#story arcs that are going on - more or less at the same time because of the POV switches:

[kristsingto]

Thinking about the Mock-Trailer for The Ex-Morning

Pathapi is said to be the Best Reporter of the Year in the beginning. How. I want to know his career accomplishments so badly? I need to know how he got here!

I’ve been considering why Pathapi acts the way he does in the beginning. Has he always been like, since his university days? Or was it perhaps heartbreak and the passage of time that’s made him more like this? 

Aou is being made to play the exasperated best friend in Be My Favorite and the rival with coffee thrown on him in The Ex-Morning. Someone give both characters a raise. And a boyfriend!

I looooove the trope of the arrogant, whiny jerkass in a successful position who gets humbled. And that paired with him rebuilding his reputation with his ex-boyfriend of all people? I am so ready to see Pathapi’s character arc, and the things Tamtawan makes him do in this trailer makes me think he’ll get more in-tune with the spirit of good reporting and why it’s so important.

How does Tamtawan know and decide to come back? Obviously, he wants to help Pathapi and is still in love with him, but why did he leave? WHY DID HE LEAVE? Later in the trailer, when present-day Tamtawan leaves, it’s after he’s told “Tam. You have two options now.” What are the two options? The way Tamtawan leaves and the look on his face makes him look regretful, but what exactly is motivating him trying to leave here? Why did he leave in the first place? Does Pathapi know? His face looks half confused rather than just heartbroken!

What has Tamtawan been up to? I am intrigued.

The SOTUS reference in their university days flashback? I am obsessed. They were so sweet in that one frame, it makes me wonder how they fell in love. How different were they? How much of the same remains in them? How did they fall in love? Oh my god!

The transition from Pathapi being awkward with shirtless only-clothed-in-a-towel Tamtawan to taking his own shirt off and asking if Tamtawan has an ulterior motive to fluster him is hilarious to me. I love how forward Pathapi is here! And Tamtawan getting flustered is amazing. Oh my god, I love this trailer. It balances a comedic tone, angst, tension, etc all in one show. Can’t help but adore it.

“You’re still the same selfish jerk.” I need to know what happened! I said this above and I’m saying it again. I am intrigued.

Uni Tamtawan pulling Pathapi by his tie? I am obsessed.

The umbrella scene is both so very P’Lit and so very much a SOTUS reference, it delights me. I wonder how many SOTUS references we’ll have in the show proper.

I wonder if the car accident will coincide with the climax of the show.

That! Last! Scene! I suppose this is a scene when they’re hooking up but not properly together, seeing as they’re flirting, shirtless, and probably just had sex, but still won’t admit they still like each other. This sounds great to me.

I’ve mostly not talked about the meta elements here, because I feel it’s less about the contents of the actual trailer and more about the nature of the series as such a KristSingto RPF-type plot. Anyway, I love it. Everything about the meta of this series is perfect to me, and exactly what I wanted. This show is SO fun to think about when you know about the lore of KristSingto in real life. I’m half expecting Tamtawan to have hazed Pathapi at this point!

Side note that is not a side note: I LOVE THEIR ACTING! I love their characters!

Is this vers? I’m going to say it’s vers or Top Krist until proven wrong, because that last scene? Well. Let’s put the KristSingto into the KristSingto.

I love the small cast and the focus on KristSingto! I just need to say this. I am so excited for this comeback, in-part because it really is just Tamtawan and Pathapi’s story.

Tamtawan is supposed to mean “follow” and “sun” whereas Pathapi means earth/soil/ground. Coming off of KongArt, where Arthit is obviously “sun,” and KristSingto, who compare themselves to the sun and moon, this seems so definitely meaningful. Aof and Lit, I need to know what you’re cooking! 

The coals scene is sooooo perfect, both for the characters AND KristSingto themselves. Again bringing it back to the meta of it all, but, oh my god? This is perfect? Aof wrote a screenplay that was KristSingto RPF? On that note, I keep thinking about the idea of KristSingto channeling their feelings from the irl work-partner “break up” and it makes me go a little crazy. Especially with Krist talking about all his efforts to bring Singto back, and how he over-thought it when Singto left. And even more so seeing as they say they’re basically playing themselves.

The lyrics of the song used in the trailer are so fitting, I am now looping it and thinking about Pathapi and Tamtawan forever and ever.

I noticed that Tamtawan goes by “Tam” but did I miss it for Pathapi in the trailer, or do we get no indication of his nickname? I’m curious.

The “Begin Again” for the new Peraya Party speaks to both KristSingto and their new characters, and this is again making me go, oh god it’s true they’re just playing themselves.

I said my ideal KristSingto BL was a vers exes-to-lovers that parallels reality. Evidently, I was not alone.

Is it just me, or do the Pathapi + animals and Pathapi + soil degradation water scenes feel a lot like certain episodes of Friendship with KristSingto? Just me? Maybe it’s just Krist. I love him so dearly.

So much is revealed in this trailer, but that somehow makes me more intrigued about what is not being revealed to us?

Krist still goes for the top lip and Singto still goes for the bottom lip when they kiss. This kills me every time. I am so excited to see lovey-dovey Tamtawan and Pathapi!

#sou post #krist perawat #singto prachaya #kristsingto #gmmtv 2024 #gmmtv #the ex morning #the ex-morning #pathapitamtawan #im just loggin down my thoughts for the future.

[lorillee]

to be honest i dont like it much when people want to make maya hate being master of kurain like . i dont know. dont you think that kind of sucks as an ending for her

#bc like ok clearly half the intention behind this is to explore whats going on w/ maya when at the end of bttt #she says she doesnt want anything more to do with the fey family more or less because of The Everything #but like. she clearly has a passion for helping people and she enjoys being a spirit medium and its incredibly important #to her and who she is. like clearly post bttt she needs a Break and time to heal from the immense amounts of new trauma #but like. is the most interesting story to you really one where she hates her job and hates her life and hates her family #and the only reason shes doing any of this at all is for pearl (who would hate that mayas throwing away her life to try and make her happy) #like. it reslly just doesnt make much sense for who maya is as a character and her arc thus far #theres a post someone wrote about it somewhere on my blog that puts all of this much better #but like. wouldnt a much more narratively coherent way of going about this be somewhat of a mirror to edgeworth’s arc #namely that your family doesnt define who you are and even though theyve done reprehensible things #in the same career that you now have. doesnt mean that you need to be like them or to do your job for the same reasons they did #even though its somewhat of an inherited career . you can find a different purpose in it than what your family found #you know. well whatever

[em-dash-press]

The 5 Most Essential Turning Points in a Character’s Arc

You spend so much time creating a character because you want them to feel real. You want to connect with them and use them to create an experience for your readers. Their character arc is how that happens.

Don’t miss out on these essential turning points that make an arc feel not only whole, but complete.

1. The Inciting Incident

Your inciting incident gets your plot moving. It isn’t going to be the first sentence of your story (also called your hook), although it could be if you crafted your first sentence for that purpose.

An inciting incident is a plot event that guides your character in a new direction. It’s the successful prison break, the meeting of instant rivals, or the moment your protagonist wins the lottery in your first chapter.

Without the inciting incident, your protagonist’s life would carry on as usual. They wouldn’t start the arc that makes them an interesting person for the reader to stick with throughout your story.

2. Introducing the Protagonist’s Main Flaw

Every protagonist needs a primary flaw. Ideally, they’ll have more than one. People aren’t perfect and they rarely get close enough to only have one negative characteristic. Protagonists need that same level of humanity for readers to connect with them.

There are many potential flaws you could consider, but the primarily flaw must be the foundation for your character’s arc. It might even be the catalyst for the story’s peak.

Imagine a hero archetype. They’re great and well-intended, but they have a problem with boasting. Their arc features scenes where they learn to overcome their need to brag about themselves, but they get drunk and boast in a bar right before the story’s peak. The antagonist’s best friend hears this because they’re at the same bar, so they report the hero’s comment to the main villain. It thwarts the hero’s efforts and makes the climax more dramatic.

