale and sorrow, wistfulness at what can never be and gratitude for what we have. but 《问鹿》 also has five songs already, and while a shenshen OST would be nice, it most certainly isn’t necessary

so I think I’m going to cheat and give this award to a title that isn’t even on the list of candidates this year, one that already has a shenshen OST: 《天宝伏妖录》 Tian Bao Fu Yao Lu by 非天夜翔 Fei Tian Ye Xiang, which has the great fortune to have Zhou Shen’s 《天地为念》 for its ongoing donghua title song. what a beautiful, meditative song; what an ethereal, gently sorrowful melody. extra brownie points because I maintain that Zhou Shen and 锦鲤 Jin Li (the voice of Kong Hongjun) are counterparts of each other in their respective industries, and also because I’m ride or die for both of them

"most untranslatable ever"

(category shout-out to — you guessed it — @presumenothing)

Winner: oh ABSOLUTELY 《金牌助理之弯弯没想到》 Jin Pai Zhu Li zhi Wan Wan Mei Xiang Dao by 非天夜翔 Fei Tian Ye Xiang and 传奇火箭队 The Legendary Rocket Team

I consider myself fairly proficient in audiodramas on 猫耳FM as a medium/genre now; I’m familiar with the ways script adaptation dovetails with post-production, the roles the voice directors and producers and casts play, the different twists that can happen with 报幕, what names to keep an eye out for while checking out the production team... so when I say that this audiodrama knocked me flat on the ass when I first listened to it, I really do mean that I was in no way prepared for the chaos that was to come. where do I even begin to describe it? the speed? the unhinged energy? the unending 吐槽 / roasts? the brilliant comedic pacing? the extremely 洗脑片尾曲？whatever the hell this is?

this audiodrama is not only the most untranslatable ever due to the high concentration of internet and culture-specific slang, but also apparently the most impossible to explain ever. idk. listen to this AD and lose your mind

Most Brilliant Moment of Backstabbery

Winner: ch. 116 of 《无双》 Wu Shuang by 梦溪石 Meng Xishi

I described 《无双》 Wu Shuang as “a book about roasting your rival first, saving your dynasty second,” but perhaps didn’t do justice to the sheer lengths these two will go to one-up each other. I’d like to take this moment to recognize a certain flamboyant demonic sect leader (that is somehow not Yan Wushi) for not just habitually backstabbing (gently, for funsies) his love interest but also getting some frontstabbery (once, with great intention) in as well. truly, no one out here is doing it like Feng Xiao

honorable mention: 《不小心救了江湖公敌》 Bu Xiao Xin Jiule Jianghu Gong Di by 六木乔 Liu Muqiao, for the sheer quantity of backstabbing that occurs. maybe this is simply what happens when all of your characters are professional evildoers at fluctuating levels of retirement

Best Comfort Media

Winner: 《哏儿》 Gen’er by 南北逐风 Nan Bei Zhu Feng

earlier this year, I went around asking various people: what makes a book, movie, or other text comfort media for you? listening to the answers, it occurred to me that I don’t really have texts that I turn to on a semi-regular basis to re-read or re-watch. especially because my favorite books tend to be the ones that rip my heart out through my throat, the idea of choosing a “comfort read” from among them seems somewhat, er, misguided

and then I ran into 《哏儿》 Gen’er, which is the only text I’ve chosen to carry over from last year’s danmei awards because the second season of the AD aired this year. this webnovel/AD is also, genre-wise, the outlier in this year’s awards — no magic, no speculative elements, not a single sword in sight, just slice-of-life, daily trials and tribulations, characters balancing budgets and bantering backstage and discussing art over hotpot. the cast and characters of 《哏儿》 feel real and lived-in in a way that is so deeply precious to me; at times throughout the year, I would simply cue up the beginning of S2E2 to listen to the first fifteen minutes or so to quiet down. the ongoing discussions threaded throughout the narrative about the roles of traditional culture and art in modern society, how to adapt traditional forms to contemporary values and preferences, and the ever-relevant question of how to get other people to care about things you love... 《哏儿》 hits different, hits real close to home, asks thought-provoking questions in a gentle, lighthearted manner in a way that is totally unique among the danmei works I’ve read, so here I am, conferring this new, foreign honor upon it. it’s a first for both of us!

Most Ambitious Scope

Winner: 《问鹿三千》 Wen Lu San Qian by 光合积木 Voicegem, 吼浪文化 Houlang Studio, and 斗木獬编剧工作室 Doumuxie Screenwriting Studio

I know, I know — very bold of me to give this award to an audiodrama that’s still airing, that we don’t know if it’ll ever be completed, but I still have to take a moment to yell about this completely original episodic gufeng AD, because like... wow. there is no answer key; there is no original work; there is no blueprint to work off of, no pre-existing fanbase of readers to appeal to. this entire project with its xuanhuan scope will succeed or fail based on its merits alone, and what scope it has, too — from the five voice actor songs (I guess everyone in 光合积木 can sing too??? sure that’s fine I guess) to penning scripts that play specifically to the voice actors’ strengths, to engaging with thorny dynamics of family and relationship and devotion and misalignment, I think it’s real gutsy of the 《问鹿》 creative team to embark on such a vast and ambitious project, and carry it off as well as they did. now it’s just 乖巧坐等更新.jpeg hours, fingers crossed they come back for a season 2

Best Work I Was Songbaited Into

Winner: 《小蘑菇》 Xiao Mo Gu by 一十四洲 Yi Shi Si Zhou

Definitely the first thing that even put 《小蘑菇》 Xiao Mo Gu on my radar was 奇然’s 《风过荒野》 appearing in my YouTube algorithm. The song’s arrangement is haunting, lyrical, and so unlike any other AD song I’ve ever heard. The second season’s 《极光入夜》 is also transcendent in lyrics, composition, and the fact that both of the main voice actors can sing 哎呦还让人活吗—and don’t even get me started on the beautiful piano and string covers they work into the soundtrack! 声罗万象请受我一拜！

let’s put it this way: I actually went out of my way to translate the 《小蘑菇》 songs (here and here) for how hard they go. one day I’ll get over the lines “玫瑰静默凋谢” and “审判是我于你的吻别” but today will not be that day

honorable mention: 《督主有病》 Du Zhu You Bing by 杨溯 Yang Su, for having the opposite energy of the 《默读》 AD asdlfskdfjs no less than FIVE original songs composed for a THREE season AD. I was on the fence about listening to this AD until I heard 远皓ZIL’s 《燃灯》, which immediately joined my playlist before I’d even read the book. Again, the lyricism, the arrangement, the melancholy, deeply thoughtful atmosphere of the song got me interested in exactly what kind of maddeningly angsty plot could result in these lyrics:

我愿抚拂前尘燃着灯做你归途的引 / I would brush away the dust of our past and light a lamp, and be what guides you back

只求你破迷津渡极乐回首看我在等 / I only pray that you break free from the labyrinth and deliver paradise, to look back and see me waiting

我匍匐入尘埃叩长阶奉上所有虔诚 / I crawl through the dirt, pressing my forehead to the stone steps of the long stairway, offering up all of my piety

只为听你亲将相思说那纸情书太薄 / just to hear you say, yearning for me, that this love letter is too thin

不载残生颠簸无你我苦不可脱 / it cannot carry what’s left of our tumultuous lives — without you or me, life would be bitter with no escape

Audiodrama Adaptation with the Strongest First Episode

Winner: 《督主有病》 Du Zhu You Bing by 杨溯 Yang Su

Adaptation is a delicate and tricky practice; how do you accommodate for the limits of production, the requirements of medium, when it comes to translating a work across dimensions? And particularly when it comes to AD’s, how can you capture a listener’s attention within the first few episodes, to bait them into the story and make them willing to pay money to unlock what happens next?

this award has to go to 珞玉 Luo Yu and 子穆木 Zi Mumu for their adaptation of 杨溯 Yang Su’s novel 《督主有病》 Du Zhu You Bing. The book itself runs chronologically, from the two main characters first meeting each other as children, the months they spend together, their sudden (and deeply traumatic) parting, and then resumes the narrative the next time they meet each other seven years down the line, attempting to kill each other (in their defense, it was dark, and neither of them were sure if the other survived the massacre that separated them in the first place). Episode 1 “故人来” of the AD begins with that reunion as Shen Jue, disposing of a body, finds an injured assassin just outside the palace walls. They grapple in the dark until they recognize each other, and the way post-production editing fills in their backstory through a quick, tantalizing flashback and brings the listener back out of it by overlapping young!Xiahou Lian and present!Xiahou Lian saying the same lines (“shaoye, remember: don’t look back, don’t say anything—”)... well done, well played, I sure paid money to listen to the rest of this AD

Audiodrama Adaptation with the Strongest First Ten Minutes

Winner: 《海中爵》 Hai Zhong Jue by 七药 Qi Yao

haha I think I’m hilarious, but while 《督主》 has the strongest first episode I would also like to shout out how good the first ten minutes of 《海中爵》 Hai Zhong Jue are. seamless transition from baby Hailian to adult Hailian, from quiet lullaby to sea battle, and establishing Hailian’s sass, competence, kindness, and swashbuckling swagger as well as introducing Fang Tinglan (and his shamelessness asldfksj). credit has to go to the director 齐杰, the scriptwriter 虾仁猪心@一梦还江月, and the post-production editor 时柒@丶为之奈何 for pacing the opening scene so well, and an extra special shout-out to 梅梅 (韬韬你是最棒的) for the funniest little “bye~~~” as he throws someone off a boat

Most Heartwrenching Line Delivery in an Audiodrama (aka the Knifiest Award, audio edition)

Winner: S1E7 of the 《默读》Mo Du audiodrama

I can yell for years about how talented voice actors are, but there are specific moments while listening where I have to pause for a second or ten and silently mouth “damn”

杨天翔 Yang Tianxiang’s performance as Fei Du in season 1, episode 7 of the 《默读》 Mo Du audiodrama knocks it out of the goddamn solar system with the plaza broadcast scene — this was a scene that I was pretty eh on in the novel, but after listening to it in the AD... 当! 场! 封! 神! with Yang Tianxiang’s measured delivery, the slow excavation of the depth of Fei Du’s anguish, the forced steadiness of his voice when he says “你们如果都这么狠心，为什么以前还要表现出好像很在乎我们的样子?” / “If all of you were always this cruel, why did you pretend to care about us so much in the beginning?” underlaid by the devastatingly quiet, melancholy piano backing of 《以沫》 that then kicks into the sequence that culminates in 何忠义 He Zhongyi’s “等我回来!” / “Wait for me to come home!”... (silently screams into a paper bag) I’m not okay and I haven’t been okay for months

Honorable Mentions:

S2E2 “也恨相逢” of 《督主有病》 Du Zhu You Bing by 杨溯 Yang Su: specifically for 梅梅’s line “少爷，这是我的命” / “shaoye, this is my fate.” for a scene that didn’t even exist in the original novel... hot damn wow

E12 “绝不复寡“ of 《师弟还不杀我灭口》 Shidi Hai Bu Sha Wo Mie Kou by 子鹿 Zi Lu: 锦鲤 has the range and this AD proves it! While he spends most of the AD being generally the comedic, satirical commentary, Zhong Yan/Qin Mingxi absolutely begging, tears in his voice, for Gu Xuanyan to leave him to die in this scene? look I’m not immune to this trope either

S1E13·上 of 《问鹿三千》 Wen Lu San Qian by 光合积木 Voicegem, 吼浪文化 Houlang Studio, and 斗木獬编剧工作室 Doumuxie Screenwriting Studio: (cups hands around mouth, yells) 马! 老! 师! it’s hard to explain the heartbreaking context of the line I have in mind without giving away the entire story, but 马正阳’s throat-scraping scream of “我要你爱我” / “I want you to love me!” is wince-inducing from the sheer force of the raw anguish in it

wooooo and that’s a wrap! thanks for tuning into the 2022 danmei awards :)

looking forward at my reading list, I’m not sure I’ll be doing a 2023 round since my reading is taking me in different directions and I simply might not have enough candidates to fill out a whole awards post next year (and I suspect I’ll have gone so far off the map that people won’t even have the faintest idea what I’m talking about anymore asldkfajsd)

it’s been fun!!! catch you all in the new year!!

#came for the mushroom stayed for the mushroom #saving your kingdom while burnt out: the imperial intrigue steampunk wuxia light mecha alternate historical novel #voice(bear) appreciation hours #《督主有病》#《无双》 backlog #guess who walked into and out of the abyss while y'all weren't looking #新年快乐送你们一篇博君一笑

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caddeter · 8 months

Text

A few months, I made a post talking about how the ‘planned from the beginning’ excuse the RWBY FNDM loves to use makes no sense. I got into a very brief argument with @crimsonxe before deleting the post and apologizing for writing it out of anger.

I am now taking that apology back, because the RWBY FNDM has repeatedly proven it deserves no form of respect no matter how small or basic.

I was hoping to rewrite the post using the other user’s replies, but unfortunately I couldn’t find them in my email trash bin. So I’m going to be rewriting it based on memory.

One of the points I made was that, in Volume 3, there was a short scene where Penny expressed a desire to stay at Beacon, specifically saying that she ‘had an idea.’ The person who responded to me said that this idea didn’t ‘go nowhere’ because Penny dies at the end of the Volume

... Bitch, that’s why it goes nowhere.

It’s like saying the ending of Jurassic World: Fallen Kingdom where dinosaurs are now loose on the mainland wasn’t completely ignored by the next film because Dominion was all about an evil corporation trying to kill competitor crops with a swarm of prehistoric locus. It doesn’t change the fact that Fallen Kingdom’s ending was very clearly setting up a different story.

Or that the Pokemon anime didn’t drop the golden Pokeball plotline because it was delivered to Professor Oak and we never learn what it was about.

They also said that all that really mattered to Silver Eyes was that the Grimm are afraid of them, and it’s perfectly okay that CRWBY didn’t figure out why until Volume 3

That’s like saying it would have been perfectly fine if Avatar The Last Airbender took three seasons to figure out what an Avatar is.

Ruby’s Silver Eyes are strongly implied to be the reason Ozpin let her into Beacon. If I’m expected to believe they’re important, why the fuck wouldn’t you figure out what they do first thing.

A plothole is when there is a hole in your plot’s internal logic. How are you supposed to avoid plotholes if not even you know what’s going on?

Another point they made was that the writers figuring out their worldbuilding before they start the story or where they want the plot to go is them ‘doing me a favor’

As I said in the original post: No, that is the writers doing their JOBS!

