#that's deeply harmful to storytelling

[nellasbookplanet]

I'm so sorry but I'm going to talk about supernatural in the year of our lord 2023, because I just finished good omens season 2 and the way these shows occupy a very similar space in fandom attitudes is driving me insane.

In so many ways, good omens feels like what supernatural could have been, had they actually committed and not flailed around with like 15 seasons of queerbaiting and the most unintentionally funny ending imaginable. You have the demons and the angels, armageddon, team free will vs god's master plan, years of pining and repression and no personal space and small declarations of love. But good omens does it with genuine vulnerability and comittment, not as bait or comic relief or last minute bury you gays. But, because it’s big and well-known and allows itself time and nuance to get where it’s going, so many people really treated it horribly before the drop of season 2 for not immediatelyand explicitly giving them what they wanted.

Like, after the end of season 1 you could really feel the way spn damaged viewers treated them as the same thing. It’s like people were so prepared to be tricked that they came in highly on guard and defensive. Thing is, this manifested as taking anything other than the most bland, on the nose and immediate gay rep as the creators queerbaiting and trying to worm their way out of committing to 'real' queer rep. Gaiman refuses to confirm your 'they are gay men' headcanons? Clearly him being a coward and not the characters, explicitly, being neither gay nor men. Characters have a very close relationship but no kiss? Clearly queerbaiting and not an affirmation of ace/aro relationships, queerplatonic relationships, or even plain old platonic relationships.

There is so much hurt from years of stereotypes and queerbaiting and bury your gays that any attempt to tell a complex queer story - one where relationships take time, or where they don’t always happen, or where horror or tragedy strikes, become nigh on impossible. It becomes hard to distinguish subtext used to be genuine and subtle and queer-friendly from subtext used to queerbait and make fun, and rather than making the effort to tell them apart and giving stories a chance (and taking the risk of getting hurt) all rep must be distilled into the epitome of 'gay' before it’s accepted as good, because that way you cannot be tricked. Hell, just the way it’s referred to as 'rep' rather than 'characters' is telling.

This is noticeable in the way spn fan spaces talk about Cas, too; he’s always 'the gay angel', never the bisexual angel (despite having had female love interests) or the asexual angel (despite being largely uninterested in sex) or the nonbinary angel (despite not being human and on occassion using female vessels as well as male). Does Meg Masters mean nothing to you. Just. Please allow stories their nuance and their time and their right to not always cater to your ship in the exact way you want (or at all) without declaring them bait. It makes you look very silly when you come crawling back the moment a kiss happens.

#anyway i saw someone refer to goomens s2 as 'intentionally queer' and it made me want to claw the walls #is s1 a joke to you?? (judging by the disdainful way they talk of gaiman‚ yes it is) #good omens #supernatural #idk. there's just this way people approach queer rep and media as 'homophobic until proven otherwise' #that's deeply harmful to storytelling #maybe you shouldn’t treat every story as if it’s coming out of disney and marvel #if you come crawling back to good omens just bc they kissed maybe you should take that as a learning experience #in how 'on-screen kiss' isn't a valid metric on whether a story is good or not #and start actually watching and analyse them for what they are instead #(i also have so many thoughts on how this same attitude is prevalent in critrole fandom it’s not even funny) #(please stop it with the biphobia/erasure and the acephobia and the putting of romantic relationships above platonic ones im begging) #(please allow relationships to be more complicated than 'best friends to lovers' and 'married with kids forever') #anyway. I'm done talking now i need to make breakfast before i faint #nella talks #long post

[aq2003]

oh btw i get even more why brennan (like me) clocked sophomore year fabian as fucked up and sad even if some of the other pcs were like "what are you talking about dude" . it's because the basic core theses of fabian and leiland eftbk as characters are actually pretty similar