Other potential flaws to consider:

Arrogance

Pride

Fear

Anxiety

Carelessness

Dishonesty

Immaturity

3. Their First Failure

Everyone will fail at a goal eventually. Your protagonist should too. Their first failure could be big or small, but it helps define them. They either choose to continue pursuing that goal, they change their goal, or their worldview shatters.

Readers like watching a protagonist reshape their identity when they lose sight of what they wnat. They also like watching characters double down and pursue something harder. Failure is a necessary catalyst for making this happen during a character’s arc.

4. Their Rock Bottom

Most stories have a protagonist that hits their rock bottom. It could be when their antagonist defeats them or lose what matters most. There are numerous ways to write a rock-bottom moment. Yours will depend on what your character wants and what your story’s theme is.

If you forget to include a rock-bottom moment, the reader might feel like the protagonist never faced any real stakes. They had nothing to lose so their arc feels less realistic.

Rock bottoms don’t always mean earth-shattering consequences either. It might be the moment when your protagonist feels hopeless while taking an exam or recognizes that they just don’t know what to do. Either way, they’ll come to grips with losing something (hope, direction, or otherwise) and the reader will connect with that.

5. What the Protagonist Accepts

Protagonists have to accept the end of their arc. They return home from their hero’s journey to live in a life they accept as better than before. They find peace with their new fate due to their new community they found or skills they aquired.

Your protagonist may also accept a call to action. They return home from their journey only to find out that their antagonist inspired a new villain and the protagonist has to find the strength to overcome a new adversary. This typically leads into a second installment or sequel.

Accepting the end of their arc helps close the story for the reader. A protagonist who decides their arc wasn’t worth it makes the reader disgruntled with the story overall. There has to be a resolution, which means accepting whatever the protagonist’s life ended up as—or the next goal/challenge they’ll chase.

-----

Hopefully these points make character arcs feel more manageable for you. Defining each point might feel like naming your instincts, but it makes character creation and plotting easier.

Want more creative writing tips and tricks? I have plenty of other fun stuff on my website, including posts like Traits Every Protagonist Needs and Tips for Writing Subplots.

#character arcs #creating characters #creating character arcs #character development #writing characters #character concept #plotting #how to plot #writing plot #creative writing #writeblr #writers of tumblr #writing tips #writing advice #writing resources #writing inspiration #writing community #writing help #writing

[byoldervine]

Writing Tips - Beating Perfectionism

1. Recognising writing perfectionism. It’s not usually as literal as “This isn’t 100% perfect and so it is the worst thing ever”, in my experience it usually sneaks up more subtly. Things like where you should probably be continuing on but if you don’t figure out how to word this paragraph better it’s just going to bug you the whole time, or where you’re growing demotivated because you don’t know how to describe the scene 100% exactly as you can imagine it in your head, or things along those lines where your desire to be exact can get in the way of progression. In isolated scenarios this is natural, but if it’s regularly and notably impacting your progress then there’s a more pressing issue

2. Write now, edit later. Easier said than done, which always infuriated me until I worked out how it translates into practice; you need to recognise what the purpose of this stage of the writing process is and when editing will hinder you more than help you. Anything up to and including your first draft is purely done for structural and creative purposes, and trying to impose perfection on a creative process will naturally stifle said creativity. Creativity demands the freedom of imperfection

3. Perfection is stagnant. We all know that we have to give our characters flaws and challenges to overcome since, otherwise, there’s no room for growth or conflict or plot, and it ends up being boring and predictable at best - and it’s just the same as your writing. Say you wrote the absolute perfect book; the perfect plot, the perfect characters, the perfect arcs, the perfect ending, etc etc. It’s an overnight bestseller and you’re discussed as a literary great for all time. Everyone, even those outside of your target demographic, call it the perfect book. Not only would that first require you to turn the perfect book into something objective, which is impossible, but it would also mean that you would either never write again, because you can never do better than your perfect book, or you’ll always write the exact same thing in the exact same way to ensure constant perfection. It’s repetitive, it’s boring, and all in all it’s just fearful behaviour meant to protect you from criticism that you aren’t used to, rather than allowing yourself to get acclimated to less than purely positive feedback

4. Faulty comparisons. Comparing your writing to that of a published author’s is great from an analytical perspective, but it can easily just become a case of “Their work is so much better, mine sucks, I’ll never be as good as them or as good as any ‘real’ writer”. You need to remember that you’re comparing a completely finished draft, which likely underwent at least three major edits and could have even had upwards of ten, to wherever it is you’re at. A surprising number of people compare their *first* draft to a finished product, which is insanity when you think of it that way; it seems so obvious from this perspective why your first attempt isn’t as good as their tenth. You also end up comparing your ability to describe the images in your head to their ability to craft a new image in your head; I guarantee you that the image the author came up with isn’t the one their readers have, and they’re kicking themselves for not being able to get it exactly as they themselves imagine it. Only the author knows what image they’re working off of; the readers don’t, and they can imagine their own variation which is just as amazing

5. Up close and too personal. Expanding on the last point, just in general it’s harder to describe something in coherent words than it is to process it when someone else prompts you to do so. You end up frustrated and going over it a gazillion times, even to the point where words don’t even look like words anymore. You’ve got this perfect vision of how the whole story is supposed to go, and when you very understandably can’t flawlessly translate every single minute detail to your satisfaction, it’s demotivating. You’re emotionally attached to this perfect version that can’t ever be fully articulated through any other medium. But on the other hand, when consuming other media that you didn’t have a hand in creating, you’re viewing it with perfectly fresh eyes; you have no ‘perfect ideal’ of how everything is supposed to look and feel and be, so the images the final product conjures up become that idealised version - its no wonder why it always feels like every writer except you can pull off their visions when your writing is the only one you have such rigorous preconceived notions of

6. That’s entertainment. Of course writing can be stressful and draining and frustrating and all other sorts of nasty things, but if overall you can’t say that you ultimately enjoy it, you’re not writing for the right reasons. You’ll never take true pride in your work if it only brings you misery. Take a step back, figure out what you can do to make things more fun for you - or at least less like a chore - and work from there

7. Write for yourself. One of the things that most gets to me when writing is “If this was found and read by someone I know, how would that feel?”, which has lead me on multiple occasions to backtrack and try to be less cringe or less weird or less preachy or whatever else. It’s harder to share your work with people you know whose opinions you care about and whose impressions of you have the potential of shifting based on this - sharing it to strangers whose opinions ultimately don’t matter and who you’ll never have to interact with again is somehow a lot less scary because their judgements won’t stick. But allowing the imaginary opinions of others to dictate not even your finished project, but your unmoderated creative process in general? Nobody is going to see this without your say so; this is not the time to be fussing over how others may perceive your writing. The only opinion that matters at this stage is your own

8. Redirection. Instead of focusing on quality, focusing on quantity has helped me to improve my perfectionism issues; it doesn’t matter if I write twenty paragraphs of complete BS so long as I’ve written twenty paragraphs or something that may or may not be useful later. I can still let myself feel accomplished regardless of quality, and if I later have to throw out whole chapters, so be it

9. That’s a problem for future me. A lot of people have no idea how to edit, or what to look for when they do so, so having a clear idea of what you want to edit by the time the editing session comes around is gonna be a game-changer once you’re supposed to be editing. Save the clear work for when you’re allocating time for it and you’ll have a much easier and more focused start to the editing process. It’ll be more motivating than staring blankly at the intimidating word count, at least

10. The application of applications. If all else fails and you’re still going back to edit what you’ve just wrote in some struggle for the perfect writing, there are apps and websites that you can use that physically prevent you from editing your work until you’re done with it. If nothing else, maybe it can help train you away from major edits as you go

#perfectionism #perfection #writing #writers #writeblr #bookblr #book #writers on tumblr #writerscommunity #writers of tumblr #writer #my writing #how to write #on writing #creative writing #write #writing tips #writblr #female writers #queer writers #writer things #writer stuff #writing is hard #writing advice #writing life #writer problems #writerscreed #writersnetwork #writerblr #writersociety