Let me put it to you this way: Imagine you go into a restaurant and order a cheeseburger:

Do you expect that burger to be cooked?

Do you expect it to have a bun?

Do you expect a plate or a tray to carry it with?

Do you expect the restaurant to have tables you can sit at?

Do you expect the floors to be clean with a wet floor sign warning you of when it’s slippery?

Saying that the writers are ‘doing me a favor’ when they figure out where they want their story to go or how their magic systems work or what their world is like is like saying that one manager I had was ‘doing me a favor’ every time he came in half an hour late rather than miss have his shift like that one time. That’s not doing a favor, that’s doing the least they could.

Doing me a favor is when Ben 10 throws in nods to fan opinions and responses in their show as quick little gags without mocking the people who hold those thoughts.

It’s when William Hartnell, the actor who played the First Doctor, kept track of what every button and switch on the TARDIS console did because he wanted to make sure he never used the wrong one because he feared viewers would notice.

It’s when Arkhane Studios defines the world of Dishonored down to the calendar.

It’s when the Ink Tank makes And Beyond, a series dedicated the the culture and societies of each of Ben’s aliens.

It’s when Linkara, GOAT he is, makes an entire, full length analog-horror movie as an April Fools joke.

Doing the audience a favor is going the extra mile. It is not figuring out your plot points the moment they become relevant. If that’s what you define as good writer, than please, do tell me, what’s bad writing? If your standards are this low, then what would you consider a bad story?

They also claimed that I was wrong to make such criticisms of RWBY because Miles Luna is just a human being

I could make an entire post detailing how ‘people make mistakes’ is a terrible way to counter criticism (and in fact, I did), but instead, I’ll just leave you with a choice quote that describes one of the biggest problems with it:

There are writers and directors out there who put painstaking efforts into their stories to make sure everything is as concise and logical as possible. There are also writers and directors who don't put in those efforts at all. If inconsistencies in plot and character action "don't matter at all", then how can you even appreciate those efforts made by filmmakers who legitimately care? You're not just delegitimizing those who discuss their films. You're delegitimizing the filmmakers themselves. You're saying there's no difference between a lazy script littered with inconsistencies versus a thoroughly researched, laid-out, thoughtful script that made every effort they possibly could to make the story, characters, and universe as consistent and believable as possible. That's just nonsense and it's upsetting that you refuse to see any value whatsoever in filmmakers who put those extra efforts into their work.

Adam from YourMovieSucks.org, a professional movie critic.

They also said that they, as a writer, have reworked entire timelines because they came up with one new character

First of all, what you describing here is the planning process. It’s revise then release, not the other way around.

Second of all, real nice anecdotal evidence you have there. Wanna hear some of mine? I wrote up history and culture for vampires and werewolves, notes detailing my own soft magic system, and worldbuilt an entire underwater society down to the clock for fun. At that point, it shouldn’t feel like I’m asking the writers to reverse the Earth’s rotation when I expect them to figure out why Ruby’s Silver Eyes are special or how Magic works.

Another one of their ridiculous claims was that foreshadowing could ruin a show’s mysteries

Dumbass, mysteries are where you need foreshadowing the most. Ask any established mystery writer, they’ll all tell you the same thing: The best practice is to figure out the ending first and work your way backwards. It requires thought and care to make sure the ending is satisfying and the journey to it is enjoyable and engaging.

Even if the audience figures out where the story is going, that just means their paying attention and are invested enough to think about the story. And last I checked, the audience being invested in your story is a good thing. Take it from me, I have a very strong idea for where Slime Rancher 2′s story is going, and I would be elated when it turns out I’m right.

If the only quality your story has is that it’s ending is ‘a surprising twist,’ then that just shows how shallow the rest of the story is.

Edit: Linkara has a quote that perfectly explains why this idea is stupid: “Of course we can’t [solve the mysteries]. It’s not really a mystery. It’s you guys making up random contrivances to resolve each new cliffhanger.”

The last thing they user did was perpetuate the conspiracy theory that the RWDE tag was created to somehow destroy RWBY and Rooster Teeth while also saying the show doesn’t need defending from us as they defended it.

Ah, yes, because criticizing something is such a threat to it and the people who make it. Just look at what happened with Twilight. That series became the laughing stock of the internet, and then it... Kept going.

Or what about Sword Art Online. Mocking it became ingrained in the anime community, and then it... Kept going.

Or Sonic The Hedgehog. That series has a bad game every other release, and then it... Kept going. And each time it actually listens to the feedback it gets and tries to fix the problems people had.

Criticism is not a threat to a piece of media or the people who made it. If anything, we’re doing RT a favor by criticizing RWBY.

But even then, let’s pretend, for just a moment, that there somehow was a conspiracy to destroy RWBY and Rooster Teeth for whatever reason. Do you know what our EEVIIIILLL plan would be? It’d be a simple two steps:

Step 1: Sit back

Step 2: Watch

Anything we could say or do to Rooster Teeth wouldn’t be nearly as bad as what they do to themselves. Or do you think all those ex-employees reporting workplace discrimination and crunch culture so terrible it caused PTSD are in on it too? We aren’t the ones trying to destroy Rooster Teeth. Rooster Teeth is the one trying to destroy Rooster Teeth.

And even if that wasn’t true, why would an easily blockable tumblr tag be any threat to them? We say this about a hundred times a day, but the entire point of the tag is for the FNDM to blacklist it so that they don’t see criticism.

And just to articulate how easy it is to blacklist a tag on this website: I figured out how to do that all on my own and I can’t find my blocklist. If that’s not good enough for you people, then what do you want us to do, go to an entirely different website? Yeah, like that would stop you from complaining about us.

Furthermore, out of all the series in all the media in all the world to try and destroy, why do you think we would target a low profile web animation from a company that’s only really popular in machinima? Don’t you think a more high-profile franchise would get this treatment? Like Star Wars?

They probably said some more dumbass claims, but these are all I can remember.

#rwde

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riathedreamer · 3 years

Text

Zero is Null

A discussion of Zero’s love-hate-relationship with RvB and struggling independence; including a hotdog too big for the bun, tragic backstories, a single bow-chicka-bow-wow, and a cookie at the very end.

Welcome to what will be a lot of text. Basically, it will explore why Zero fails as an RvB (with emphasis on RvB) season. I will not be the first one to bring forth some of the points, and I promise to be fair and civil and fun. This isn’t supposed to be a piece of hate – in fact, I’m writing this because I love Red vs. Blue.

Okay, first of all, to increase your fun – take a guess on just how much of Zero is spent on fight scenes. You see, I’ve calculated the exact amount, and I will reveal it later, but for now, take a guess and remember the number. Maybe you are the winner!

Alright, time to share my thoughts. Wait! Since I suffer from anxiety and have this one annoying voice pretending to be all those critical statements my opinion could be met with, let’s give it an actual voice and address the points throughout this review.

“Why would I care about your opinion, Ria?” – I don’t know, you’re the one who clicked Read More.

“Your opinion doesn’t matter!” – Of course, it doesn’t! Geez. Do you think your opinion matters, though? Listen, we’re on Tumblr, the actual equivalent of screaming into the void. And it’s fun, too!

“If you don’t like it, don’t watch!” - *activates Uno Reverse Card* “You can’t talk about something you haven’t watched!”

“You’re just a Hater” – Actually, this is a point I’ll come back to. Like a cliffhanger. Also, at the end of this, there’ll be a cookie. But this will also include me talking about the stuff I like, because, surprise, Zero is not without talent!

“You just don’t like it because the Reds and Blues aren’t in it!” – Actually, that’s a good point, so instead, this review will start with a sole focus on Zero and discuss the problem that lies within that story. Then we can address why the lack of OG cast is understandable and problematic and weird.

But first! Backstory.

When the first 5 second teaser dropped back in spring (you know, when we were young and innocent and the world didn’t feel like an apocalyptic movie yet), I held onto that one image of what I thought (hoped) to be Grif and Simmons in the sunset, hopefully addressing Grif’s hateglue arc, but boy was I wrong because a) that’s not Simmons, that’s Sarge, and b) the image was from a PSA since the Reds are not in Zero.

Actual face-reveal of me below:

Admittedly, when I heard that the Reds and Blues were not going to be the main characters (or even show up), it felt like a gut punch. However, I actually found myself getting excited due to the creators’ hype. I want to praise them for this. It’s been a while since an RvB season was talked so much ABOUT before its release; it had advertisements, it had creators and voice-actors talking about it. Please. More of that in the future. Their passion rubbed off on me, and that deserves recognition. So it pains me that this was clearly a passion-project, and then when I gave it a try, I didn’t want to touch it again for weeks.

Here’s the thing. I cannot whole-heartedly say that Zero is bad. It’s not gonna melt your eyes. It’s not even so-bad-it’s-good. For me, it’s meh. It’s a Saturday-morning-cartoon aimed for a younger audience with a rushed plot and clichéd characters. The problem is that it calls itself RvB, and with that title comes something to live up to – but more importantly, something to continue.

My main issue is that Zero forces its story into existence by ignoring established content rather than adjusting to it. Let’s call this for the hotdog-too-big-for-the-bun syndrome solely for the sake of the bow-chicka-bow-wow that’s coming now. Bow-chicka-bow-wow. Many of the separate issues I will dive into all add to this hotdog-issue, so I will scream “Hotdog!” whenever this is the case so we can all keep track of my argument.

You can continue the story of Red vs. Blue without the Reds and Blues. While that would personally crush my heart, it can be done. There’s a story of Red vs. Blue that can be continued. The world can be expanded, the previous actions of the Reds and Blues can be explored from another angle.

So.

How does Zero do this? It doesn’t.

I just want to make it clear that new elements can definitely be added when it comes to worldbuilding. That’s literally the point of sequels. But Zero’s settings are presented with so little grace and with no connection to previously established worldbuilding. We get Alliance of Defense and GLASS thrown in our face as very big important organizations – yet we’ve never heard of them before. A big central plot point of RvB is the UNSC and Project Freelancers, and those were introduced naturally with the plot. We already have big established intergalactic organizations. What is AOD’s connection with those? We aren’t told. We are just told they exist and expected to accept it, no questions asked. If this was a whole new world and story – fine. But when you need to build on an already established worldbuilding, you need more grace than this. Chorus was a whole new setting, but it was explained, and it was connected to the previous plot. Same with Iris. Same with Desert Gulch. In Zero, it feels lazy. It feels forced. These organizations are just there because the story is built around them (HOTDOG).

This vagueness when it comes to wordbuilding is also reflected in the settings - we have a desert, a training base, a lab, temples, Tucker’s workplace, and we do not know if all those are set place on the same planet. If that is the case, what is this planet’s relationship with Chorus? Is it Earth? And most importantly, what is the deal with the temples? Why are they connected to Tucker’s sword if it isn’t the same planet. Are they made by the same aliens? Are people okay with this? Why haven’t these temples been explored before? Chorus makes sure to establish this, while Zero doesn’t, adding to a growing amount of confusion.

Okay, so no connection with previous worldbuilding. What about characters? I mean, we got Wash and Carolina and Tucker! So we have RvB characters, it gotta be RvB! Technically – yeah. But it feels dirty. These three characters are not here to be characters. They are here to be props to the new cast. They are not given any development. Their presence isn’t even that important, and if this was a whole new show, they could easily have been replaced with an unknown face. Worst of all, they feel miswritten.

Carolina and Wash are working at a new military organization? Leaving the Reds and Blues behind? To help people? First of all, fucking bad idea, Carolina, the last time you left the Reds and Blues alone, they changed the timeline. But most importantly – Carolina and Wash just joined this new super elite military organization? After being mistreated and manipulated by such an organization in the past?

Carolina is there to introduce the characters. That’s it. We are force-fed their personality by having her literally read out loud their personality. There is no gentle introduction to the new cast. We are not allowed to get to know them naturally. Why show when you can tell, huh? That’s Carolina’s role. That’s why she is there. To introduce the cast and explain their story. That’s it. (HOTDOG).

How about Wash? He is there to get beat up and be a damsel in distress so that the new cast has a reason to explore the plot. Oh, and that brain damage that was the consequence of previous seasons – gone now. The guy who literally has trauma from having an AI explode inside his head is fine with having a computer inserted into it instead. Because that’s needed. To explore his brain damage wouldn’t work now when his role is to be a prop to lure the new cast for one episode and then be put onto the bench for the rest of the runtime (HOTDOG).

And Tucker – he is there to die for a second and have his sword taken from him. That’s literally it. And for the few moments he is there, he feels like old super flirty Tucker, which erases the character development he went through in previous seasons. Okay, so Tucker dies, and then not dies, and then he is put on the bench with Wash where they can sit and talk or whatever (‘cause holy shit, the new cast is not allowed to that), because he isn’t important. The sword is. Tucker is just a prop, even more than his sword is (HOTDOG).

Damn. Wash gets beat up. Tucker gets beat up. Dies. Gets his sword taken away. Almost seems like a Red’s wet dream. Sorry not sorry, Blues, you were done dirty.

So there are miswritten old characters. Even worse is the retconning. The plot needs a “normal” Wash, so, bam, magic computer solution. Never mind Wash’s trauma and character traits. Never mind the logic of the new worldbuilding which also includes a character suffering for years to heal an illness. But the brain damage that was such a big consequence that it became the main part of the plot of the last two seasons – gone. I mean, a gunshot to the head can be healed by CPR. That’s canon. But no one gave Wash CPR so it’s a big thing, okay. It was canonically a big thing, and Zero erased that. This is not me saying that a Cerebral Enhancer couldn’t work in the RvB universe. Imagine it being done right. Wash struggling with the choice of getting used to his disability or accepting the possibility of help - at the cost of reliving his trauma. The struggle between what to choose - what should he choose when he wants to help as many as possible, the sacrifices he thinks he has to make, the way it could have been used as a part of his character growth. But in Zero, the enhancer isn’t a part of Wash’s character. It’s there so the story can work without having to deal with the previous plot’s consequence (HOTDOG).

Same with the sword thing. They sorta explain it by having Tucker flatline, but it’s weak. Honestly, I find it sorta offensive. What about Locus’ sword as well? It’s twisting previous lore to make the new plot work (HOTDOG). (Also, are we not gonna talk about the ultimate power being Spencer Porkensenson’s helmet? Have the writers forgotten Spencer Porkensenson? Have we as a community forgotten Spencer Porkensenson?)

If you have Red vs. Blue in your title, you cannot ignore what you inherit from it. You need to respect the worldbuilding, the established characters, and the previous plot. Zero does not do this.