#AND matt mercer was like 'yes absolutely. my character has so many issues' meanwhile b4 lou could even say anything siobhan/adaine #went 'fabian isnt depressed his life rules.' #which like. 1) deeply incorrect statement. 2) fairly in character for adaine to say. 3) unfortunately this caused #a pretty big shift in tone w regards to how seriously fabian's arc ended up being executed #2.5) i could write a whole other post on how point 2 could be a super interesting thing to explore w adaine #she starts off so aware of there being no love from her parents towards her. so she sees love between a parent and a child #and cant conceptualize their relationship being ultimately harmful. like she learned long ago that there was no point seeking approval from #her parents meanwhile fabian made it his whole entire life's goal to do just that thing. both of them are fucked up in opposite directions. #crunchy concept yet very unexplored. and i'm not expecting this to happen in a potential s3 im just throwing ideas around like basebal #d20 #eftbk #fantasy high #sorry wrote all those tags then forgot to elaborate on how fabian and leiland are similar anyway it's this whole idea of #having this unhealthy dependency on the approval of someone you admire to the ends of the earth despite them being #fully and clearly a toxic influence on you. The whole illusion of inflated self worth howthat all crumbles when you Realize how fragile you #whole entire worldview was. and THEN you have an embarrassing breakdown in front of ur friends #and this is SO terrifying because you have really tried your best to look really cool and put-together in front of them #it's the 'getting knocked down SO hard and having to build yourself up by recognizing the love from your friends #+finding something completely different from the person you hinged your entire being on in order to find your way to the surface' of it all #also galfast/whitclaw are surprisingly similar narrative wise it's so funny to me. th storytelling series of nat 1s against an op enemy </3 #i think it WAS easier to execute leiland's character arc in the way it was bc a) he was played to be so CLEARLY insecure from minute 1 #and b) it is very easy to condemn ripoff sauron and say 'yeah this guy sucked and we're glad that leiland and maggie are free from him' #meanwhile for fabian. a) he has convinced himself that nothing is wrong with him even though there so clearly is #and b) you have to acknowledge that bill loved his son so deeply yet was such a bad influence on him #it's such a bittersweet-bitter complexity and i imagine it would be super hard to pull off esp when bill and fabian's dynamic is #played as fairly comedic most of the time. in this vein of 'this evil guy is so evil but he cares about his son this hard and it's funny' #and also just the fact this kind of bitter complicated parent-child dynamic is very rarely portrayed and pulled off well. #WHY the fuck are these tags so long if you read all this i'm so sorry

[bl00dw1tch]

.

#horse.txt #theres still time for things to get shitty so im going to keep my voice down but. the way things are looking? #lowkey thinkin the Avatar haters are gonna be on the 'wrong side of history' in the future #if it turns out as amazingly as it sounds like it will--bro. its just. oUGH! #i literally Cannot Fucking Fathom how ANYONE can watch these movies and not feel moved. and not feel intrigued. and not Like Them #the flaws are so few are far between and yet deeply threaded into the story enough to almost be ADDRESSED? by the story??? #its a masterpiece. its a masterpiece! #its wishfulfilling and beautiful and heartbreaking and tragic it is at the moment to pinnacle of what storytelling could be #the relationship we can have with these films and this fantasy AND our own real lives can be so so deep if we let it #i dont understand what could bring someone to hate it #i mean i guess i CAN but. i dont know. i guess i just wish we lived in a world where everyone felt like they were Allowed to enjoy it #bc it always seems like the hates comes from a moral stance of 'the movie portrays harmful concepts that we shouldn't watch Ever' #--even if theyre Condemned #im just really excited man. i wish i had more ppl to share this joy with sfdfdygg frgd....

[asylummint]

Hihi again<3

Do you have any parenting hcs for our bg3 companion girls?

Hello again!! absolutely!!!

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Shadowheart:

Shadowheart is fiercely protective of her children, willing to do whatever it takes to keep them safe from harm. She may initially struggle to express her affection openly, but her love for her children runs deep, and she would battle Shar herself to ensure her children's well-being.

As a cleric, Shadowheart provides her children with spiritual mentorship, guiding them through the teaching of her faith and offering support in times of spiritual need. She encourages them to find their own connection to the divine and helps them navigate moral dilemmas with wisdom and compassion.