[mamawasatesttube]

ok i put a longer post abt tim's Emotional State in drafts for when my brain is less melted but re: tim and going to college im just gonna get a lil silly with it. hear me out.

i have this whole vague story in my mind for tim's college days moonlighting as red robin as he tries and figures out what he wants out of life. (it's a while after rr leaves off and all because he's like. Super Depressed for a hot minute and then has to drag himself through actually bothering to get his GED and applying to college, etc., but eventually lucius is like hey. you're great with gadgets, and you clearly love tinkering. i'd hire you for r&d in a heartbeat but you need at the least a bachelor's of engineering. i know you have a lot of the technical skills, but you need a degree. so tim goes ugh fine i'll get a goddamn engineering degree how hard can it possibly be.)

anyways. i think it's a universal experience that if you go to college and you hang with the STEM crowd, you will unfortunately get to know at least one Fucking Guy. it's like brentwood arc; tim does make friends, but there is just this One Fucking Guy he cannot stand and will never stand. this Fucking Guy is in the common room playing his guitar at midnight. he's drunk and yelling and laughing really loud when people have exams coming up. he's convinced everyone adores him. there's also a detective/supernatural plot going on. the subplot is just that tim hates This Fucking Guy.

at some point, there's a story beat where he as red robin has to rescue That Fucking Guy from a real dicey situation, and That Fucking Guy is really shaken and grateful to him, and he's like okay. maybe. maybe we are making progress. but then the next time he encounters This Fucking Guy as tim drake, the guy is just like. "ohhhh hey drake you missed it last night, it was AWESOME!!! i had to save red robin from a KILLER ROBOT. he's pretty cool though i guess. i bet you wish you could be more like him huh??" and tim is just. I Will Not Grind My Teeth About This. I Will Not. his life is a fucking joke. he dismantles the toaster oven in the common room kitchen to cope. it's definitely to cope and not just so that That Fucking Guy won't be able to heat up his pop tarts in the morning.

at another point, This Fucking Guy looks at street mode, lowkey, unremarkable Normal Car-looking redbird and goes, aw, dude, i thought your dad is loaded?? he only got you a generic-ass sedan?? that sucks lol, if you want we can take my car down to the game instead. and tim is just Say One More Fucking Word About My Baby I Dare You I Fucking Dare You One More Fucking Word.

(also i like to toy with the idea of this being a university in metropolis - he's out of gotham, but not too far. keeps him from getting antsy about what if he's needed because he can get right back over there. and in the meantime, he can hang out with kon and kara a lot, and occasionally enable and be enabled by lois lane and her snooping habits. there's another subplot in which tim and lois get up to shenanigans. at least once.)

it's sort of an introspective thing of him trying to come to terms with the way he no longer wants a fully normal life the way he always used to assume he would - he has the option to walk away from the cape now, like he always thought he would one day, but he just can't give it up anymore. he's fallen into the same black hole he watched dick and bruce dive headlong into. it's also about him finding joy in tinkering and working with his hands and getting to spend more time as tim drake first and foremost. and it's about him venting to kon about That Fucking Guy while they have a lil picnic on the green while kon loses his absolute shit laughing. all against the backdrop of a little mystery or something. <3

OH and also, most importantly. zoanne wilkins is there and laughing at him for assuming college would be easy. and kon gets her into wendy the werewolf stalker. My City Now.

#rimi talks #rambles #tim #like.... do u see the vision. there are emotions underneath here #but right now i have a migraine so its silly time first and foremost. Tim Hates That Fucking Guy #we've all known a Fucking Guy right? im pretty sure its a universal experience. #the stories i could tell about the Fucking Guy i knew. man.

[demodraws0606]

What Cyberpunk DeadBoy Means and What it's Potentially Foreshadowing (aka very complicated analysis that makes a lot of sense and could happen depending on how colorpalet is feeling while writing the story)

Now I'm seeing so many people like running around wondering what this event could mean for the future for multiple reasons and like I've made like one post throwing my hat into the ring.

I've been frustrated with people's unwillingness to realise that this comm is prob foreshadowing because this is not the first time Colorpalet has hidden foreshadowing into comms weither subtely or not

Exemple's being :

-Akito's second comm foreshadowing his third event

-Lower's cover art literally foreshadowing what would happen to Mafuyu's phone in her event

-88 vocals being emurui and nenekasa foreshadowing the kind of dynamic the disbandement arc had with nenekasa wanting to move forward with emurui being scared of isolation

-Probably way better exemples that I forgot

I've seen people make Some assumptions which I don't agree with but there is one thing I think is true

There is 100 pourcent gonna be struggle between corporation/reality and WxS.

Purely because that's been WxS's entire theme since the beginning. They constantly bash you over the head with the theme of compromising with reality and the importance of dreams. In fact the pick of Maiki-P is not at all surprising as he basically has the same message WxS has just... well harsher.

The Big thing people have ignored however is by focusing on the lyrics, they've ignored something that's personally to me even more telling and that's the line distribution

We know for a fact colorpalet loves to mess around with line distribution, weither it's to make characters say lines that fit them or to kind of foreshadow their headspace.

Now something Big happens with the line distribution of Cyberpunk Deadboy that i've seen NO ONE notice and that's in the last chorus (that and also Tsukasa's lines which people have pointed out but it works less on it's own which is why I'm gonna analyse his lines afterwards).

This is the only time the chorus is like that, the others have a much more even distribution.

In fact the distribution choice makes it look like the rest of WxS is Talking to Rui.

It's even more evident considering the lines they chose to make WxS sing compared to only just Rui

Emu/Tsukasa/Nene saying kimi (you)

Rui saying boku (i)

Which honestly makes me think this is colorpalet foreshadowing some kind of issue reguarding specifically Rui. Remember Emu's second event ? The story of Rilley whose imagination was crippled by the industry to the point where he didn't really have any artistic vision until Emu's grandpa helped him.

In fact remember how the flashback that showcases that has Rilley working on a film

Now we get to Tsukasa's line which have been pointed out to be kind of sus but it's not just his lines.

Tsukasa refuses to sing with Rui (unless it's a line they all sing together but i consider those exceptions). In fact pretty much everyone has a duo line with each other except those two.

In fact in the section where Rui has duo lines with everybody, Tsukasa is the only one he doesnt sing with and the visuals make it clear that it's something that we're supposed to find strange

And then we of course have Tsukasa's solo lines

Tsukasa is the only one that say "fuzakeruna" outside of Rui (of course ignoring entire group WxS lines) and i've seen some people pointed out how it sounds like he's saying it in response to Rui's lines. Which I agree with.

Then we got his big boy solo lines

These lines will make more sense with my theory/analysis but right now if we go with the idea that WxS in the last chorus were speaking to Rui and Tsukasa in this comm refuses to sing with Rui then this implies those lines are Tsukasa speaking to Rui.

And this is where the insanity begins because people have pointed out a concerning trend with Ruikasa that I know some people use for shipping fuel but for me kinda feels more so like foreshadowing.

IGNORING all the ARG ass weirdness of the Fixer 2dmv, this choice to switch Ruikasa's colors have to mean something in my opinion outside of just wholesome shipping influence especially considering the two songs they do this are less than jovial.

What this kind of color switching signifies to me is that, Ruikasa somehow are/or will switch places.

And with that let me bring back Tsukasa's lines

These lines stand out because Tsukasa before remembering his dreams was extremely shallow only doing things for fame and probably the money that would come with it.

Now if you think about everything I've layed out I think you can gain a pretty clear picture.

Of Rui falling into the trap Rilley did, becoming jaded and losing the true motivation of his dream (or at least starting to have doubts). Becoming stuck with the struggle of managing dreams and reality.

Rui's costume even has a mask which can be a metaphor for his artistic voice and individuality being silenced .

Which now you get into the line distribution where WxS is implied to be talking to Rui.

And you get to Tsukasa, who is refusing to sing with Rui and in fact seems to be arguing with Rui if we really want to overthink it. In fact almost switching their roles from the main story.