Let’s talk about the Triplets. No, really, let’s do it. I don’t think I’ve ever talked about them before, because season 14 was a mixed bag for me (that I have now learned to appreciate. Thank you, Zero.) because I have heart at the size of the Grinch and can only love a few characters at a time, and that did not include the Triplets. Can’t even remember their names. Well, I can, but I can’t for the love of me remember which state is which, and my tongue is twisted every time I try to say Ohio, Iowa, and Idaho, and I know it’s on purpose. I know it is. And it got me good. That being said, the fandom actually embraced them really, really well! Seriously, I’ve seen more content for the Triplets than for Zero as a whole.

Why talk about the Triplets? (Was Iowa the lesbian? Or was it Ohio? Fuck.) Because like Zero, they introduced new characters with a story of their own. The Reds and Blues didn’t play a role. But here’s what I feel like the Triplets got right. They didn’t change the settings to force their narrative. They used stuff already established (Project Freelancer), added their own story as a continuation of that. They even included old characters in the beginning (Wash and some other Freelancers) but it felt natural and it didn’t feel like it happened at the expense of the old characters. Wash’s writing felt natural, and his presence wasn’t needed to tell these new character’s stories. He wasn’t a prop to them. He was there to establish the setting and to establish the relationship with these new characters, and then he and the other familiar faces (helmets??) left, and we as the viewers were left with these new characters. And the new characters told their own story by themselves. It felt like, hey, here’s something you know – remember Mother of Invention, and remember Wash’ lower rank, but now, try to imagine being even lower rank than him, aren’t you curious about those fates? Now let’s hear their story! It was new, it was something else, but it didn’t wreck what came before it, and it stayed true to the classic vibes of RvB.

As I said before, the hotdog-issue is my biggest problem with Zero. It infuriates me. I will return to this. But there are more issues, even if we try to look past the title-related problems.

If we try to imagine Zero as its own story and universe (as it should be, in my opinion), it still earns the meh review from me.

These isolated issues include awkwardness, the writing, lack of self-awareness, and pacing. First of all, holy shit, this is a tell, don’t show. Nothing is subtle, nothing is allowed to develop. It’s like the show thinks you are six years old with an attention span of a goldfish. You are not just led by the hand – they have literally pulled off your arm by the end of the show. We are force-fed every bit of information, every bit of personality from these new characters.

The voice-acting is a mixed bag for me. Sometimes it’s pretty good, sometimes it’s not. Some of the problems can definitely be blamed on the dialogue that you can only do so much with. It’s not good. I can’t remember any good jokes (the one joke I really appreciate was the cast on armor, and that was freaking visual humor. That was so RvB. Kudos to that. It was fun. More of that, please.), and RvB is known for having memorably good lines. This is a show built on good, clever, funny dialogue. Zero does not deliver. You have to sit through clichéd lines – “You’re not my dad”, “I trusted you”, “Come with me”, “It can’t be!”, “She’s way too powerful”, and “We have to do this together” – performed unironically. I cringed more than I laughed. Worst thing is that Zero could be a good parody. Sometimes, it feels like it is. One-dimensional characters, a villain wanting ‘the ultimate power’, very overpowered characters, bad one-liners, etc. But Zero takes itself seriously, and I was one of the people rooting for Jax to show up at the end and yell “Cut”. That would have been a funny-as-fuck twist. A spin-off parody. If I can’t have “Sarge the Movie”, I would have taken that and loved it. I would have forgiven everything. “We put so much info into finding that power, but we had no idea what it was” is really a line in the finale, and I cannot believe this is real in a show that somehow still tries to present itself as serious. What a plot.

We have to talk about pacing. God, first of all it should be stated that RvB is a mess when it comes to pacing. I honestly get what they were going for. Sometimes, RvB has come across as a bit boring when you get three episodes stretched over three weeks without much going on. I know season 11 did not have the warmest welcome because it was seen as boring until the finale. But when you see season 11 as a whole, as a movie, as a part of a trilogy, it works so well. Zero is more focused on being episodic. They want something to happen all the time so we will stay tuned. The thing that will happen – a fight. Oh god. The fight scenes.

I have done the math. I have run the numbers. I deserve a freaking cookie for this. Are you ready?

If you put all the episodes together, you have a runtime of 106 minutes. HOWEVER, with the introduction of credits in every episode, you gotta account for this. Removing the credits, this gives us 94 minutes of actual runtime. Out of that, 45 minutes are dedicated to fight scenes. That means 48% of the show is fight scenes.

If I wanted that many fight scenes, I’d watch Death Battle. Except the actual RvB Death Battle episode has a runtime of 20 minutes, and out of that, 5 minutes is dedicated to the actual battle. For the people who hate math – that’s 25% of the actual runtime.

RvB Zero has more fight scenes than a show called Death Battle. Take that in.

The pace suffers from this. Where’s the time to explore the characters? Where’s the time for good dialogue? All I can think of is this:

I get that RvB is a show that’s literally making fun of itself by acknowledging all their characters do is stand around and talk. I get that you want characters to do more than that. But for the love of Church, would it kill the new characters to stand around and talk? For just a minute? Stop fighting, I am begging you, stop fighting! Am I a pacifist now? Am I purple? Have I joined Doc’s team? What has Zero done to me?!

The good thing though is that fight scenes are very good. They’re entertaining. However, they seem to deconstruct themselves when we need to get a fight scene in every episode. Usually, the few fight scenes in an RvB season were in some of the most climatic episodes. In Zero, I can hardly keep up with the pace because they won’t stop moving. Fight scenes aren’t plot. They aren’t character development. You need more than just fight scenes. They entertain, but there’s a limit to that.

Noël Wiggins, the co-writer, stated the inspiration was a Saturday-morning cartoon. They nailed that vibe. If that was their goal, hurray, they have accomplished something! Because of the poor plot and constant fight scenes, it feels like you could just switch on the TV and drop in at any moment and let yourself be entertained by the cool and colorful soldiers punching and kicking each other. I will admit that the fight scenes entertained me. But they don’t make it a good season.

If I were the six-year-old with the attention span of a goldfish that the show believes I am, I honestly would enjoy it. The stiff dialogue and the constant tell-don’t-show makes you feel like an audience that’s not supposed to do anything else but admire the flashy fight scenes. I miss the cleverness of RvB. I miss the characters I get to connect with as I see them grow.

I miss the tone of RvB. Because this isn’t RvB to me.

It’s not that RvB hasn’t changed its tone before. Holy shit, I sorta do want to experience the absolute shock the RvB fandom went through when s6 aired and they were given new characters and serious plot. I would have loved to experience that, but I was too busy being ten years old. The Freelancers seasons also introduced a new tone and more fight scenes with very talented fighters compared to the Blood Gulch gang, but a balance was kept by having half of the season still revolving around the Reds and Blues. But Zero – Zero is so much change. And it’s on purpose. At least this has been made very clear from the beginning.

They constantly seem to appeal to new fans, rather than be directed towards older fans of the show. If you want an entirely new audience with a season with a new cast, new worldbuilding, and new tone, I’m confused as to why they don’t just make a new show. The hotdog-problem begs for this solution. This story and environment and characters feel so out of touch with the original RvB, that with a few rewrites and lack of Halo-armor, it could just be a new show. Problem solved.

If not this, then present it as a spin-off. In all ways, it feels like a spin-off (again, see everything marked HOTDOG). But the creators refuse to do this, and I don’t understand why. I could forgive many of these issues, had they officially separated themselves from canon.

Ah, what’s the idiom? You can’t both swallow and blow? (You can hear the Bow-chicka-bow-wow in the distance). Something about eating cake and having it. Forgive me, English isn’t my native language. POINT IS why are you calling yourself RvB while actively fighting against the core essence of RvB? In my humble opinion, you can’t be both. Marketing it as a spin-off would have granted it some defense when changing, well, literally everything, and I just, would someone please properly describe why it isn’t a spin-off? Isn’t this season marked by its association with the plot of RvB rather than a continuation of it? Zero presenting itself as not a spinoff feels like a toddler clinging to the hem of its mother’s dress while forcefully running away from her, ripping the dress in the process.

When they do connect with the original RvB, it leaves a bitter taste in my mouth. When they let Carolina, Wash, and Tucker appear for a moment, it feels like luring viewers in with the RvB title. Look at me. Look at me! I’m not saying this is the case. I say that it gives me the annoying vibes of being lured, rather than letting the characters be a part of the show for their own development, rather than having RvB in the title to continue its story. I should not be getting these vibes at all. But I am.

If you want to use RvB in the title, something from the core of RvB needs to be embraced. Things can be changed. They should. Something new should be brought in. But there’s a limit to how much you can change and replace and twist until it would have been better with an original show. As a season of RvB, it should tell the story of Red vs. Blue.

From my perspective, Zero fails to do so.

It pains me that the old cast has been replaced, but as stated earlier, a season could have worked without them. However, I do not like the take that one should be excited about all the new characters. That it isn’t a big thing that the OG cast got replaced. That we should just deal with it. Just, try to imagine another show suddenly replacing the main characters with characters we’ve never met before. Imagine RWBY suddenly only focusing on a new team of huntresses with the previous main characters reduced to an Easter Egg presence, or Camp Camp suddenly being about a new team of campers, no warning given. Can you imagine the outcry? So maybe let’s agree that a replacement of the main cast is a big thing and should be addressed and it’s valid to be upset about this change.

Could Zero have worked? It’s hard to answer this. How can I accept something as RvB if the season actively pushes away the core of RvB aside for an isolated story that could have been told in any other media? As a spinoff, I could have ignored it. To enjoy Zero, I have to fully separate it from RvB in my mind, and then it’s alright. S’not good. But it’s not bad. It’s entertaining enough. I really ended up liking Raymond and Tiny, and there were a few good jokes, and the fight scenes were admirable (but too much) and I love the creators’ passion. But it’s not RvB. I also wish that the new characters had been attached to previous worldbuilding, for example soldiers on Chorus or agents from Project Freelancer. That way we could build on familiar lore which would have decreased the confusion and added a much needed connection with the previous seasons of RvB.

God, the anxious voice is back (by the way, it sounds like Tutter from “Bear in the Blue House”).

“You’re racist” – I hope not. Literally, I do not want to be. Tell me if I’ve ever crossed some lines, because I swear, that is not my intention, I will apologize and most of all, change and do better. I included this because I’ve seen this take thrown around in the big ugly mess that is the fandom clashes regarding Zero. And racism is problem within RT community (this includes AH and RvB, sorry, I just use RT as an umbrella term for the latter), and I’m not saying it hasn’t been a problem with this season. Writers should never be harassed, and never-fucking-ever because of their skin color, and voice actors shouldn’t be treated like they are responsible for the choices of the show. But I was legit nervous to post this review, and I hope it’s been factual without feeling like personal attacks on the creators because that has never been my intention. I was delighted to hear about the diversity behind this project, and Torrian’s passion legit blew me away because it’s been a while since I’ve seen that for an RvB project. I’d hoped for it to be good, and when I feel disappointed, it’s for the reasons stated in this analysis. That said, Zero is made by a diverse cast and it’s made with love, and both of those things are so, so great, but it does not mean that Zero cannot be criticized. It can, and it should. It’s a product, just like all the other seasons, and fans are allowed to discuss it – both what they loved, and both what they found troublesome. And to repeat previous points, and be respectful, always, fuck racists, and never-fucking-ever harass the staff behind a season, what the fuck is wrong with you if you do this.

“Don’t you get it, it’s different because it’s trying something new!” – Hey, remember the philosophical question: if you replace all the parts of a ship one-by-one, is it still the same ship when you’re done? If it doesn’t include the Reds and Blues, if it ignores previous plot, if the old characters feel miswritten, if it values animation over dialogue, if it values fight scenes over comedy, if it wants to be Fast and Furious instead of Red vs. Blue – is it still Red vs. Blue? Because it doesn’t feel like it to me.

“It's been 17 seasons, it’s time to let the Reds and Blues go so someone else can shine!” – I simply do not understand us having been with the Reds and Blues for 17 seasons should be an argument to let them go, rather than be an argument as to why their absence hurt like hell.

“The Reds and Blues ran out of things to do!” – Did- did they, though? I mean, if we were discussing pretty much any other show, I’d probably agree that they were running out of content. But for the Reds and Blues… I think the PSAs nailed it this year! I’m not kidding, I had more fun watching the Reds and Blues discuss how to do laundry than watching Zero. You could literally give me an hour of the Reds and Blues trying to bake a cake or clear a gutter or simply settling down with an ordinary life, and I would trust them to make it worth the watch.

“The flaws were due to the fact it’s only 8 episodes long!” – Look, I can only judge a product the way it’s presented to me. I cannot come up with excuses for it. If they had 8 episodes to work with, they need to come up with a plot that works with this runtime. Seriously, this excuse cannot work when 48% of the season is spent on fight scenes. They could have used more runtime, sure, but the show needs to be able to pace itself and be planned accordingly.

“The OG cast couldn’t be a part of this year, hence Zero!” – That might be true. But. Would one year without RvB kill it? Is Zero necessary? Again, I just can’t judge excuses for the show. But trouble with the cast has been an issue before. Season 15 solves Geoff’s sabbatical by actually making Grif’s absence a part of the plot. Zero’s lack of Reds and Blues just feels like this excuse to tell a story that needn’t be a part of RvB.

Am I a hater? I guess? I greatly dislike Zero for the critique stated above. I do, however, not harass the creators and no one should ever do that. However, I have to admit that I feel there’s been this weird rejection of any critique of Zero where everything’s been brushed off as haters gonna hate, including the critique stated above. And I think that’s a problem because critique, as hard as it can be to hear (and I know this. I’m an author of original works. Weird flex, I know), is valid and necessary and shouldn’t just be shrugged away. As always, both sides of the fandom should always be respectful, but my own opinion is that addressing the flaws of Zero should not be controversial.

Does this super long rant/critique/whatever mean you cannot enjoy Zero? Gods no! I almost envy you if you enjoy this season, but holy shit, feel free to love it and tell the creators that you love it! Me pointing out the issues I have with the season shouldn’t be stopping you. I loved (and still love) s15 when it came out, and it was majorly rejected by the fandom. There were many, many critical posts, people were going on about how RvB should have ended with s13, and it evolved into the writer receiving death threats (me, once again: never ever harass the creators, assholes). But I didn’t tell people to stop being negative. I actually agreed with many of the flaws that were pointed out, and I enjoyed the season despite this, because that is possible. We, as RvB fans, should agree that RvB, is... I mean, it’s not the greatest, most flawless of shows, but we love it nonetheless. So go ahead and love Zero. This is not a stop sign. This is my opinion that you chose to read.

Wait, I promised you a cookie, didn’t I? Well, you’re not getting one. Why? Because I’m a Red and this is my chance to piss off a Blue. As Caboose wisely said: “Well, at least I don't go around... knocking on people's non-doors... and promising them cookies... and then NOT. GIVING. THEM. COOKIES!”

Blue Team sucks.

End speech.

#rvb zero #rvb #rvb zero critical #rvb critical #rvb0 #my rvb stuff #pls dont hate me for this #this is my honest opinion that people apparantly wanted to hear #as a standalone story zero isnt totally bad #as an rvb season it is

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dykekeit · 2 years

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Can you tell me about ‘if salt loses its savor’? I looked it up and read it and would love to hear what about it made it stick with you so much

Anon I am so beyond happy to answer this

First of all, If Salt Lose Its Savor is a short story by Christopher Caldwell first published in Uncanny Magazine Issue Thirty-Three. Uncanny is among the younger of legendary sci-fi zines, but nevertheless has an amazing collection of fiction and nonfiction pieces, many of which have been nominated for or won Hugos, Nebulas, Shirley Jackson Awards, Locus Awards, etc. Not to mention, Uncanny places a priority of taking stories by POC, disabled authors, queer authors, etc. Suffice to say I don’t think it was an accident that ISLIS ended up there, Christopher Caldwell having other short stories there notwithstanding.

I get why you might be confused as to how it left such an impact - the story is fairly short, the ending isn’t very definitive at first glance, maybe you want to see more of the world, etc.

This makes sense. ISLIS sets up a world that we barely get to see, because we’re stuck in a tiny tiny hamlet by the ocean where women harvest and harvest salt from the ocean, hoping desperately for a tiny bit of blue, magical salt. This they will sell to a mage, and from there they are disconnected from its consequences. Their job is to harvest, not to use or direct the use of the salt.

For me, the genius of ISLIS isn’t in the actual story, although I absolutely love the narrative - it’s in the structure and, yes, in the worldbuilding.

When it comes to worldbuilding, you don’t write the fire in the sky and the massive calamity. How disconnected we must be to get only a birds-eye view! No, as a writer, you describe the child’s burnt sock lying on the side of the road. Make the impact personal. So, no, CC does not describe the political machinations of the world of ISLIS - he describes one woman in a tiny salt harvesting town, who wants a little more money so she and her wife can maybe retire or eat a little better, who is turned restless by salt-dreams.

And despite being who she is, and never becoming some YA hero involved in the fate of the world, she still manages to commit an act so subversive, so fundamentally out of rhyme with all of her previous goals, that we KNOW without seeing it that the consequences for the world we do not get to see will be massive and unmistakable, if not known.

This ultimately comes down to the story structure, that I am able to say this with absolute confidence.

The structure of ISLIS is unbelievably tight. Every single sentence conveys only information you need. If we look at John Truby’s Anatomy of a Story, we see that ISLIS follows the seven steps perfectly:

1. Weakness and need - Dion and the others are gathering salt to sell

2. Desire - they find the blue salt, and Dion begins to think about how “the coin from this can salvage everything you love”

3. Opponent - the mage appears with his weird shadow people to buy the salt

4. Plan - the plan is to sell the salt to the mage. it’s the best they’ve had all season, Dion’s apparently inherited sensitivity is what led them to it, and most importantly, this is the townspeople’s only chance to sell because the mage is the only one still buying

5. Battle - Dion accidentally touches one of the servant and has the experience of understanding that he used to be a boy from a destroyed city

6. Self-revelation - this, combined with the salt dreams, brings Dion to the revelation that the mage has been using the salt for evil purposes

7. New equilibrium - Dion dumps all the salt back into the sea, thus subverting her original desire and possibly safety for a higher morality

Considering that these seven steps are actually REALLY HARD TO PULL OFF, especially in sequence, I think it’s unbelievably CC managed to do so in such a blip of time, with such a singular character who is uninvolved with the rest of the world but is still ultimately connected to it.

Thematically, the story is no less impressive. One small act of protest is all it takes to change the world. It is important to trust your instincts and say “no” and stand up to corruption. CC doesn’t describe the impact losing the salt has for the mage, whether the world is saved or the war ended. He just describes Dion dumping the salt back into the sea, and that to me left such a profound impact, because you don’t have to know the ripple effects to commit an act of goodness and bravery.

Not to mention - the prose is genuinely gorgeous. It’s artful and playful in its descriptions of the salt, stark when describing the mage and devastation in the salt-dreams. The dialect the townswomen use is both believable and familiar without sounding like a caricature, as are their concerns.

idk anon it’s just really good! there’s nothing more to say

#if salt lose its savor #christopher caldwell #uncanny magazine #weather blue speaks

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baeddel · 3 years

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when Klaebers wrote his landmark commentary on Beowulf he included a whole chapter criticizing the poem’s literary merit, saying that it had a poor structure, the plot lagged and stumbled, and so on, and this was apparently the consensus view at the time. Tolkein was the first to really champion the work’s literary merit. Nowadays its regarded as a classic & everyone who studies it takes for granted that it’s a masterpiece. It’s interesting to me because Klaebers was writing in the 20s-30s at the height of literary modernism, where you might imagine the oblique, digressive narrative would go down well, while today there is no market for experimental literature or even popular verse.

You could argue that its a case of the kind of people who were attracted to English medievalism in the early 20th century being conservative aesthetically while today they tend to be fans of fantasy fiction, but I don’t know that theres any truth to that. Klaebers, a German, with Chambers and some others, founded a new interpretation of Beowulf in opposition to the German volkisch consensus, with London and Minnesota the new intellectual centers of gravity, which I think we have to regard as at least in some sense a political-aesthetic decision. The opposition between German and Anglophone departments of English studies were often seen in patriotic terms during the war years as a conflict between Anglo-American progress and German barbarism (eg. by Cambridge’s Walter Raleigh who declared that “German University Culture is mere evil” and aired murderous fantasies where “their deaths would be a benefit to the human race.”) Chambers opens his introduction to Beowulf with, bewilderingly, a quote from Uncle Remus, which must have once been a strong ethical-aesthetic signal, if by now a whimper of garbled noise. For the modern component, I have surprisingly not seen a lot of overlap between fantasy fandom and professional medievalists, although fantasy fans must make up the majority of the “scholar-layperson audience" that Bruce Mitchell saw himself as writing for and Roy Liuzza chided him for believing in; but this audience, where it exists, is exactly the opposite of today’s professionals, treating Beowulf primarily as a source of historical inspiration (for worldbuilding or refereeing a tabletop campaign) and interacting very little with mature literary criticism.

It’s possible that it has to do with the organization of the universities. I think Cambridge’s ‘Anglo-Saxon, Celtic and Norse’ department became much more important post-war, and for whatever reason the discipline was formalized around letters. Philology in general suffered a decline, archeology became increasingly distant to nonspecialists, the conventional English department reoriented itself around French philosophy, positivism became unfashionable, the ennobling and civilizing effect of the humanities became a more important argument in the face of education cuts, etc. By a thousand cuts, the text alone like “war-smoke rises from the mighty funeral fire” remains as the locus of contemporary Anglo-Saxonism.

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fencesandfrogs · 3 years

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cloudtail’s daughter — worldbuilding & logistical things

so i've been working on an au re. dovewing being the direct child of cloudtail and brightheart. check out my cloudtail's daughter tag for more info, because i'm basically just jumping in this time with minimal context.

that said, i think this is relatively self-contained. it's mostly thoughts about the world of warriors, lumped in with specific changes for the au purposes.

[3.8k words, 14 min read. section headers, very long paragraphs. paragraphs in parathesis and italics are sidebars that can be skipped. a lot of spelling mistakes because my grammer checker cuts me off after like 2k words. sorry.]

section one: po3

so i've said before i want to minimize the changes made specifically in po3 for the purposes of this au. a) because that means i only have to keep track of 6 books worth of content (i've given myself through bramblestar's storm to get to the point where it could mostly fit into canon, but for reasons that are obvious re. my dovewing/tigerheart take, tigerheart's shadow would be a little weird, but not out of canon. anyway we don't get any tigerheart pov in this so who knows what he's thinking.)

anyway, hollyleaf plays a significant role in the ending three books of the rewrite, getting her own pov in book 4 the forgotten warrior. so she can't go exactly the same way it happens in po3. i need her back in thunderclan by book 2 for beavers, not book 5. also, she still needs to end up mates with fallen leaves. because changing that would count as a major series change that could have an impact on the future continuity and this series rewrite is intended to be fairly self contained.

right. so hollyleaf has her shit a bit more together, but she still kills ashfur and goes into the tunnels. the difference is we're ignoring the entire hollyleaf's story novella. don't get me wrong, it was a really good novella, but she doesn't have that much time. i'm not interested in figuring out the details of what happens, but she returns to the clans either before book one or in book one, i haven't decided. she continues to see fallen leaves fairly regularly, though, including spending irregular nights with him. everyone just kind of...accepts hollyleaf's ghost boyfriend, because no one wants to upset hollyleaf again.

lionblaze's personality is not entirely nonexistant in po3, contrary to popular opinion, but he does have to support an entire book in this rewrite, and it's the weakest book in the arc, so he's gotta have something. i've nudged him to be a bit gregarious and open. you know, big and friendly and warm. terrifying in battle though.

jayfeather ends on much better terms with brightheart. i know he doesn't really end on a bad note with her, but this is also to help story flow a bit.

other changes will, i'm sure, crop up here and there, but those are the three major ones. i've got tonnes of changes i'd like to make, but i'm keeping it minor. (notably, if it were up to me, jayfeather would do his back in time sequence once, not twice, and it would be in omen of the stars. hollyleaf's ghost boyfriend would add more solid ground to it, and that would be established in book 2, but as i've decreed the rules, it is not up to me.

also, dovekit and jaykit would be siblings, and dovepaw would become the medicine cat dovefeather, and jaypaw would be the warrior jaywing. that's a bigger change though for a different au.)

section two: family dynamics & a bit of genetics

so one thing i really like in omen of the stars is how close dove/ivy/white are. it's really cute. cloudtail and dovekit are super close in the first book, and brightheart, dovekit, and ivykit are going to stay close throughout their lives. (cloudtail will also stay close with his daughters, but dovewing and ivypool consistently look to whitewing for support, and brightheart is good for that too.)

i have whitewing as still existing because age wise, i think it makes sense for brightheart to have her younger litter at dovekit and ivykit, than for them to be her first litter and for amber/dew/snow continue to exist. (in my hypothetical jaywing/dovefeather au, this is reversed.)

i'm not keen on her being close with her younger sisters. i do think, for future story purposes, whitewing and birchfall would have amber/snow/dew. this is a super unimportant change because the only part of that litter that matters is that lilykit is fostered so that lilyheart can then foster twigkit and violetkit, and there's 0 reason that whitewing can't be responsible for that.

(be honest, did you even remember that chain of events? did you even remember who raised lilykit? did you even remember sorreltail was her birth mother who died? yeah, that's what i thought.)

anyway, i've danced around the specific genetics of how we get a grey dovekit from a white cloudtail and a red brightheart, and you may think, "matthew, one paragraph isn't dancing around it," and that's because you have no idea how much i care about this and how much i have to say about this. if you don't want to read 1.3k words about cat genetics, skip to the next section. the last two paragraphs is the only part that's even kind of important.

so. i've put a whole lot of thought into this. because obviously dovekit is responsible for being grey to make the whole bit work about her, you know, being dovekit, and dovekit must be dovekit for dove's gentle wings to work. so this is important.

i'm going to walk through the two options: tortie brightheart and tortie dovewing. (*technically, calico brightheart and either for dovewing, but i'm keeping it brief.)

(an aside that's totally skipable: so there is a gene on the extension locus E/e which causes cats born black to turn to amber, which definitely could be brightheart, but it's pretty rare, so i'm sticking with my calico assumptions. that said, in brightheart's official art, there is a black ring around her nose, implying a very specific silver tabby to amber deal. given her kit coat isn't described anywhere i can find it, i'd say it's actually the best description of brightheart. that said, best description is not the most likely. anyway, if this were the case, i wouldn't need all of this write up. so know that there's an easy solution, but i'm choosing to ignore it because of its rarity and because i don't want to check if brightheart could have inherited the silver genes she would have had to for this to work. it's definitely possible, given that frostfur has the same deal as cloudtail, see below, and lionheart could be golden --- as in the formal word for a cat with certain genes, a color linked to silver, but, well, i just can't find it likely. i'll add a short description of how it would work at the very end of this though.)

in either case, cloudtail is the same, so i'll address him first.

so, cats have four genes on the white allele, Wd, Ws, w, and wg. Wd is dominant white, and it could be what cloudtail has, but since he has blue eyes, it would be likely for him to be deaf, and, because it's dominant, there's a low chance that neither dovekit nor ivykit inherit it. is what i would be saying if whitewing wasn't his first daughter. she is also solid white with blue eyes, so to me, that makes me thing he has Wd- (as in, any other gene.)

the other option, Ws, requires him to be WsWs to be fully white, and brightheart to be either WsWs or Ws- for whitewing to inherit WsWs. given that ambermoon and dewnose are not fully white, it seems that brightheart is Ws- and cloudtails is Wdw (or Wdwg) in order for their theoretical image to be correct.