Because Tsukasa has grown now and how else to show that growth than to switch Rui and Tsukasa's perspectives/roles.

Now how this would happen really depends since there are multiple ways they can go about it with the time they have.

There is obviously mystery dude dude (who i know now is sakaki) who still gives me bad vibes. However there is actually two way they can make mystery dude trigger this sort of plot :

-Mystery dude is malicious and actively manipulates/confronts Rui to make him rethink his worldview

-Mystery dude isn't malicious but instead is just jaded/has been through a lot of industry bullshit which ends up rubbing off on Rui accidentally

But you can even just not have mystery dude involved with this at all (which i doubt but still) because you know what loose plotpoint is still lingering over WxS, fucking Asahi

Rui still has not talked about Asahi to WxS, in fact Curtain Call ends on an explicit cliffhanger which is never really emotionally concluded (at least in Rui's own events, technically the arc ender did but there are still a lot of loose threads from that arc). Why would Colorpalet make Asahi come back after Rui graduates, they could've just had him disappear into the sunset but instead they hint at his potential comeback.

Unless Rui will be forced to again confront similar feelings he did during Curtain Call this time with possibly an added layer of whatever happens during WxS's freelance arc.

Anyways yeah this is overly complicated but then again colorpalet is not being easy with us so...yeah.

#project sekai #pjsk rui #rui kamishiro #wxs #wonderlandxshowtime #project sekai theory #project sekai analysis #rui kamishiro analysis #wxs rui #wxs tsukasa #tsukasa tenma #rui #cyberpunk deadboy #i'm sorry if this giant wall of text makes sense to nobody but me but i need this to leave myt mind otherwise i explode #and also i'm not looking at twitter for theories of this event because twitter is the breeding ground of bad takes so idk if i'm the only #one but it's very interesting #anyways i really don't want any “but what if the comm is not at all related to the event at all” because we've had active confirmation #colorpalet describe events and give at least on sentence prompts to commissioners (which we know pinnochioP and the creators of Mr.Showtime #I believe) and again even if it WERE the case and it was a fluke or a rewrite or whatever #it doesnt change the fact colorpalet made an active choice to make the line distribution and 2dmv like this #this is the motherfuckers that foreshadowed an arc ender years before through a fucking song cover art #complain about their writing all you want these motherfuckers love little detail oriented shit like this for better and for worse

[thethiefandtheairbender]

my hot take is that i would've been fine if natla had changed virtually everything... character names, aesthetics, plot beats, character choices, etc. IF it had been more culturally accurate and respectful.

instead natla changes virtually nothing except the removal of sokka's sexism while increasing pakku's and the general north's, while also not being willing to commit to it (see: yue breaking off her engagement pre-show with zero consequences, which also undersells their new angle of her resenting/disliking the expectations her community has for her). we get one scene of katara doing braiding/weaving with her gran gran and mother. no other elements of water tribe culture are present that weren't there in the show, and others are removed. the water tribes don't even get to explain their own culture and relationship to the spirits, the fire nation does it. iroh being called out for ba sing se by an angrily grieving earth kingdom soldier is undercut by iroh coming off looking better when he spares the man and the man still strikes him afterwards from behind. because, y'know, the show that literally has fire nation characters critique an earth kingdom soldier for being corrupted by war, calls jet an outright terrorist and remove all of his nuance, and have katara say jet is just like the fire nation to his face isn't both sides'ing an imperialist genocidal conflict at all, obviously /s.

like, what the fuck are we doing here?

if natla wanted to radically change character arcs, struggles, backstories, and plot beats (avatars having glimpses of the future and that's why we head to the north, etc) they should've just wholly committed. the httyd movies are nothing like the books, but they change enough to be their own story in their own right (literally, they only keep a father-son relationship and the setting and half the character names; everything else is different). and they told a different, but really fucking good story.

for example: why not have there be zero sexism, and katara fights pakku for the right to learn any waterbending (healing or fighting) because they see her as an outsider who can't understand their culture, the same way there are stories about indigenous people working hard to reconnect to their culture after being separated from it due to colonization? why are we doing the same things, but worse, every time?

i'm not mad at natla for not being a 1:1 adaptation. i'm mad because every single unnecessary change it makes to the characters' core backstories and personalities are less effective than the OG, are not adequately addressed in story at any point, or has things ham-fisted in for no reason (yue being able to go into the spirit world has no bearing on the actual plot, for example; it's just There, because...?).

it's not more culturally sensitive than the og; instead, in many ways, it's less, and i think that's the biggest waste of it all.

#natla #natla critical #atla live action #avatar: the last airbender #atla #like they could've just. not even had them be called water TRIBES #so many options were available to you. you added Nothing and hollowed out Everything

[ghostly-omens]

Anyway Quackity was one of the people on DSMP who was most involved in and invested in lore. Las Nevadas and the Butcher Army and the Red Banquet and everything with L'Manberg. He clearly loved telling the story he wanted to tell and playing on a roleplay server.

But a lot of creators have pointed out that the most fun they had on the server was when they were doing improv, when they were reacting to things that happened and building the story naturally that way. When things got scripted, when creators had to come up with and write and execute their lore basically on their own, when it stopped being playing and started being acting, that's when you got players disengaging and losing interest and motivation. By the end, literally every bit of lore was scripted. Most of it was prerecorded just so it could end up telling a complete story, instead of starting a dozen plot threads that had to be abandoned when the other people involved didn't answer your DMs or the big lore day that was meant to move the whole server's story along didn't happen. The last big, whole-server lore event only happened because Technoblade was dying. Communication was so bad that was the only thing that could get everyone to get organised enough for a single day of lore, a story event that had been set up for months.

And so when Quackity comes up with his own server, he wants it to have a strong roleplay element (if that's what the other creators involved end up wanting). Quackity loved his roleplaying on DSMP. But he wants it to be fun for the creators as well as for the fans, and the way lore was fun on DSMP was for it to be improv, not for it to be creators acting out a script. But things got scripted because once they set up a story, it had to escalate in a specific way in order for it to be narratively satisfying, which made it less fun. A single arc is fine, but things just won't work for more than that without at least a loose script. By the end DSMP wasn't roleplay, it was acting. Some creators managed to tell satisfying stories, but it wasn't the same as when it was a bunch of friends messing around doing Hamilton Breaking Bad improv because it was fun. The DSMP, for a good chunk of its life, was not fun to play on. So people didn't.

But how do you set up satisfying, coherent stories over a long period of time while also maintaining the fun roleplay element? Someone needs to guide them and develop them, but it can't be the creators on a server if you're going to keep the fun roleplay element.

Hence the admins, and their role not just maintaining the server, but in developing and guiding the story. Their role is basically a GM, in tabletop roleplaying terms, and the creators get to be player characters roleplaying in reaction to that. Creators don't know much more than we do; how many times have creators said they don't get told shit, have they been told to log on and been faced with huge big developments they didn't see coming and have to figure out how to roleplay that? QSMP works kind of like Dungeons and Dragons but in Minecraft. Keeps the story consistent and escalating, without the need for creators to sacrifice their own enjoyment of their content.

I don't know how stuff like Karmaland works, maybe Quackity got it from there. But as a former Dream SMP fan, I see Quackity taking the best part of DSMP and finding a way to make it work for something a lot more sustainable and ambitious, keeping it fun and enjoyable for both fans and creators.

#qsmp #he saw something good that didnt quite work and he made it better! #good for him! #i had a lot of feelings about how qsmp is set up so thoughtfully okay #its designed to be fun and enjoyable for everyone that was quackitys approach! #it worked!

[writingquestionsanswered]

I love planing out my ideas in great detail but when it comes to actually writing the story it’s like pulling teeth. It goes from being fun and interesting to being nothing more than a dull chore. I’ve tried planning less to see if having some things unknown might help, but that didn’t work. I could spend forever writing and rewriting my ideas and making changes to them. But when I try to write an actual story it’s like I physically can’t. What should I do?