(an aside of even less importance: ambermoon's father was not cloudtail. the short explanation is that she shares one X chromosome with princess, who was XX --- see my discussion of tortoiseshells below, we know princess wasn't one, so she can't be XXo --- and one with brightheart, who's XXo or XoXo. therefore, ambermoon and princess cannot both have accurate canon descriptions because one of them needs to be a tortie. i think it's more likely she was sired by a red tom. yes, it is possible for kits in the same litter to have different sires, and yes, that is necessary, because no one else has dominant white in thunderclan AFAIK. this means making her birchfall and whitewing's gives a bit more wiggle room in all this. a bit. she could also have the same thing covered on brightheart in the above slide, but that's complicated for other reasons.)

brightheart is almost certainly Wsw or Wswg. they're not both wgwg because that leaves no options for ambermoon, who i'm interpretting as not having any white. cloudtail inherits from princess wg because of birman gloving demonstrating on her white paws (there are other ways, but given her description, which fits it almost identically, i'm going with that.) so for white, we have Wdwg for cloudtail and Wsw for brightheart.

ivypool inherits Wswg so she can have her inconsistent white, and dovewing inherits wwg.

now, we don't know anything about cloudtail's father, except that he's white too (or cloudtail couldn't be white.) princess is light brown tabby, which is something i'm having a hard time deciding her genetics for, so we'll work back to that (neither of the obvious options leads to a cat that looks like princess, because of how tabbies work, the combination is likely not to be obvious anyway) if i decide we need her genetics.

right so for dovewing to be solid grey, two things must be true: cloudtail and brightheart must be either Dd or dd (dilution). brightheart, i don't believe, is dilute, because i've seen cream on cats and it's far closer to sandstorm's color than brightheart, so i'm calling her Dd. cloudtail can be either.

dovewing is dd, and so is ivypool. that's how you get light grey.

now, either cloudtail or brightheart have to have a B- black phenotype. (special case included, if you read the aside) and i think it's more likely to be cloudtail. then, brightheart can be blbl, which is cinnamon, and would help hide her tortie-ness. (we're covering that later.)

at this point, dovewing is more or less settled. if you're comfortable with this type of genetics, you can probably work it out. dovekit inherits B-/dd/wwg, and she's everything we need. the fact that she's not a tabby does kind of matter, but not really, because the nonagouti gene is recessive so even if cloudtail was a masked tabby, he can still be Aa and brighheart can be Aa, so she won't show. that makes dovewing B-/dd/wwg/aa, for those following along at home.

ivypool is a tabby, so she'd be B-/bb/Ws-/A-.

okay, we have the core of them settled down. there's a lot more that goes into types of tabbies, but that doesn't really matter here. the last bit that matters is the tortie issue.

as is a somewhat commonly known fact, tortie cats are almost always female, because the phaeomelanin (red pigment) gene in cats is sex linked to Xo (vs X for eumelanin, the black gene). this is expressed as O/o when discussing the specific gene, but since we only care if its dominant, the XO/Xo distinction is slightly faster to type if X means black and Xo means orange.

anyway, these are codominant, if a cat has two, they'll be expressed at random. that's how tortie cats exist. since for the vast majority of cases, only female cats have two X chromosomes, only female cats can be XXo.

(as an aside, that's another reason for the clans to find sol strange. i know the clans have a lot of male calicos, but sol was the most distinctive one, since redtail died in the prologue and i can't recall any others off the top of my head.)

anyway, dovewing needs to inherit XX to be fully black (grey), so brightheart needs to be tortie to pass on one to her and remain orange. alternatively, brightheart is XoXo and dovewing is a tortie. i'm sticking with brightheart tortie because that's actually how i pictured her, so i like it better, but it doesn't really matter, since the cream on dilute torties is actually rather subtle.

ivypool is the same as dovewing, although she could be a tortie if dovewing isn't and brightheart is, something i quite like the idea of.

now, for option 3, the cryptic option in the aside. basically, to summarize, you can get black cats who turn orange over time. the end result is a cat who looks very much like brightheart if they start silver tabbies (like ivypool could be), up to the black ring around her nose in the official art. that makes it the best way to describe brightheart.

however, it's pretty rare, so i chose to ignore it for my analysis. if brightheart did have this gene, then nothing would change about dovekit and ivykit from their canon descriptions, nor would her's change, except for her apprentice art, which would need to be updated as spreading orange over silver.

this is also the only option that gives us fully red ivykit, something i have decreed adorable.

over 1k words about cat colors later, here's my take: dovewing and ivypool with somewhat mirrored tortie spots (they'll never be perfectly mirrored, both because ivypool has white and because its entirely random) is cute and adds something extra to all of that art where they're mirrored.

i'd rather have straight red brightheart because she's got so much art very clearly not calico, and i'd rather have the two sisters match each other for cinematic drama than change brightheart. the accurate thing to do would be calico brightheart because it could be easily hidden by the right genes on the B locus, but i don't want to do that. so. i hope this was illustrative.

section three: clan culture

this here has no impact on plot but i've read a lot of worldbuilding stuff developing distinct cultures for the clans and honestly, that's why i'm so sad book 6 takes place with two shadowclan narrators. unfortunately, dovewing and ivypool are, like, crucial to the success of the clan cats, so they need to be there.

that said, were i to write this, i would certain write novellas for lionblaze and jayfeather.

anyway, i'm going to take what we've come to see as "standard clan culture" as thunderclan culture. they have a good deal of contact not with twolegs but with kittypets (compared to the opposite for riverclan) in the old terretory, so it makes sense they developed a more rigid, militeristic life, less free and less spiritual than the other clans necessarily. they're trying to be tough in front of the kittypets.

riverclan is just kinda...chill. they like flowers and shiny things. they copy twolegs because its fun (cats irl do this because they want to be like you --- being like you seems safe to them, but these kitties do it because its fun.)

so they make, not flower crowns because, no thumbs, but certainly weave flowers into den walls and leave petals places. (to everyone who keeps putting things on cats heads, please try doing that with the most patient domestic cat you know, and then i'll let you quietly correct yourself. i mean, continue doing it for fun, but if you seriously think that's possible...)

i do like the idea of them making wreathes its just, like, no opposable thumbs guys. maybe the medicine cats do it for religious holidays.

anyway, they have patrols far less regularly than thunderclan. they're also the most true to real cat schedules: most active at dawn and dusk. that's when fish are active.

so they're not lazy, sleeping all day, they get up earlier than all but the earliest risers in thunderclan and shadowclan. (windclan wakes up early too, we're getting to them.)

they also make shrines, but they don't really have a ton of weight to them. they're copying what they see.

when cats die, however, the trinkets lining their nests are dispersed to their loved ones, and one or two are added to a collective pile/arrangement somewhere. riverclan has been pretty clear their nests float (although i can't tell you why, considering they just evacuate when that happens and have to rebuild), so the most useful thin i can think of is to preserve the trinkets.

they also are one of the two clans to celebrate proper holidays. there's not a good sense of order to them, but when a celebration is needed, a celebration is had.

that said, unlike thunderclan, the warrior vigil does remain strong in riverclan. this is because twolegs are far more common in their territory, and so learning to be quiet when necessary is important, and the vigil reinforces that. riverclan cats are also really good at sitting still: you have to, to be able to catch fish.

shadowclan is pretty serious, but unlike thunderclan, they're serious about religion. being a medicine cat in shadowclan is a pretty serious deal. they tend to die young. (i'm stealing this mostly/entirely from warrior cats redux because i can't get it out of my head.)

they retain bringing apprentices to the moonpool in the new territory. it was always an important deal for them, whereas in thunderclan it's kind of like "oh yeah make sure that happens," like a mastery project in high school or a first year seminar in university.

they also care a lot about their ancestors. i believe blackstar is the one who called the names of the fallen during every gathering? yeah. that's because remembering the dead is really important in shadowclan.

they've got a lot of nursery tales about ghosts who grew vengeful once their names were forgotten, fading from starclan but not allowed to fully die. so. when everyone dies real fast like that, carving their names into everyone's memory is super important.

(if it wasn't blackstar who did that it is in this au.)

anyway, they've got a good amount of order to their life, like thunderclan, and the camp is also a lot quieter. in thunderclan, kits are under a good amount of danger from badgers and foxes and hawks, oh my!, but pine forests are a bit safer, since foxes are the only serious predetor.

i mean, it's complicated, and i can't really figure out what biome to base this analysis on, but i'm sticking with "foxes are all shadowclan really has to worry about" because it works for me. so shadowclan kits are allowed (suprivised) out of camp much earlier.

i know this contradicts tigerheart's shadow, and my choice was either "shadowclan: militant about protecting kits" or "shadowclan: dgaf" and i'm going with "after brokenstar, they did get real protective of their kits, which is when tigerkit was born and raised, but over time, they've relaxed back to their natural state of chill"

anyway, they're probably the most similar to thunderclan, but dovewing vibes there so much better because there's a real sense of order for purpose, not just because. so there's less shouting about who is going on patrol and who's hunting. the dawn patrol is leaving because if you're up at dawn, you need to secure the territory. etc.

and while she's part of a prophecy, shadowclan revers the prophecy itself, not dovewing. dovewing is not special for being a part of it, she's just doing her role for clan life. her role happens to be different than the usual, but so what? she's just a cat.'

also, they have holidays. namely, the new moon is a big celebration night, but they also celebrate the seasons, and new life. this is part of why tigerheart gets so homesick: even dovewing, his wife, doesn't share this part of life with him, and he misses it.

finally, windclan. i don't know honestly what to do with them. they're supposed to be the most spiritual but that's not reflected in how they're written, even in like tallstar's revenge, so i don't know. i think they're the calm riverclan crossed with the more focused on protocol of clan life thunderclan.

they rise early because rabbits, and their hunting patrols are smaller and less organized. based on the books, they just run full wild after rabbits most of the time, which means they scare off the other ones for a while, so it makes sense to have a mentor and apprentice go out every hour or so during the waking day to grab a bunny or bird than for a bunch of cats to feed the clan for a day.

they do have a lot of respect for medicine cats and leaders. starclan isn't seen as something the average cat has any connection at all with. i have a hard time keeping track of who complains about what in the broken code and avos, but i feel like windclan gets angry at some point about shadowsight's visiosn.

anyway, so a cat like jayfeather is like "oh he real cool" and that's fun for jayfeather. everyone expects great things from him. because, you know, medicine cat and in a prophecy? can you imagine i mean shame he came to be via crowfeather and leafpool but you'd be a fool not to admit he's a credit to his parent's names.

they're also pretty proud. and private. very private. no one knows at all what goes on in windclan. i'd not put it past them to have a secondary camp to move to if they get uncomfortable with so many people knowing where their camp is.

i mean, how else do you explain them keeping the tunnlers secret for so long? i mean, like completely secret, no one else knew about them secret, we found out about them in a super edition secret for so long?

section four: medicine cat shit

this is a short section, but i want there to be the idea, especially in shadowclan and windclan, that medicine cats are really important to the integrity of a clan, so they need to be spiritually pure. this doesn't mean they can't have been warriors, but they can't break the code.

that's why thunderclan and riverclan medicine cats share herbs so much more than the others: if windclan and shadowclan leadrs say no, medicine cats are risking a lot by disobeying.

this is also part of why leafpool steps down when the truth comes out. what she did is bad enough, but it will be far worse for crowfeather if she doesn't step down, and shadowclan and windclan will come for her head.

nightcloud and breezepelt are also angry because not only did crowfeather have kits out of clan, but it was with a medicine cat. that's like having sex out of wedlock with a nun.

and that's pretty much all i have for this. most of it was taken up by cat genetics, because integrity matters to me.

#warriors #clan culture #wc worldbuilding #worldbuilding #warrior cats #cloudtail's daughter #mine #txt #22nd #February #2021 #February 22nd 2021 #long #essay

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readingteabooks · 3 years

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Melusine by Sarah Monette

This book is not for the faint of heart. The page-and-a-half long prologue introduces readers to the concept a powerful magic spell that gives a wizard complete and utter control over a person. And then it tells the story of an infamous lady wizard who used the spell on a gay man, forced him to be her lover for years, and when he begged her to stop or he’d kill himself, forbid him from doing so.

It gives a pretty good idea of the tone of the rest of this book.

But that being said, I still enjoyed this book greatly. It has dark themes and potentially triggering content, but it’s ultimately a story about characters struggling against a corrupt society and overcoming the trauma of their past.

Felix has scraped his way out of slavery to become a member of the ruling class of wizards in Melusine. But when his past comes to light it sends him into a PTSD depression spiral that allows his former abuser to take control of him again. Felix has a Bad Time™. I’m actually going to throw up some content warnings for his half of the story, including but not limited to: sexual assault, being forcefully commited to mental institution, abuse, gaslighting, and suicide attempts.

I would like to give Felix a hug. He needs it.

Mildmay doesn’t have it all that much better, but he’s at least in control of his own narrative for the most part. Catburgler by trade, he takes on a job that winds up being more dangerous than it was sold and winds up on the shit list of a powerful necromancer.

From reading, you can tell that Monette has done some really powerful worldbuilding behind the scenes. Melusine really feels like a real city full of real people and a real culture. My only complaint is that the people of Melusine use a base-7 numbering system. Everything is counted in ‘septads’, but the word refers to everything from hours of the day to age to money. Add onto this foreign month names and a foreign year numbering system, and it can get confusing. It’s something that makes the world feel real, but can also make it difficult to figure out timelines.

Melusine was nominated for both the Locus Award for Best First Novel and the James Tiptree Jr. Award upon its release. Which I think makes it the most critically acclaimed book so far on this blog?

If I have the time, I think I’ll read the next 3 books in this quadrilogy.

#book rec #book review #booklr #book recommendation #sarah monette #melusine #fantasy #dark fantasy

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bitters-is-my-bitch · 3 years

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I really don't like RvB0.

The animation genuinely gives me a headache. That's not me being dramatic. There is so much movement I can't keep up with it, and I have to look at it all at once and it just... doesn't work. I don't like looking at aliens trying to mimic human body language or whatever the hell is going on. I feel like they really need to consider the phrase "less is more" when animating. The fight scenes, however, are fine. It's the rest of the animation. (Also, y'know. Would have preferred real machinama rather than it being animated in. Save yourself some time and budget by just doing machinama.)

And the pacing. My god. The pacing. There is not enough time to fit all this lore and worldbuilding into eight episodes. You can't shove so much information into 20 minutes. The most recent episode with Tucker? There was no time to react to anything. It was all GOGOGOGO.

Also, the details we WANT to know aren't mentioned. How much time has passed since s17? Where are the Reds and Blues? Where the fuck is Junior? What's Locus up to? How is Chorus doing? Sure. It's a jumping point for new fans. But the old fans are still here. You can't just throw us out the back to the trash. We want Red vs Blue, not a glorified OC insert fanfiction.

I firmly think RvB0 is a bad show. I know there's a lot of love and care put into it, I really do. But that's not enough. Love and care can't combat bad writing and pacing. Honestly? I hope it doesn't get a second season. I want Torrian to get his own show. He has potential as a writer, and I want him to succeed. I just think he could have plenty of time to play around and get a feel for showbiz and writing without touching Red vs Blue. And honestly, it's on RT for not giving him his own show in the first place.

#red vs blue #rvb0 #rvb0 critical #rvb0 spoilers #red vs blue zero

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ladyfl4me · 4 years

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hi i just finished amnesty and im going on AO3 (as one does) and i was like blindsighted by how much indrid/duck there was???? did i miss an episode or something???? why do so many ppl ship it? (btw im just curious / not trying to yuck anyone's yum, etc) thank you so much!