Details Planned But Unable to Write

If you have the details of your story planned out but still aren't able to write it, it's probable that one of the following things is happening. See if any of these strike a chord with you...

1 - Details and Plot Are Not the Same - Sometimes writers say they have all the details in their story planned out, but what they actually mean is they've fleshed out character and setting details, maybe even backstory and some general scene ideas, but they couldn't tell you what the story's conflict is, what the inciting incident is, what goal the protagonist is pursuing and why, what's at stake, or what the major plot points of the story are. No matter how detailed your story is in terms of characters, setting, backstory, and even general ideas about scenes, if you don't have a conflict to tie them all together, you don't really have a story. You just have details. A plot can't be moved forward if it doesn't exist, and if you don't have a conflict, goals and motivation, stakes, an antagonistic force and obstacles, etc., you don't have a plot. Solution: take some time learning about Goals and Conflict, Plot Driven vs Character Driven Stories, Basic Story Structure, and How to Move a Story Forward.

2 - You Lost Interest in the Story - If you have your story properly plotted in addition to having the details fleshed out, and you're still unable to write, it could be that you've simply lost interest in the story. This can happen when we spend a lot of time on a story, especially if we spend a lot of time fleshing things out. Solution: Guide: How to Rekindle Your Motivation to Write, Getting Unstuck: Motivation Beyond Mood Boards & Playlists, Getting Excited About Your Story Again

3 - Something in the Story Isn't Working - Imagine someone riding a horse and they come to a rickety old bridge, but the horse balks and refuses to cross. The horse may just be stubborn, but it's quite possible it's picking up sensory information its rider can't... creaks and groans the rider can't hear, a worrisome tilt or sway the rider can't perceive... If you sit down to write your well planned out story and can't, the same thing could be happening with your gut instinct. Like the horse that doesn't want to cross the bridge because it senses danger, something inside you is saying "this story doesn't work" and isn't excited to get involved. Solution: Read through your outline or plan and see if you can spot the problem. Maybe the character's goal doesn't make sense with the events of the story. Maybe the antagonistic force isn't doing enough to oppose the protagonist. Maybe the character arc is out-of-sync with the events of the story. If nothing else, talk it through with a trusted writer friend to see if they have any thoughts. Sometimes just hearing the questions they have about the story can be enough to highlight what isn't working.

4 - Life Stuff Is Getting in the Way - Even if your story is well fleshed out and thoroughly plotted, and everything works and you're excited about writing, there can be other things going on in your life that stand in your way. If you're putting too much pressure on yourself to write or reach certain writing goals, it makes writing feel stressful and our brains are wired to avoid stressful things. It could be that you're not feeling well physically or mentally. You could be distracted by other things you want to write or do. You could just be too busy with other things to really get into it. Or you could just be not in the mood to write. Solution: Try to pinpoint what's getting in the way and see if there's a work around. For example, if you think writing has become stressful and that's why you're avoiding it, figure out what you can do to make it fun again. Or, if you think you're just not in the mood to write, figure out some things you could do that would put you in the mood to write.

5 - Fear Is Getting in the Way - Details are easy, writing is hard. No matter how much planning and plotting you've done, actually putting those details into coherent words in a way that is compelling and well-paced--that's not so easy. And, the tough reality is that until you've had a lot of writing experience, your writing probably isn't as good as you want it to be. You want it to be good, and you know what would qualify as good, but you're just not able to produce that quality yet. And the only way to get your writing quality to that level is to let yourself write things that aren't as good as you want them to be. You have to write a lot of "just okay" stuff before you can write "really great" stuff. AND THAT'S SCARY!!! And--that's not even the only thing that can cause fear for writers. Maybe you have written a lot and your writing is where you want it to be, but maybe your fear is with the next step... sharing it with others. Maybe you're afraid others won't enjoy it as much as you want them to. Solution: figure out what's causing the fear, whether it's quality-related or next step related, then try to push through it. Remind yourself that writing not great stuff is part of the process. Remind yourself that sharing with others is part of the process (usually, unless you're writing for yourself.) Have a spin through the bottom half of my Motivation master list for other fears and solutions.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

Learn more about WQA

See my ask policies

Visit my Master List of Top Posts

Go to ko-fi.com/wqa to buy me coffee or see my commissions

#writing tips #writing help #writing advice #wqaadvice

[darkspellmaster]

Can we talk about these two images! Hand offerings.

So in the recent Kuroshitsuji/Black Butler Chapter, there was an interesting image of both Doll and O!Ciel holding out their hands to Snake.

What's interesting to me is the choice of hands being held out and why they're important.

In the image, because of the way we're looking at it it seems like Ciel is offering his left hand and Doll her right.

The Right hand meaning = a place of honor and status, the favored hand of god, as well as the rational, conscious and logical, as well as aggressive and anxious, and connected to the idea of benevolent white magic.

The Left hand meaning = the hand of judgement, weakness, decay, death. Connected to intuition and also dark magic.

Thus one would think, oh it's implying that taking Ciel's hand means he was shaking the wrong hand.

But this would be WRONG!

We're looking at it from Snake's POV. So in reality...

Ciel is holding out his RIGHT HAND, while Doll is holding out the LEFT HAND.

We see this again with Doll in another shot from Chapter 208 a bit later in Snake's memory.

In both cases Doll is holding out the left hand to Snake, indicating that the offering is a less then ideal one. As we see, Snake witnesses them taking the kids, but he doesn't say a thing or question it, and it's the same later on during the Circus arc.

O!Ciel on the other hand gave him his right hand, showing trust and that he was being honest even though he was lying. What he told Snake was what he wanted to do, let them go, let the Circus people leave, because in the end even he knew they were victims. He could have easily had Sebastian kill them all there at the circus.

But he didn't, his goal was Kelvin. So he gave Snake a story to give him hope (as he said "say a lie enough and it becomes real (or the truth)").

It's interesting to note that even though the circus crew was friendly with Snake, getting him a costume, and other things, we've seen that he still was an outsider. He was kept in his own tent, away from the others. He was still being put on display, even though it was in a circus, it's still being put on display.

OCiel and the servants on the other hand, made him part of their group. He went with them, they all road in the same cart. On the Campania Ciel even told him he doesn't care what others think of who he associates with.

We also see in the naming of Snake by Joker that it's so very different than Ciel giving Finny his name.

For Snake, Joker just calls him what he looks like. Dagger even asks why, and Joker says he's bad at naming. Jumbo gives better consideration to naming the snakes than Joker did in naming Snake.

O!Ciel on the other hand takes the time to consider a name for Finny, and gives him not only the name of his favorite hero, from his favorite book, one that holds a lot of significance to him both now and in the past, but (if you hold to the theory that O!Ciel's real name is Finnian) then he's giving Finny his NAME. He's sharing a huge part of himself with Finny.

(You can also point out that Ciel doesn't call Mey-Rin Owl, he only calls her by her real name, showing that he respects her as her own individual person.)

To me that image, I think, is showing readers that there's more connections and a deeper bond with O!Ciel and the Phantomhive Servants, with Snake than he had with the circus, even though he thinks there is a strong bond there.

#kuroshitsuji #black butler #ciel phantomhive #kuroshitsuji finny #kuroshitsuji theories #kuroshitsuji theory #kuroshitsuji spoilers #chapter 208 #snake #black butler finny #black butler snake #kuroshitsuji snake #finny

[ask-whitepearl-and-steven]

I was going through my quarterly reread of the comic, and I guess it kinda just hit me how White Diamond!Steven doesn't have nearly as many allies as Canon!Steven did.

Obviously there's Lapis, and how WD!Steven scared her enough that she doesn't consider him a friend, unlike Canon!Lapis who was friends with Steven.

Then there's Peridot, and how events in the story kinda made it so the characters figured out the cluster deal without her help.

Of course it's not as though WD!Steven made no allies/friends, there's obviously Sea Glass.

But it's just really interesting to see how the themes differ from the show to the comic. Lapis' and Peridot's redemption played into the show's themes of second chances, change, and growth. While the comic definitely shares some of those themes, it's really interesting to see how they differ telling them, and how the whole vibe of the show is kinda thrown off as WD!Steven fails to gain the friends Canon!Steven did.