No problem, I’d be happy to answer your question! I can by no means speak for the whole Amnesty/Indruck crowd, so if anyone sees this and wants to chip in their two cents, feel free to reblog/reply to give anon some answers. These are broad statements that by no means apply to everyone/how they interacted with Indruck/Amnesty as a whole. tl;dr at the end

The short answer: people are gonna ship things. Indrid asked for Duck on the payphone, he and Duck had one (1) friendly banter-y conversation about nog, they seemed to be getting along well, and they had a potential angsty through-line about their respective experiences with seeing the future. Arc 3 came out during the 2018 holiday season, so there were many gaps between uploads to account for holidays and live shows. People wanted content to fill the void. Indrid and Duck having an interesting dynamic + people going “what if this was a thing” + gap-between-episode fever = a slew of Indruck fics hitting the AO3 presses.

That was my experience of it. I went on AO3 when I got into Amnesty, September 2018; first fic on there I saw was Cheating the System by @duck-duck-juice, and I read that and thought the dynamic was interesting. Read everything else in the tag. Got interested. Went in the tag on Tumblr. Got sucked in. Here we are.

The long answer for “why is this ship a thing” is way more nebulous, which is where other people can chip in their thoughts. I think a great place to start is with Indrid himself.

Indrid Cold’s introduction to Amnesty was fucking delicious to hear in real time. He had a dramatic phone call entrance at the end of an episode. He had a slightly-unhinged but warm-hearted aesthetic and attitude. He could see the fucking future. He was directly in danger because of arc 3′s plot. He was an interesting minor character who could have used fleshing out, and the inevitable “what if this happened” crowd of speculative fans - myself included - were deeply interested in what could be done with him. He was the former court seer, which could have been an interesting way to flesh out Sylvain’s worldbuilding. His future-sight was an interesting component that could have bearing on future plot arcs (albeit in a possibly game-breaking way, which makes even more of an argument for fleshing him out to test the limits of his power in a story context - but that’s me editorializing).

Good grief, he was cool. And people wanted more. They wanted him to be deeper. Essentially, they wanted a member of the supporting cast on par with Mama or Barclay, not a one-hit wonder who took a fist to the face, fucked off, and wasn’t seen again until after the biggest tragedy of the series (and didn’t even ADDRESS it or add any emotional depth to the story, besides a plot-based hook to hang our hopes on. I’m still bitter about that).

One way to flesh out a character is to look at their existing relationships in canon and expand on those. Indrid talked to Duck a bit. They got along and it was sweet. That’s a relationship to expand on. And people ran that one into the end zone. And as arc 4 dragged on and got angstier, people longed for the good ol’ mysterious/exciting/Not Completely Depressing days of arc 3 and wrote more Indruck fic.

Another place to start is with Duck. Justin’s pretty decent at making relatable characters that people like, with interesting depth and humanity to them. All that being said, one remarkable thing about Duck was that, despite his incredible depth and really interesting motivations, he wasn’t connected much to the Sylvain plot. This is more of a side effect of Indruck than a cause, but still worth mentioning. I see Duck as very connected to Kepler, which is his hometown and a place he had a job to protect. But he wasn’t very connected to Sylvain. He wasn’t in deep like Aubrey was, or even how Ned was with the Flamebright Pendant. He was just a dude with a sword and a destiny someone else gave him. Hell, he was more connected to Earth as a locus than Sylvain; plotwise, he was really just along for the ride because of his Minerva-granted destiny. Shipping him with a character connected to Sylvain brought him into the narrative that the Pine Guard lived in a bit more, and that was fun to explore.

Ultimately, though, folks just thought it was neat. Some people were interested in the potential emotional connection. Some people I know crushed on Indrid and projected onto Duck to actualize that, or vice versa. Some people were curious about how this trend could coexist with Amnesty canon, and incorporated the ship as a side-arc of larger narratives. Some people were just here to have a good time. Regardless, Indruck seemed to come out of nowhere and took over the place, to the chagrin and annoyance of many, but to the enjoyment of many more.

tl;dr: their brief interactions in arc 3 + a dearth of canon content at the time + the old fandom trend of “people will really ship anything” + content creators with itchy fingers and spare time = Indruck being everywhere.

I hope this answers some of your questions! If anyone else wants to chip in, please do!

#asks #anon #taz amnesty #indruck #the adventure zone #the adventure zone amnesty #indrid cold #duck newton

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locusfandomtime · 3 months

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see the fandom has this thing where the hermits are different species and when they’re part animal/mob they’re a hybrid but nobody talks about the even funnier canon lore that they’re all the exact same species. Their species is hermit.

[long post - lots of worldbuilding and speculative biology below]

Jevin looks like a slime, Doc looks like that, most of them look human, but in actuality they’re all just hermits. The only information we have about this is that hermits are shorter than the average player, some references to hobbits, some references to hermits being hardworking, the fact that gem isn’t a hermit and had to wear antlers to pretend to be one, and that’s it.

I love biology and worldbuilding and this is fascinating to me. When you take into account previous seasons and events and throw-away lines this gets even more insane. Grian and Hypno are acknowledged to not have mouths (and even more hermits don’t have them on their skin). Mumbo turned into a potato. Cleo had snake hair at one point. There are a million other weird things I’m forgetting. You could handwave some of this with an explanation like “hermits are shapeshifters” or “hermits are gods” and that is a very valid and fun take but I think it is SO much funnier if these are just normal things that happen in the hermit species, which aren’t fantastical at all and are adaptations with elaborate mechanics and explanations.

Perhaps hermits, similar to bugs, regularly shed their skin (or a process similar to it) and change their appearance. Some insects change colours/appearance due to their environment rather than genetics, ie macleays spectre stick insects can turn lichen colours when raised around lichen. Maybe the hermits shed their skins on a regular basis, including during their adult life, and this allows them to better match their environment- causing physical changes related to what they have been exposed to. This causes potato Mumbo and medusa Cleo and DM Tango and any other example of a specific skin change. For more constant differences in appearance - maybe life cycles could be considered?

this may be the weirdest thing I’ve ever made. For those that don’t know, “n” is the number of chromosomes, where n is the haploid number, so 2n is diploid. Diploid cells are necessary for sexual reproduction. Of course, a lot of these life cycles are centered around reproduction, as is the nature of a life cycle, but in reality the hermits are in no rush and are happy to stay at whatever point of the life cycle they’re at, this is just an outline of the species’ mechanics.

I mean, most of this diagram is conjecture… but I think it is interesting to consider! Jevin especially reminded me a lot of slime mould life cycles so this is heavily inspired off that, but also inspired by bug life cycles as well.

If you want to get even more indepth we can consider the gender roles of hermit society (remember that clip where Grian implied builders were housewives and redstoners were breadwinning husbands?). Perhaps we can get meta and consider respawn an aspect of being a hermit as well - are they able to regenerate after death? What is Cleo’s place in all this, being undead? Is arm thickness, where your arm can either be 3px or 4px wide, an example of sexual dimorphism?

but. well. tldr: the hermits being one species is a very fun idea we should be doing more with, i think

#this started out as haha funny the hermits are one species and ended with me making scientific diagrams #decided to call those stages imago. like insects. best fit i could find for what i wanted #please ask me about my thoughts on courtship and evolution and early life stages and respawn and anything else please god #locus fandom time #i should have a tag for my insane antics #locus worldbuilding time #hermitcraft #long post #hermitblr #speculative biology #the ideas here are heavily biased towards slime moulds and insects because. well. autism.

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anneapocalypse · 5 years

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A theory: Chorus after the war should for practical worldbuilding purposes be considered a post-apocalyptic society.

Let me explain what I mean by that.

First and most importantly, Chorus’s population is a fraction of what it was pre-war. Multiple canon clues tell us this. The more dire of these clues is Dr. Grey’s “Everyone not in armor is dead.” But we do also have some hints as to the numbers, vague though they are. If Sarge’s estimate can be trusted (and for the sake of the argument I’m going to trust it because it’s one of the few clues we have), Chorus’s population at the time of season 12 numbers in the thousands (S12 E17). Post-ceasefire, the entirety of Chorus’s population fits quite comfortably inside the capital city. We know from Carolina and Epsilon’s travels that there exist multiple cities on Chorus that are completely abandoned (S12 E12).

To put that in perspective: On Earth today, a mid-density medium-size city has a population between 100,000 and 300,000 people. A high-density metropolis has a population of between 1 and 3 million. New York City alone is home to 8 million people, and though it is the largest city in the US, worldwide it’s not even in the top 20.

Based on this information we can safely assume that Chorus before the civil war was a well-developed colony with extensive infrastructure. Even if Chorus’s population had been less than a tenth of what Earth’s is today, that’s still millions of people, maybe tens of millions, maybe hundreds of millions. But millions at the least.

And from that, Chorus’s population has been reduced to thousands. Even if we go high and assume hundreds of thousands, we are still looking at a fraction of its former population. We are still looking at millions dead.

Whole cities have become ghost towns. Civilian life has ceased to exist—and with it, all the institutions that go along with it. There are no banks. There are no schools. There are no companies. There are no charities. Society has collapsed, and much of its infrastructure has no doubt decayed.

That is an apocalypse.

So to look at Chorus post-war is to imagine a post-apocalypse. That does not mean everyone living in caves and ruins and eating out of decades-old tin cans, but it does mean we are looking at building a new society out of the wreckage of the old. Life will not just pick up where it left off pre-war and carry on. It cannot.

For one thing, there aren’t enough people. Chorus has a lot of existing infrastructure which, though abandoned and decayed, can probably be rebuilt and repurposed. Buildings can be cleaned up and used again. Trains can be made to run again. And so forth. But all of that is contingent upon having the human power to do the work. And Chorus’s population is precariously small. Everyone’s skills will be valuable, but realistically, everyone can’t just claim an abandoned storefront and set up a shop downtown. Priority must be given to necessities first.

Enough city is still standing that they probably have a leg up on shelter, though cleaning and restoring and repairing the existing structures will still be necessary. Much more vital will be the production and distribution of food and clean water, and the repair and maintenance of sanitation systems. That’s going to take a lot of people doing a lot of work. Until it’s certain that Chorus can sustain itself in those necessities, they will be the priority.

And if you think the solution is “Just have a lot of babies to increase the population!” or “Something something Temple of Procreation” I would remind you that children also have to eat, and require a lot of care, and all of that is more manpower and more resources. Yes, Chorus needs children, but a sudden population boom without the food production to support it could lead to mass starvation. Population growth will happen, and needs to happen, but prioritizing it ahead of the survival of the current population is putting the cart before the horse.

Immediately post-war I would expect less of a free market economy as we think of it, and more of a cooperative work effort to meet the basic needs of the population. I am by no means the first to point out that “Chorus has a Chilis now” is actually a pretty ominous development if you really think about it, or that one would expect a distinctly anti-corporate sentiment to dominate Chorus after the war. But for the record, I agree with both of those statements. Lucky for me, I’m also not particularly interested in being bound by any post-season-13 canon regarding Chorus.

Despite Chorus’s meager population, assistance from offworld following the war would be a risky prospect I would expect the Chorusans to regard with suspicion. Aside from the fact that a major corporation just spent years trying to exterminate them and gain control of their planet’s resources, there is also the small fact that Chorus is, as it currently stands, independent of the UNSC. Accepting outside help could change that pretty quickly, and it likely would not change it in Chorus’s favor, for reasons I’ve explained here.

For these reasons, a semi-isolationist stance in the years following the war seems most likely for Chorus, and certainly the most beneficial in the long term.

But that means in practical terms that Chorus needs to be self-sufficient. Which they certainly can do—they survived without UNSC support both before and during the civil war, and they can survive after.

There are of course the alien towers to consider also. We’re pretty vague on how they actually work, but it’s safe to assume they might be able to help in some way. Maybe there’s a Temple of Food Production to help fertilize the land, or something similar. How you want to imagine that is pretty much up to interpretation. I do think it’s worth considering that the more powerful the Temples are, the more important it might be to Chorus to keep off the UNSC’s radar.

Another important point, though, and one I haven’t seen anyone point out: the Temples can only be activated by a Key, and Locus took Chorus’s Key and disappeared. The only other known Key is Tucker’s. So if Tucker leaves Chorus, they have no way to activate the Temples. Just uh, putting that out there. For my own purposes, thank god I don't care, but if you want to be post-13 canon compliant, any theory about how Chorus has rebuilt so fast has to account for that.

For my own purposes, I'm willing to believe the Temples played a role, but I do prefer to imagine the Temples are not magic and do work by practical rather than metaphysical means—as the Temple of Arms was a stockpile of weapons and equipment, perhaps the Temple of Interior Decorating is a stockpile of… I don't know, curtains. They'd be alien curtains, so probably a pretty far out aesthetic. I'm half kidding, but you get what I'm saying here. A Temple of Food Production might contain a seed bank and the means to fertilize a large amount of land, but probably won't just magically and instantaneously produce food.

But whatever the details, however you envision them, Chorus is in the process of building a new society out of the ashes of one that had been, if not razed to the ground, pretty thoroughly gutted. And if the few clues we get about Chorus society pre-war are to be trusted, that is emphatically a good thing. Chorus shouldn't just pick up where it left off before the war. Chorus has been through an apocalyptic event. It has been through hell. But there is a chance now to build something new—something better than what was before.

That, to me, is the most compelling and the most uplifting thing about post-apocalyptic stories.

And it's lot more interesting than a fucking Chili's.

#red vs blue #rvb #chorus trilogy #rvb critical #i can't believe it only hit me today that locus ran off with arguably chorus's most powerful resource #and it's fucking bonded to him until he dies #AND THEN JOE HAD TUCKER LEAVE #thanks i hate it!#but anyway that's not the main point of this post

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riathedreamer · 3 years

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You asked for it: live thoughts from Ria and @creatrixanimi watching RvB Zero.

So, after having a movie night the day before (third movie night in a week, actually, we are very productive) watching Neil Breen movies and “Cool Cat”, it was now time to touch upon Zero. Sadly, Zero does not belong in the “so bad it’s good” category, but alas, Ria had to spoil Haley’s innocence.

This is not a proper edited review, but just snippets of our live reaction while watching the thing together. We are not drunk, but this continued way past midnight for Ria, so maybe her brain isn’t fully functioning. Also, Ria is a potty mouth because cursing is easy when it’s not your native language. Enjoy.