My question is this: was WD!Steven not gaining the trust and friendship Canon!Steven did intentional? Is it, or was it, ever a struggle to not include their redemption arcs when they were both such a pivotal moment(s) in the show?

You know, that's a good question.

I think in a sense it WAS intentional? Because WD!Steven has never been quite as trusting as Canon!Steven. He was far more cautious and less available from the very beginning.

Even when he freed Lapis (doing so out of his sense of responsibility) he didn't quite trust her enough to let her get away.

And the same with Peridot - though he tried to reach out, he would have never been able to let her run loose like Canon!Steven had.

In that sense, Yes! The fact that WD!Steven doesn't trust people enough is a very intentional plot point.

But at the same time, I don't know that I intentionally trimmed his Allies List. I think it was just a natural development of the storyline's progression.

I don't really mind not including redemption arcs that were in the original story because... well... they already happened!

I really love the original show, and I don't feel like it needs to be retold in a different color palette. I'm much more curious to explore the roads not taken. :)

#chekhov answers

[tossawary]

Overall, in the live-action "One Piece", I liked the way that they did Mihawk visiting the Baratie. I still prefer the manga/anime (Zoro SEES Mihawk fuck up an armada and this wonderful idiot is like, "Yeah, I'm gonna fight him next,"), but I understand why they shifted the Don Kriegs around in order to fit the arc they had created for their limited number of episodes for the East Blue Arc, and I think it was probably the right choice even if it changing the Don Kriegs does give us less of the Baratie crew. All of the arcs were filed down and I can just go back to the manga to see all the East Blue minor characters properly.

I like the fact that OPLA has such a different feel. I think it's fun when adaptations embrace the fact that they're inherently different. I really liked Nami and Zoro's little drinking and questions game. And I thought Usopp getting super drunk at the bar and Mihawk being RIGHT THERE listening to him talk was SO FUNNY. Like, yeah, that gives off the vibe that this warlord does just casually visit bars as he travels, in between fighting armies for funsies, and now I get to also imagine Mihawk casually shopping at specialty goth clothing stores and buying bottles of wine to go as he travels. (And now I have to wonder what would have happened if Zoro had run into Mihawk somewhere like Funky Bar (the bar he mentions to Kuro, which yeah, they did kind of make it sound like a gay bar).)

I like Usopp/Kaya, but now I also like to imagine for a second that Usopp could have accidentally (or on purpose! If you're not going for Usopp/Kaya) HIT ON Mihawk at the Baratie. Maybe he was just trying to compliment the guy's fit or remark on his beautiful eyes or something, because Mihawk definitely has an aesthetic going on, and these words came out a little too flirty? Maybe it was a random bout of drunken courage sure to collapse quickly?

And, in this silly OPLA AU, I like to imagine Mihawk leaning into this at least for intelligence-gathering, like, "Let me buy you a drink. Tell me more." (Side note: Mihawk doesn't really seem like a bar hookup guy to me, like, in general, but counterpoint: SHANKS sure does!)

So, Nami, across the bar, can be like, "Whoa, Usopp's actually pulling some guy." (Mentally, she is evaluating Mihawk as, like, a sugar daddy robbery target. It's like second nature to her at this point. Are they going to have to interfere? Usopp is REALLY drunk. Can she swipe Mihawk's wallet if they interfere?) And Zoro turns around to look and he pauses for a really long time before saying, "...That's Dracule Mihawk, the World's Greatest Swordsman."

So, things proceed pretty much the same way from there, Zoro challenges a warlord and nearly dies, but now Nami and Zoro can hold "flirting with a warlord at a bar" over Usopp's head as an embarrassing story FOREVER. (I think if Usopp tried to own this misunderstanding to lessen the embarrassment, his lying would take over, and this would somehow lead to widespread rumors that someone on the Strawhats is secretly MARRIED to Mihawk or something, because Usopp's luck is terrible. The Navy has to reach out to Mihawk like, "ARE YOU IN LEAGUE WITH THE STRAWHATS THROUGH MARRIAGE?! CONFIRM OR DENY." And Mihawk thinks it's so fucking stupid that he refuses to answer at all.)

After the timeskip, the first thing that Zoro ends up saying to Usopp after 2 years is something like: "Mihawk says hey."

Usopp: (⁠･⁠o⁠･⁠;⁠)

Did Mihawk really say hey? Does he remember Usopp at all? Is Zoro just fucking with Usopp? Usopp will never know. (Maybe Mihawk said something like, "My regards to your crew," but Zoro is totally just fucking with Usopp.)

#tossawary one piece #usopp #roronoa zoro #dracule mihawk #fic ideas #spoilers

[beelzeballing]

actually i dont think ive posted my thoughts on ofmd s2 overall here yet have i?

ok here goes: i think it had incredibly high highs, and at some parts i genuinely enjoyed it more than i did the first season, episode 6 being peak imo. however, it had equally abysmal lows with some glaring writing-, tone- and pacing issues that all came to a head in the finale.

i once read someone say that, if you ever feel like a finale ruined the whole story, maybe you should take another look at the story. there were most likely cracks and problems all along, and the finale did nothing besides dashing the hope that these would perhaps be addressed later. very rarely do genuinely well written stories go completely off the rails in the finale and ruin the whole thing.

i think this is applicable here in some ways, SPECIFICALLY in regards to edward. good god edward was a MESS this season, and it's so sad because i loved the starting point! the kraken era was absolutely terrifying and iconic as FUCK but... they shouldn't have leaned so hard into the drama and trauma of it all. don't get me wrong, i loved that it did. it's one of my favorite parts of the season and i'm so glad we got it. but if they wanted this arc to work with the overarching plot as they wrote it, they would've had to lighten up the tone here CONSIDERABLY. had they played the kraken era for comedy then sure! edward's bad youtuber apology would've been funny. his fast redemption would've been less jarring. the lack of consequences less disturbing. but as it stands in the show, this arc is too dark to function with the later episodes.

i feel like they wanted to have their cake and eat it too here. they wanted the gritty drama of ed coming off the hinges entirely but also didn't want to deal with the aftermath of such a heavy arc in their silly pirate romcom. be that due to time constraints and budget cuts or because they were simply unwilling to, doesn't really matter in the end. the result is the same either way: a very tonally messy season with some accidentally troubling implications regarding abuse.

and mentioning troubling implications regarding abuse; izzy. my poor, poor izzy... his arc was absolutely glorious. i liked izzy the second he showed up in s1 and i was absolutely EATING this season up in that regard. and i think in this case, they genuinely did fuck it all up in the finale with that one stupid choice:

choosing to kill izzy was the DUMBEST thing they couldve done here.

ive talked about this over and over and over again. ive reblogged so many meta posts. and still i am left absolutely flabbergasted by how stupid of a decision this was. the fridging, playing at the fallen woman trope, killing the beating heart of the season and the character who delivers what is essentially a thesis statement, killing off the character whose arc is about coming to terms with his disability, having him die in edward's arms, comforting him and apologizing after an entire season of finding community and love outside of edward, the absolutely godawful pacing of it all, the extremely easy and obvious solution of just having IZZY become the new captain of the revenge to mirror s1 and hammer home how much he has developed since then in one go... i could go on. and i have. it was a stupid writing decision, completely fucked the tone and pacing of the finale and took away attention and time from things that really would've deserved a better wrap up (lucius and black pete deserved better)

now. the whole prince ricky & zheng plot line... yeah that shit sucked ass, sorry. they bit off more than they could chew here. i honestly think those are the arc words of this season:

✨️ bit off more than they could chew ✨️

right off the bat: i think he was good as a concept. bringing in a foil for stede who just doesn't Get It as stede does could've made for very good comedy and drama (and to be fair there is some of that). but that shit got away from them extremely quickly. nothing about how he's implemented past his first episode works, and i think this is very specifically because he's mostly played as the comic relief in his debut episode. making this completely bumbling fool, who gets his nose hacked off on his first job, the main villain of your entire season is... definitely a choice. idk. he didn't work for me at all.

ok wow mentioning shit getting away from the writers. this definitely got away from me. this was supposed to be a short lil post. well. i guess tl;dr i loved this season but jesus christ there was a lot wrong with it. if you want to hear more thoughts. ask box is open. be my guest. i have more to say so even if you dont ask i might add more to this at some point but im tired and have work tmrw.

#i was going to do shit today and now look at me. #0:18 at night #laying in bed #writing this shit #i havent even eaten. #christtttt #moogsin' #ofmd #izzy hands #our flag means death #ofmd meta #ofmd critical #ofmd s2 #ofmd spoilers #the izcourse #im not tagging any of the other characters cuz i shittalk all of them 😭 #listen i love edward hes my babygirl but this season did him DIRTY.

[jackoshadows]

It's annoying how proactive female protagonists in Asoiaf are often labelled and seen as 'impulsive' by fandom in general. That's never a thing with the male characters. Female characters who get things done, who have agency and want to help people are very often characterized by fandom as wrongly and emotionally reacting to seeing injustice or even when they are engaged in policy making.

Arya is seen as impulsive for stepping in to help Mycah from a sadistic bully. Dany is labelled impulsive for not taking an economics course and reading Karl Marx’s Critique of Political Economy before freeing slaves. One popular post framed Arya and Catelyn as being similar because they apparently run around biting people.

Recall that Catelyn was one of Robb's most important campaign advisers, conducted the diplomatic negotiations for him, wanted less war and more of a peaceful resolution to the conflict and wanted to exchange hostages. And yet this fandom constantly frames the Arya/Cat parallels as them being impulsive and violent.

By the way, Arya does have parallels to Catelyn in terms of their proactiveness in maneuvering in a chauvinistic man's world, their loyalty to family and duty and doing what needs to be done. Fandom, however, always approach the Arya/Cat parallels negatively - as a form of critique of both female characters.

Do these characters have moments where they impulsively react in emotional situations? Yes, like pretty much ALL the characters do in the series. And yet these labels are singularly applied only to the female protagonists.

Arya for example is often careful, analytical and intelligent in her actions. When she escapes KL she carefully considers each step - where to go, where the guards would be, how the guards look, where the guards would search etc. - before planning her move. That's how she was able to outwit the adults like Cersei sending Lannister guards in disguise to catch Arya in enemy territory.

The same is true when Arya escapes Harenhall, where she strategizes, draws up a plan, identifies what she needs and where it is, collects everything and then gives the older boys - Gendry and Hot Pie - instructions on what to do

And then there is the way Arya and Dany are often characterized as violent in a way the male characters never are, when Planetos is a violent, medieval, feudal, grim dark fantasy setting.

To proactively get things done in a violent, patriarchal, chauvinistic world, one often has to engage in violence. Ned, Robert, Stannis, Jon, Robb, Tyrion, Jaime, Theon, Northern lords, NW brothers, KG have all killed people. Arya has to kill a guard to escape her captivity where the most horrible atrocities - including rape and torture - are especially committed on the female prisoners. No one is going to help her, she has to do it herself. And yet because of her gender, she gets condemned as 'violent', 'psychopathic', 'forever damaged', 'should feel guilty and bad about what she did' etc.

As ruler, Daenerys engages in the same medieval, feudal practices that other rules do - we are first introduced to the series' presumable hero Ned Stark, with him chopping off a man's head for desertion. And yet she is seen as violent and tyrannical in a way none of the male rulers are.

I still come across these jokes about Jon Snow counting beets ignoring his chosen one destiny when Daenerys also has an administrative arc in ADwD! Where are all the comments/jokes about Dany's problems with food, trying to grow food, trying to trade for food when she has encountered chosen one prophecy and yet stays behind in Essos doing the same thing Jon Snow is, except ten times harder because Meereen is a city state.

Especially jarring when all of GRRM's comments about ruling focuses on administration and specifically mentions Daenerys story in ADwD again and again. Like this for ex:

“I guess there is an element of fantasy readers that don’t want to see that. I find that fascinating. Seeing someone like Dany actually trying to deal with the vestments of being a queen and getting factions and guilds and [managing the] economy. They burnt all the fields [in Meereen]. They’ve got nothing to import any more. They’re not getting any money. I find this stuff interesting. And fortunately, enough of my readers who love the books do as well.” - GRRM

Dany, Tyrion and Jon's leadership arcs (In ADwD and ACoK) have parallels in that they are mostly of an administrative nature, dealing with money and food, making marriage alliances and unpopular decisions, with characters secretly undermining them. Jon's arc ends with mutineers assassinating him, Dany's arc ends with slavers trying to assassinate her and her fleeing on Drogon and Tyrion's arc ends with the Battle of Blackwater, Tywin coming back and Tyrion losing his power and position. No matter how well they did or didn't do as leaders, there was always someone in the shadows plotting against them, taking them down.

To single out the lead female characters alone as being impulsive and violent for being proactive and doing what needs to be done in order to survive in a violent, patriarchal world is misogyny at it's finest.

#arya stark #daenerys targaryen #catelyn stark #asoiaf

[rgbstatic]

i think in both regards to story, and in terms of meta/real life

doomsday and the destruction of l’manberg killed the server.

whether people were for or against or apart of l’manberg or not, it was a gathering point that brought people together to talk. it was a place people would hang out. it was a place with lots of chests to steal food and supplies from. in new l’manberg so so many people spent their time their even if they were completely unaffiliated or lived somewhere else.

storywise when it was destroyed, the story just lost a central characteristic for conflict, and a very important thing. l’manberg wasn’t just a place. it was ideals it was imagery, it was a goal, it was safety it was so many things, and with it gone with no hopes of returning, no matter how many new places people built they were all empty and never the same.

and with it gone everyone literally had to go their own ways. everyone who gathered there went far far away to make their own homes.

on a meta standpoint, people like talk about how much they miss old dream smp streams and that’s because of the non serious lore streams. where walking down a path and bumping into someone could lead to goofing off or serious talks.

where tommy could build a pathway from manberg to pogtopia for prime and for the upcoming rebellion, and get caught by a vice president who decided it was his day off and he was going to roleplay as a mcdonald’s worker.

it’s how you have tommy and tubbo goofing off on the server not doing lore, only for schlatt to see and they go lore mode and have to make up a pregnancy excuse.

it’s how you got silly serious moments. it’s also just straight up how you had people interact. if everyone lived hundreds of blocks away, it’s harder to just randomly run into each other while building or running to do something, meaning you’re less likely to talk, and less likely for anything to happen.

when l’manberg acted as a central hang out spot, people built their homes in close proximity, they would stick around the area and things naturally happened.

destroying l’manberg was, in my opinion, the worst thing they could have done. doomsday did very very little narratively to the story. the community house gathering did more to the story than doomsday did. and it was awful because tommy rallied people behind him to fight in doomsday not for him, but because if they could do this to l’manberg what would stop them from doing it to every other group.

and everyone fought, and despite an entire server fighting it was pointless.

the only thing doomsday did was force people to hide. and you can make claims for ranboo who went to live with phil and techno- but ranboo’s character arcs could’ve had a very similar outcome by staying with almost anyone else.

no l’manberg ultimately just drove everyone away, and there was never any serious or successful move to make anything on that server take its place, to fill the hole, so there was nothing to actively pull things together. no driving force or motivation, nothing to supply passive roleplay, nothing to bring people together.

everyone lost on doomsday. that loss of l’manberg meant no one could ever win again. just think about it. after doomsday, it was loss after loss.

the final disc confrontation? tommy and tubbo lost. they were rescued, but they lost their fight, and it was a trap anyway.

dream in prison? well he has punz on the outside, doesn’t matter, and he can control ranboo, and he still got to kill tommy AND ghostbur. it was a loss. and he escaped.

every single fight after. quackity lost, wilbur lost, tommy and tubbo lost again, and again. the server for everyone ended in a loss.

there was not ever a win again. usually in stories, after losses, you want something good to happen to make those hardships worth it. just like when good things happen you want bad things to happen to make it worth it, you need a balance.

think of the revolution. the up and down rollercoaster. the freedom into war into loss and death into hope into loss into compromise into win.

the election was a nail biting race where depending on who you voted for, was lose and a win. for tommy and wilbur it was a loss, but they quickly gathered things up, they had hope, and they had energy, and a plan, and techno joined and they were confident. there were ups and downs up until doomsday, afterword no character seemed to get an up. any positive was immediately trivialized. for example tommy’s decided to try and heal and make a hotel which was immediately turned into a problem where people tried to fight him over it and then he died. or he got a pet that made him happen and everyone tried to set it free or kill it. he finally starts to feel safe no relax and dream breaks loose, and he is endlessly stalked the entire time, and he dies alone with his abuser and his abuser’s accomplice.

there is never an up after doomsday, and killing l’manberg that day killed the dream smp.