Episode 1:

Ria: I can’t figure out if they were trying to do a Grif and Simmons parallel with those two random guards talking outside, the ones with the Wash retconning.

Haley: Their armor doesn’t cover their noses.

Ria: That’s gotta be cold. Frostbitten noses.

...

Haley: There is no exposition. Like, it feels like the writers had their idea and know what is going on, but we don’t so it just feels weird and random. It feels like a Marvel movie.

Ria: Is that a compliment? I haven’t watched Marvel.

Haley: Not a good one.

...

Ria: This episode isn’t that bad in itself. But it’s just there to establish that the OG characters can’t beat this new villain, but the new guys can, and, urgh.

...

Episode 2:

[The shot focuses on One’s behind.]

Ria’s dirty mind: Ass.

...

Ria: STOP CALLING HIM DAVID.

...

Ria: I like this character, but I don’t remember his name.

Haley: Raymond.

Ria: This is why we need a name system like with the Freelancers and states. Should’ve just been numbers all the way through. Except Eleven, you fucking whore.

...

Haley at the sight of Raymond’s phone: It’s so big.

Ria: It’s the future. I can believe it.

...

Ria: Here’s the thing driving me crazy. Axel is a normal name in Denmark. But like, only old people use it. I know two Axels and they are both older than eighty. So that’s when I think of when I see Axel.

...

[After the whole training montage where we are introduced to the characters, we are still confused.]

Ria: I can’t remember their names.

Haley: Well, they didn’t show all of them. They didn’t show One.

Ria: They did!

Haley: They did?

Ria: Wow. So we got all that tell and no show, and we are still confused.

...

Haley: When it comes to genre, it’s actually not that bad with the narrated tell and don’t show. If it wanted to be a cheesy/bad action movie, that’s a trope that’s used relatively frequently in the genre. It’s a bad action movie. But it’s not RvB. It’s kinda like a particularly bad Marvel movie.

Ria: You’re really not selling me on the Marvel movies tonight.

...

Ria: I know I’m just a sucker for Joe, but I keep thinking of s15. Like, here they just use the files as a cheap way to introduce the characters. But like, in s15, Dylan just read out loud Grif’s file, and it was not to introduce him, but like, to show the complexity of the characters and go against the files? I don’t know, it just seems way cooler now.

...

[After the whole “what’s East’s deal” scene, we were so confused. Literally paused for five minutes trying to figure who was whose dad and why and what. How many daughters did Axel have? And where are they? We were just lost. Future Haley: Him waxing poetic about his daughters while watching the two girls in his team train confused me like I thought he was talking about East and One and couldn’t count sdfghjk. Future Ria: I’d even watched the show before and I was still confused.]

Ria: I can’t figure out if they’re too fast or if we’re just stupid.

Haley: It’s like I’m trying to remember the details but it all slips through my fingers.

Ria: The whole Zero experience is to feel too old for this shit.

...

Ria: STOP FUCKING CALLING HIM DAVID

...

One: This is how it’s done, grandma.

Ria: Fuck you.

...

Episode 3:

Haley: People would like it if they love dumb action shows. It works as a mindless action show.

...

Haley: So this is a temple?

Ria: I hate the worldbuilding. Is this the same planet as before? Like, Chorus had temples, but it also had lore about it. Is this the same sort of temples?

Haley: So shouldn’t this temple have its own key? Why do they need to include Tucker? It makes no sense for the temple to require a totally different sword from a different planet.

Ria: So they could beat him up ‘cause OG characters are weak now.

...

Haley: I don’t like the training scenes. They are so long and boring.

Ria: This is like the third episode where they are training. Holy shit.

...

Haley: It’s not that bad. But if you like Red vs. Blue, it’s not something for you. They aren’t really comparable.

Ria: I just don’t understand what they wanted to continue for Red vs. Blue. Like, it’s not the worldbuilding or the plot or the characters. I just don’t get it.

...

Haley: Raymond is the best character.

Ria: I like Raymond.

Haley: He’s RvB. He should be the main character.

...

Ria: Did East just use the “I’m not like the other (girls)” line?

Haley: I don’t like her. She’s a brat. Why did Carolina have to apologize? They were just training, this is something she’s gonna have to deal with on a daily basis lmao.

Ria: Didn’t Carolina have a cast on her arm? It’s gone now. I can’t keep up with the timeline. So, she’s healed, but how long was Wash gone? They are so vague about everything. Worldbuilding, timeline, motivations.

...

Ria: …Did Carolina just say she’d suit up? While wearing a full armor suit?

...

[And this is where the cursed part takes place. To talk, we’d often pause the thing. Here, I randomly paused during the introduction for Starlight Laboratories. There’s a desk in the shot. With a fucking marker on it.]

Haley: That’s a Crayola marker. That’s a Crayola marker on the table.

Ria: Glad we can appreciate the details by pausing.

[Haley then missed the entire Axel flashback scene because she was too busy looking up pictures of Crayola markers. When this is revealed, Ria lost it for like, three minutes]

Haley: I had that marker as a kid.

Ria: So 4/5 stars for the marker?

Haley: They were supposed to smell like blueberries or something but they just smelled like chemicals.

Ria: This is the most excited we’ve been about Zero so far.

[Future Haley: I was literally laugh-crying you dont understand. This was the best part of the show.]

...

Episode 4:

Ria: They all have super powers. It’s so weird.

Haley: I keep thinking they are gonna explain stuff. But they don’t. So I’m just confused.

...

[Haley has now brought forth all the markers in her room to find a Crayola one. She drops them all on the floor. Ria loses it again.] [Future Haley update: I found a yellow one it smells like lemons :)]

...

Ria: They are all glowing and have super powers. It’s weird. Like, I know we had super powered armor before but that was all connected to AIs. I don’t get how all of this works. They don’t have AIs.

...

[We both agree that we enjoy Raymond and Tiny. Bless them.]

...

Ria: It’s weird. The dialogue is so oblivious, it comments on its own mistakes. Like, Carolina just acknowledged Wash has had a computer in his head before. But they don’t acknowledge the whole canonical lore about his trauma regarding computers in his head and why he’d hate this. Same with the name David. They just noticed that it’s his first name and that’s how they’d show how close Carolina is with him, but they didn’t acknowledge the canon lore that Wash dislikes people using his first name.

...

Episode 5:

Haley: Why didn’t they use Locus’ sword instead. It’d make more sense. He��s the one travelling around planets and wanting to help people??

Ria: What’s the worldbuilding here? Is Tucker on the same planet? Is this Earth? Chorus?

...

Haley: Gotta love it when they make Tucker hit on teenagers.

Ria: Oh god why did they make East 18.

...

Haley: They should have done something with the Warthog song, even if that’s a Red Team thing.

Ria: I miss Red Team.

...

Ria: Wait, so if these three swords are connected, why can the two first ones move by themselves and they have like super powers connected to them? When Tucker’s sword is just boring? They didn’t even make a joke about how the two new swords are longer than Tucker’s.

...

Tucker: I’m fine, I have my sword.

Ria: That line is so tragic in hindsight.

...

One: It’s Tucker. He is dead.

Carolina: Oh my god.

Haley: *laughs her ass off*

...

Haley: I don’t understand why anyone is doing anything.

Ria: Your brain is still thinking about that fucking marker.

...

Episode 6:

Ria: The dialogue did it again! Wash just said “amazing medical tech”. Like, he points out a plot hole. Because that amazing tech can heal brain injuries and bring people back from death, but East had to be tortured for years to heal her vague illness? Like, why couldn’t their amazing tech fix that.

...

[While watching the design of the temple.]

Ria: It looks like those are just plates glued to the wall. Dinner is served.

...

Haley: There is no logical reason why they brought in Tucker. His sword isn’t even from this planet.

Ria: To lure in fans.

...

Haley in a very sad voice: The speech wasn’t good.

...

Episode 7:

Ria: Is all of this happening on the same planet? They keep driving. The worldbuilding is so weird. At least earlier RvB made a joke about how they could just drive everywhere. This is like a big desert, a training base, laboratory, city and temples and Tucker’s workplace, and I don’t know if it’s even on the same planet.

...

Ria: Diesel is just standing there waiting while they outfit Carolina.

Haley: It’s like a video game.

...

Ria: The temple’s walls are filled with runes.

Haley: It feels like a free/bought asset. It doesn’t even look like the temples on Chorus. It looks like something in WoW or something like that.

Ria: It’s driving me mad. I can read runes! Imagine a big boss fight and the freaking alphabet is plastered on the walls. That’s what I’m looking at.

...

Haley: Zero is such a boring villain. It’s not interesting when we don’t know what this “power” actually is or what he wants to do with it.

...

Ria: That’s the helmet Spencer wore.

Haley: Oh god I forgot about him.

Ria: So did the writers.

Haley: Spencer should have been the real villain.

...

Haley: *sees the random model of the temple guardian alien* I miss Santa.

...

Episode 8:

Ria: The aliens are just dancing in the background while Carolina is fighting Diesel.

Haley laughing: Oh my god, they are. They are just jumping up and down.

...

Ria: So, the villain just turned overpowered, and the solution is that Raymond just flicks a switch we haven’t heard about and now the heroes are overpowered too?

Haley: It just makes them shiny. And like... they don’t even use the “power”, they don’t fight him with their powers which only some of them have, they just shoot their ordinary guns at him while doing unnecessary flips.

Ria: I just remembered Church’s dick switch. That had more dramatic buildup.

...

Axel: You’re too cocky for that.

Ria’s dirty brain: Cock.

...

Post Zero thoughts:

[Ria returns from bathroom break and Haley is proudly showing off her marker over video cam.]

Haley: There was too much going on so I just focused on the marker.

Ria: So how many stars would you give it?

Haley: It’s really bad.

Ria: How many stars for marker representation?

Haley: Three out of five. It was only there for a second.

...

Haley: In the beginning, it wasn’t that bad. It was dumb, but also fun and sorta cool. But then it just went on for too long and they didn’t explain anything properly and it stopped being fun really fast. But I can see why some people might enjoy it. Like, you’d love it for its action but only that. Not for plot and/or the character writing.

Ria: I think my biggest problem is the worldbuilding. They kept everything so vague because they didn’t want to connect, not really. Like, where is this happening? When? Why are Carolina and Wash there? Like, the motivations for all the characters were so vague as well.

...

Haley: Raymond was great. He had personality and some good lines. And he felt like RvB. Like, he used his brain and actually got shit done, but he also wasn’t over-powered. He followed a similar character arc to what the Reds and Blues had. He sucks at fighting but he’s efficient and smart in a practical way with his rocket launcher. He does the most and he doesn’t stop being a goofball! Even Zero was focused on stopping him the most at the end. And he didn’t need to do any stupid flips.

...

Haley: The borrowed assets annoyed me. It ended up looking stupid, like, the temple felt more like fantasy than science fiction. And nothing like Chorus. And normally, RvB doesn’t have to worry about being cohesive because all of the designs are from Halo so it all makes sense and it’s connected. But this is just so random it feels distracting, I feel like this is a big reason people felt that Zero was so jarring… but on a subconscious level. It just felt off and there was no cohesive design. Also everything looked like it was made for video games and not modified at all for the show.

...

Haley: Honestly I was optimistic at first but then I got confused really fast and it kept getting worse because it was so fast. They didn’t explain stuff properly or at all. Like, they made it too big. Should have been smaller. I thought going with the “Starlight Labs is evil and needs to go down” plot would have been A LOT better and would have tied together multiple aspects of the story that the temple plot didn’t.

Ria: If I had the power which I don’t, I dunno, but I if the main point was to introduce new characters, I’d keep them tied to lore and worldbuilding we already know. So we don’t get so confused and it doesn’t feel so disconnected. Like, I’m still in love with the idea that it should have been Carolina on Chorus dealing with these soldiers who have been fighting all their lives and now don’t have to do that anymore. But maybe Chorus still needing an army, and that’s why she is training it. I don’t know, but like, familiar, build on what we know. And then they wouldn’t be superpowered, but like, just competent-ish but normal soldiers and we’d get to know them better, but I just think Zero just wanted them to be these super cool soldiers even better than Carolina so they could pull off all the fight scenes. ‘Cause it’s all Zero has going for it. The fight scenes. It’s its strength and weakness ‘cause they sacrificed everything else to look cool. And it does. But it’s boring and there is nothing else going on.

...

Ria: I’m still so annoyed about the temples. Why are they there? Like, on Chorus it was a big thing, also plotwise, but it had lore connected to it and the worldbuilding explained it. So, where are these temples? A different planet, right? Is it the same aliens? Are people just cool with the temples? Why haven’t they been explored before. Chorus made sure to explain all of that.

...

Haley: The West and East scene-

Ria: Feast.

Haley: Confused me. ‘cause West didn’t really regret anything. He just said why he did it. And then all of the sudden East forgave him and rejoined the team. It was so weird. He doubled down on the thing she hated him for so much I was like “Wow he’s kinda an asshole” and then all of a sudden she was on his side? What?

...

Haley: Zero does its job if you want action and nothing else. And it’s not RvB. Don’t watch it if you like RvB. And I just want to acknowledge that we are nitpicking. Quite a bit. I’ll admit that. But, I wouldn’t nitpick the other RvB seasons the same way because the old RvB never took itself seriously the way Zero did.

Ria: I agree. We are nitpicking. But like, that’s why we have the movie nights.

Haley: But we are also allowed to criticize it. You can do that with any season. And with the other seasons, you could nitpick it and you can find stuff you don’t like, but there are always stuff you do like or that other people like. I just can’t find anything about Zero that I like. Besides Raymond.

Ria: Yeah. Like, I really love 15. And it had so many flaws people pointed out. And when it comes to criticism and Zero, I just don’t see many points about why people like it. They are allowed to do that though. But, like, we could have a movie night where we watch the Chorus seasons and we’d nitpick so much because we both have issues with it, but there is still so much stuff we’d still like.

Haley: I like Raymond though. He’s like Grimmons lovechild.

Ria: No. Fuck you. Don’t put that in my brain.

...

Haley: Raymond being in this… I want to say it feels like the Freelancers seasons but if Grif was part of the team or something. But that’s just “Hit and Run”. *laughs*

Ria: NO! That’s cursed. Shut up. Also, the Freelancers were way better written.

Haley: And those seasons made better sense.

Ria: And like, the Freelancer seasons did the thing with change of tone and have these new and super cool characters and fight scenes. But they kept half of the seasons to be around the Reds and Blues so we still had the humor and the dumbasses, and Zero just, it didn’t connect.

...

Haley: So, I have some thoughts on Zero.

Ria: I know, you fuck, I had to write them all down by hand.

Haley: I like bad movies, actually, but Zero didn’t stay fun, so no, I didn’t enjoy it.

...

Ria: Do you forgive me for making you watch Zero?

Haley: Yeah.

Ria: What should we watch next?

...

Also, Haley dressed up her dog for the event and you all deserve to see her:

#we asked you answered we delivered #like most of these are just stupid observation #but we do have some proper reflections on the good and the bad and the ugly #and markers!#rvb zero critical

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aion-rsa · 4 years

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An Introduction to the Works of Rebecca Roanhorse

https://ift.tt/eA8V8J

Rebecca Roanhorse launched into high visibility in SFF with her short story “Welcome to Your Authentic Indian Experience” in 2017, and her works have continued to wow readers of all ages (she writes fiction for adults, middle grade, and young adults). Her prose is gorgeous, and she takes a hard right turn from more traditional, European-influenced fantasy in her epic new novel, Black Sun. Along with her original works, Roanhorse has also written several Star Wars stories, and is a contributor to Marvel’s new comic anthology Indigenous Voices. If you’re interested in the future of SFF, you can bet your stars that Roanhorse is going to continue to be in the spotlight.

“Welcome to Your Authentic Indian Experience”

Roanhorse’s short story, published in APEX, won both the Hugo and the Nebula. It’s a story about identity, both who you really are and who the world expects you to be. Told in second person, it follows Jesse Turnblatt, who works at a virtual reality Experience, giving Tourists “authentic” Vision Quests that he’s created based on what the typically New Age customers expect from television and movies. When he meets a lonely young man who seems to want something actually real, he realizes that he also needs a friend. But the story takes a Single White Female twist, and leaves Jesse questioning his own reality. It’s a chilling story about erasure and gaslighting that uses SF tropes to maximum effect.

The Sixth World

With Trail of Lightning, Roanhorse’s first published novel, the author entered the urban fantasy genre, telling the story of Maggie Hoskie, a monster hunter, in a post-apocalyptic, flooded world. She’s been trained by a legendary immortal—with whom she also fell in love, but who abandoned her. Now, she’s struggling to decide whether her talent with violence makes her the hero or just another monster. When she becomes involved in solving a string of killings, she accepts help from modern medicine man Kai, who balances her violence with healing. Den of Geek talked to Roanhorse about bringing Native American characters into the urban fantasy genre, and centering Indigenous heroes in the spotlight.

The second novel, Storm of Locusts, follows Maggie out of the Navajo reservation, Dinétah, as she searches for Kai. The medicine man has fallen in with a cult, according to her leads, but Maggie doesn’t think that’s quite right—there’s more going on than meets the eye. Maggie heads out on a post-apocalyptic road trip to track down her friend, and fight whatever monsters she has to take down to save him. Like Trail of Lightning, the book is told from Maggie’s point of view in a clipped, first person present tense voice.

Roanhorse told Den of Geek that four books are planned, and noted that the most difficult part of writing the series was in getting the representation right. Maggie is Diné—Navajo—and Roanhorse is not. “I’ve lived on the Navajo reservation and I’m married to a Navajo man, but it’s not my culture. I wanted to be very careful about the stories I chose to use, the way that I portrayed people and places and everything that went into the world-building I tried to be very conscious that this was going to be a lot of people’s first introduction to Navajo culture, and that I’d have a lot of Navajo readers. I didn’t want to let them down. I didn’t want to get it wrong.”

Critics have praised Roanhorse’s work—Trail of Lightning was a finalist for the Nebula, Hugo, and World Fantasy Award, and it won the Locus First Novel Award—but she has also received criticism from the Navajo Writers’ Association and others for writing Diné characters when she is not Navajo herself. Nick Martin in The New Republic summed up the criticisms, writing an article ultimately supporting Roanhorse and suggesting that, because Roanhorse is also Black, some of the criticism stems from anti-Black prejudice.

Race to the Sun

With Race to the Sun, a middle grade novel for the Rick Riordan Presents imprint, Roanhorse introduces readers to Nizhoni, a Monsterslayer—heir to the Hero Twin of the same name—who has to stop monsters from taking over the world. The mission of the monsters is to destroy the earth (Nizhoni’s first foe, in his human guise, is the CEO of a pipeline fracking on Native Land). Nizhoni has always wanted to be special, but she’s not quite sure she and her younger brother—who takes on the role of Born of Water, the second Hero Twin—are ready for these challenges. Like the Sixth World books, Race to the Sun draws heavily on Navajo tradition and religion and features a fast, first person present-tense voice that makes the action feel immediate. Nizhoni’s personality shines through her narrative, and because she’s a seventh grader, her voice has a lot more levity than Maggie’s. (She also has her horned toad stuffed animal come to life and serve as a guide to her adventure.)

Like several other books in the “Rick Riordan Presents” series, Nizhoni is a chosen hero, given a time limit to fix a grave supernatural problem, who meets up with the supernatural beings of her cultural tradition over the course of her adventures. (The heroes of Riordan’s own “Percy Jackson and the Olympians” books and Roshani Chokshi’s “Aru Shah” books helped establish that pattern.) Nizhoni’s voice also parallels those heroes: she’s got some sass and sarcasm in her narrative that she might not share out loud, but readers are tuned into her inner thoughts, and they hear it all. Race to the Sun includes more of all the things fans love about books from this imprint (which also includes works by Carlos Hernandez and Yoon Ha Lee).

Star Wars: Resistance Reborn

Roanhorse has also contributed fiction to the Star Wars universe, including her Darth Maul vs. Obi-wan Kenobi story in Star Wars: The Clone Wars: Stories of Dark and Light (narrated in audio by Maul’s voice actor, Sam Witwer) and her novel, Resistance Reborn. Set between The Last Jedi and Rise of Skywalker, the novel opens with General Leia still grappling with her near-death—and too-brief reunion with her brother—as she tries to find out why Resistance allies never showed up to help on Crait. Meanwhile, Poe Dameron and his Black Squadron play diplomat while struggling to come to terms with that same question. Is the Resistance really alone in the Galaxy? Unlike Roanhorse’s other novels, Resistance Reborn takes a more classic shared-world style of narration, shifting perspectives among the different characters. Her inner narration of Leia is spot on, depicting both her suffering and her continual ability to move on in spite of it. The tone is reminiscent of the old Star Wars Expanded Universe books, and for readers curious about that same question of why allies didn’t show up until the end of Rise of Skywalker, this is likely to offer a few answers (while giving readers more time to spend with favorite characters).

Black Sun

With Black Sun, Roanhorse moves in an entirely different direction from all her previous work, creating a stunning epic fantasy in a lush secondary world. Like Resistance Reborn, she uses a third-person narration who switches between the characters’ perspectives, but here, she uses beautifully lyrical prose, steeped in the mythology of this new world. Moving in and out of time, Roanhorse weaves together the story of a broken city, once governed by benevolent priests who kept the peace, but now corrupted by political struggles and the interests of foreign nations. The story opens with Serapio, whose mother is engaging in a ritual she’s prepared him for by carving his skin; it culminates in her stitching his eyes shut. As the narrative progresses, readers learn that the ritual allowed Serapio to become an avatar of the Crow god, whose people were brutally murdered a generation earlier by the priests dedicated to the Sun. The point of view characters—Serapio, earnest and justice-driven Sun Priestess Naranpa, and earthy Xiala, a ship captain descended from Mother Ocean herself—are all deeply drawn and sympathetic, even when they are at odds with each other, making it difficult to know who to root for.

In her worldbuilding, Roanhorse leaned on pre-Columbian civilizations, and borrowed a bit from Polynesian navigators, to create a fantasy that feels both familiar and entirely new. “It still seems incredibly rare to find a fantasy inspired by the Americas,” she writes in her acknowledgments. “I think part of the reason is the persistent myth that the indigenous cultures pre-conquest were primitive and had little to offer, when the opposite is true.” Roanhorse’s Meridian is pure fantasy, populated with megafauna such as giant crows that can be ridden, and huge water striders that pull barges, but it shows the richness of being inspired by cultures of North America. The city of Tova borrows designs from the ancient cities of the Anasazi, built into cliff faces, but the divide between the Sky Made who live above and the people of the Maw, who live below in poverty, feels both modern and relevant. Though Black Sun concludes a full story and brings this first volume to a satisfying close, the story is by no means over; Black Sun is clearly the first step in a longer epic narrative, and it’s one readers will be impatiently waiting for until the sequel comes out.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Whether she’s taking on your favorite franchise characters or in her original works, Roanhorse is absolutely an author to watch.

The post An Introduction to the Works of Rebecca Roanhorse appeared first on Den of Geek.

from Den of Geek https://ift.tt/370TJhz

#aion-rsa #Den of Geek

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arirashkae · 7 years

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whatevertotesyourgoat mentioned you in a post

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…@imsorryabouttheangst @4ever-tuckington-lover @everywriterneedsfanart @ arirashkae (I know you were…

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“Heyo! I was tagged by @wordsysayswords. The meme is to share the first...”

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“Tagged by @littlefists and @a-taller-tale to post the first line of...”

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“First Lines Meme”

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birdsbeesandlemonadetrees mentioned you in a post

“I was tagged by @littlefists for the WIP meme thing. the meme thing...”

…@thebettersawyer, @zasmine599, @cleverest-url, @ arirashkae , @whereigowhenimnothere (*whisper screaming*…

illumynare mentioned you in a post

“First lines meme! List the first lines of your last 15 stories. See if...”

…@a-taller-tale, @littlefists, @hakanakiki, @ arirashkae , @alak-cool)

LMAO I LOVE YOU GUYS

First lines meme! List the first lines of your last 20 15 10 stories. See if there are any patterns. Then tag 10 of your favorite authors!

Also!

Write down the first line of your WIP and tag as many people as there are words!

ok, rather than continue the feedback loop of tagging, I’m gonna merge these two memes and answer them all at once, and then not tag anyone

Gonna alternate between my AO3 and WIPs here

‘Oh, that is not fucking fair.' : Quod Cattus Respice In Trahebatur, 2017 Fluff Week prompt, outtake from the Cat!AU

(WIP) “Boss? I need to talk to you for a minute.” (I feel bad about this one, because normally I like the ship that’s upcoming, but this brain weasel will. not. go. away.)

“Wash! Dude! Where the hell have you been?” : Agent Washington, Chick Magnet, another fluff week prompt, and I am predictable XD

(WIP) It shouldn’t be reassuring, hearing meaningless rambling coming from a flash of orange just out of the corner of his eye. (little bit of Locus & Grif on their way to do a Big Damn Heroes)

“I’m sorry, Sam, but this is exactly why we put you down as an emergency contact.” : What Little Girls Are Made Of, 3rd Fluff Week prompt, in another Universe, Locus stays with the Wus (this one went a bit sideways XD)

(WIP) Emily Grey is a miracle, determined to save her friend. (ok, those of you who were in chat with me back in February might remember the moment when I first experienced “seeing red”. this is the fallout of that and, uh, is not happy. probably won’t get posted, but another brain weasel that won’t leave.)

Maryland knew the stages of dehydration and starving. : Poor Mary Is A-Weeping, 2017 Angst War prompt that went very sideways

(WIP) Locus stared at the cleaning bot in his hands. (Stabby the Space Roomba vs. Felix, aka Locus is a little shit)

He opens his eyes. : An Eye Opening Experience, other Angst War prompt, asking for Locus traveling back to the beginning of the CHorus Arc. (Have you noticed prompts tend to go sideways? XD)

(WIP) Wash muttered his way through every curse he knew as he strode over to the "Red Base" end of the canyon. trying to write Sarge teaching Wash to knit as stress-relief/therapy

Six paces from the bars to the back of the room. Spare Key, for the 2017 Bingo War (the next handful are all Bingo War XD), Medic square: trapped in a small space together. Locus and Tucker both get nabbed by Sangheili fanatics that hate the thought of a human with a Key, not realizing there are two of them now

(WIP) “I’m not like him,” Tucker snapped. amusingly enough, the continuation of Spare Key

Donut sat back on his heels and stretched. Pine Nuts, Medic square: Mutual pining. Doc & Donut setting up their garden, and both being idiots in their own heads.

(WIP) Sam let his pencil doodle idly as he skimmed through the book in front of him. College AU, Locus accidentally screws up a translation assignment and summons a Luck Demon (Felix), who won’t go away. (Somehow turned into “How many people can I hook Locus up with in 1 fic” when I wasn’t paying attention)

“Did Santa say ‘the people of this planet?’” Touch Me and You’ll Sink, Medic sqaure: Temple of Procreation (These two were willing to cooperate until I actually started writing. Assholes.)

(WIP) Samuel Ortez, codename: 'Locus', stood at parade rest before his superior. Black-ops AU, hand to god an exercise in A/B/O dynamics and the worldbuilding that would evolve around that

When the New Republic rebels attacked and managed to cut the power to the base, Wash was in Medical with Dr. Grey, having been unsuccessful in his attempts to avoid her. Elevator Music, another “Trapped in a small space together” fill. Locus & Donut stuck in a freight elevator, with a bit of Wash panicking over the concept.

(WIP) "Ummmm, ... sirs?" A collection of scenes from my ridiculous self-indulgent BS with an OC Freelancer. (favorite bits are any time she’s at breakfast with the mercs and brain-breaking the underlings. it makes sense in context. i hope.)

“Felix, are you sure this is a good idea?” La Petite Mort et La Grande, also for “Temple of Procreation”, wherein Felix turns on the ToP while on their way to the Purge, as a distraction. tag highlight: “holy fuck you guys ‘Felix being a dick’ doesn’t even begin to cover it”

(WIP) It wasn’t music. I couldn’t end this list without touching on HeartSong, my musical not-soulmates AU. Don’t expect this one any time soon, as I’m still trying to untangle the plot threads enough to see what goes where. (Next two sentences: No one could agree on what exactly it was, but it wasn’t music. But until someone came up with a better description, most people called it music. )

So, I apparently have a tendency to start with dialog or action. :shrug: not sure if I want to stretch past that or not XD

I have some WIPs I didn’t use b/c they’re in my “drafted, needs editing” folder. This is just the things that are “actively” being written (define “active” XD)

#whatevertotesyourgoat #bizarrebird #what happened to agent georgia #secretlystephaniebrown #birdsbeesandlemonadetrees #illumynare #fic meme thingy #wip meme thingy #as I was writing this I got tagged *again*#so I had to update the replies XD

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