#dream smp #dsmp #tommyinnit #wilbur soot #l’manberg #doomsday #rgb talking #dsmp analysis #long post

[nonpracticinghumanbeing]

So Izzy said a thing.

The thing seems to be a part of a redemption arc and makes him sound like a human rather than a monster.

The Canyon went wild with joy and jubilation. The haters are doing everything they can to rationalize the thing in a way that would fit their point of view. One of these things makes me feel like a part of a wonderful, welcoming, and very queer community. The other makes me perplexed, annoyed, and sad at the same time - in a way that feels very personal.

OFMD is an explicitly and unapologetically queer show. And not just that, it shows a variety of non-normative behaviors (Jackie’s polyamory, Geraldo’s humiliation kink, Lucius and Pete’s penchant for “having an audience” to say nothing of Izzy’s masochistic tendencies) in a completely non-judgmental way, making the viewer feel like all ways of performing one’s sexuality are valid.

Izzy wants to be a part of this world. For all his anger and manipulations, and (yes, let’s call him out for the sake of fairness) his abusive behaviors, he desperately wants to be a part of the world where he is free to love who he loves, in whatever way he is capable of doing so. No matter how much the haters don’t want to acknowledge it, this is ultimately a story about love. Both Con and Daddy Jenkins admitted Izzy is in love with Edward and the fact that the antis are willing to contradict not only the actor (who, may I remind you, was instrumental in shaping Izzy’s character) but also the showrunner is very symptomatic of the larger issue of how queer people have been treated in society.

No one in their right mind chose to become a pirate unless they had no other option. Piracy was fraught with constant danger and meant being an outsider everywhere. The only place one could be more or less safe was between people in the same lifestyle. In OFMD that is represented by the Republic of Pirates, where not being a pirate would get one in trouble. Sure, there is some violence but it comes with the territory and - much more importantly - it’s never motivated by someone being a pirate.

Izzy claims to hate the Republic - and for someone as repressed as him it makes sense. There are people being a different kind of a pirate than Izzy would like there - drunk, rowdy, and undisciplined. He clearly takes great pride in his work and has built his whole identity around being Blackbeard’s first mate. Seeing people be pirates while taking their responsibilities lightly doesn’t fit his worldview because he’s been taught that all of his energy should be spent protecting whatever freedom the pirates managed to carve out for themselves.

Someone once wrote that despite what the popular meme says, Izzy isn’t a real pirate dropped into The Muppet Treasure Island, but rather a hard boiled queer-coded character from a 50s noir movie dropped into today’s Pride. He’s had to keep vigilant against any threat for so long he hasn’t noticed that there was a way to be a pirate/queer and still enjoy one’s life. That one can like frilly robes and be a somewhat competent sea captain. That it is possible to pine for one’s boyfriend and keep one’s crew safe. That being soft doesn’t necessarily mean being weak.

He’s willing to do whatever it takes and sacrifice whatever has to be sacrificed (Stede’s life, Edward’s happiness, his own status of the loyal first mate) to keep his little pirate/queer world safe. It’s this conviction that puts him in the way of Ed and Stede’s relationship and makes him an antagonist. But - and it’s something the haters seem to be incapable of grasping - an antagonist doesn’t have to equal a villain.

Why does Izzy react so violently to Stede, exactly? Why is he willing to go against his captain's wishes in challenging Stede to a duel? Why does he sell Stede out, making a deal with the enemy in the process? Because Stede is a stranger infiltrating Izzy’s safe space. The English are a huge threat, sure, but they are easily identifiable from a distance. Stede seems to Izzy to be something far more dangerous - an outsider worming his way into the heart of Izzy’s world, where he can do truly irreparable damage. The English are cops who chase gay boys around the park. Stede has the potential of being an undercover cop sent into a queer bar in the 1930s to get the dirt on the patrons so they can be blackmailed and arrested.

Of course, he may not be that, but it’s a risk Izzy can’t allow himself to take. With his vision of what it means to be a pirate/queer he's sure he sees through Stede’s ruse. Now, I’m not trying to excuse abusive behavior, as some of Izzy’s choices were hurtful to everyone around him. But as a queer person I do have sympathy for someone (grossly) overreacting in defense of their safe space. Constant vigilance is an inherent part of the queer experience, especially for those living in conservative countries or remembering the times before the Pride.

Like, for example, Con does. Con, who - yes, I will repeat this because it’s super important here - played a huge part in shaping Izzy’s character. Con, who despite having a decades-long career where he often clearly gravitated towards queer characters, only got comfortable enough THIS YEAR (and thanks to this show and this fandom) to publicly come out. Con, who - as a friend wonderfully phrased it - is queer as in start a riot, not as in love wins.

And Izzy is the same. He is a start a riot pirate/queer in a show full of love wins pirates/queers. His way of being what he is is so totally different from everyone around him that it makes him an antagonist. (Sure, there are other start a riot queers in the show - Jim literally kills a man who wronged them and Lucius is very outspoken about his opinions in a way that makes him somewhat radical, but neither of them is as extreme in their ways as Izzy is and neither goes against the main characters’ romance thus becoming an antagonist.) But. The thing is, when you are a part of a minority, when you are being prosecuted and targeted for who you are, you need safe spaces. And those safe spaces need protection, because every freedom can be taken away if wrong people come to power. No doubt the queer movement would look much more tame and palatable to the bigots if we were all the love wins queers. But we desperately need the start a riot queers if we are to survive.

So yeah, you can say Izzy said what he said because he needs a structure and clear hierarchy in his life. He absolutely does. Some of it comes from his submissive and masochistic tendencies, sure (I wrote a lot about that, including a piece for the Above All Else zine). Some of it may come from neurodivergence (some people read Izzy as autistic, I’m not going to discuss this because as a neurotypical person I have nothing of value to say about it). But it also ABSOFUCKINGLUTELY comes from the desperate need to protect his safe space from outsiders.

And there is one more thing the haters conveniently forget about: OFMD is also a show about growth. It’s about Stede turning from a wooden puppet into a real boy and then into a man. It’s about Edward learning there is a life beyond the legend of Blackbeard and peeling off at least some of the leather. And judging from the trailer, it’s about Izzy learning you can be a start a riot pirate while being accepting of the love wins pirates in your life. 

The more I think about it, the more likely I find it that Stede’s “I don’t care what anybody says, he’s actually a good guy” line from the teaser refers to Izzy. But even if it doesn’t, I am 100% sure the haters will be proven wrong. This show never relied on stereotypes and cliches. In fact, it actively does everything to break them (from Jim’s sacred quest for revenge ending up with them befriending Jackie to the only names that get mispronounced being those of white characters) while killing off the real enemies of the pirate/queer crew (Badmintons, Jack, Geraldo) and giving all its characters place to grow.

So, maybe one day we will all learn to love Izzy? 

#ofmd #our flag means death #our flag means gay #izzy hands #ofmd meta #lol i got so pissed off at a really bad take on the line that i'm back to writing meta #thanks to remy for the start a riot / love wins thing! #i'm getting emotional again damn this show #queer representation