Shadowheart imparts her knowledge of strategy and combat tactics to her children, teaching them how to defend themselves and strategize in difficult situations. She believes in empowering them to face the challenges of the world with courage and resilience.

Shadowheart believes in fostering independence in her children, encouraging them to think for themselves and make their own decisions. She provides guidance and support along the way but allows them the freedom to explore their interests and forge their own paths in life.

Lae'zel:

Lae'zel instills discipline and rigor in her children, training them in the ways of combat from a young age. She believes in the importance of strength and skill and pushes her children to excel in martial pursuits, instilling in them a sense of pride in their warrior heritage.

Lae'zel values traditions and heritage, passing down the customs and rituals of her people to her children. she teaches them about their culture and the githyanki prince. She teaches them about their cultural identity and instills in them a deep respect for their ancestors and the traditions that define their community.

Lae'zel encourages ambition and determination in her children, urging them to set lofty goals and pursue them with unwavering determination. She pushes them to strive for excellence in everything they do, believing that greatness is within their reach if they are willing to work for it.

Lae'zel fosters a spirit of adventure in her children, encouraging them to explore the world beyond the confines of their home. She believes in the importance of experiencing new cultures and environments and encourages her children to seek out new adventures and challenges.

Lae'zel serves as a mentor to her children in matters of combat, teaching them advanced fighting techniques and tactics. she instills in them a sense of honor and duty on the battlefield and prepares them to face the dangers of the world with courage and resilience.

Karlach:

Karlach encourages her children to explore their creative talents and express themselves through art, music, and storytelling. She provides them with opportunities to artistic expression and fosters a love of creativity and imagination in their lives.

Karlach is deeply attuned to the emotional needs of her children and provides them with a safe and nurturing environment to express themselves. She listens to their concerns with empathy and understanding and offers them comfort and support in times of distress.

Karlach fosters a sense of curiosity and wonder in her children, encouraging them to ask questions, seek answers, and explore the world around them. She believes in the importance of curiosity in fostering love of learning and encourages her children to embrace new experiences with open minds and open hearts.

Karlach loves to show her love with her children, she loves teaching them the old phrases and words her parents taught her. Karlach will teach her children to appreciate the world around them. She will take them on hikes and would teach them about the plants and animals they encounter, and encourages them to develop a sense of stewardship for the environment

Above all Karlach's love for her children is unconditional and unwavering. She supports them through triumphs and challenges alike, celebrating their successes and comforting them in times of need. Her children know they can always count on her for love, guidance, and unwavering support.

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I hope you enjoyed, i really enjoyed doing this request!!!!

#bg3 #baldurs gate 3 #karlach x tav #karlach #karlach x reader #karlach bg3 #bg3 karlach #bg3 shadowheart #karlach cliffgate #tav x shadowheart #shadowheart #shadowheart x reader #shadowheart x tav #lae'zel x tav #lae'zel x reader #lae’zel x reader #lae'zel #laezel

[ranmaruliker]

detroit become human is a deeply flawed game with some harmful rhetoric and truly odd storytelling choices however it unfortunately means so so so so so much to me .

#detroit become human #dbh

[turtleinsoup]

“The Color of Corruption - How Purple Is Used”

What I find interesting about this (”this” being how the color of “Purple” is tied to corruption in storytelling, meaning dark magic, malevolence etc.) and how it relates to Donnie and the themes of his character.

(”Purple Dragons” have been called so in the original TMNT Mirage Comics, even before Donnie became “The Purple Brother”. “Purple” just being associated with “evil”.) Do you notice something about RISE Villains?

Even most shots of the Krang are more purple than they are pink.

But the Color Purple symbolizes not just “villainy”.

Psychologically speaking, since purple is a rare color in nature its abundance means that something unnatural is happening. Its abundance feels threatening because “it gives the distinct sense of not belonging.” (Razbuten 2020)

But obviously, Donnie is not an evil character.

 His “malevolent” tendencies are never executed. Yes, he traqulized both Mikey and Raph, (which was inredibly irresponsible) but he did that in situations where they were surrounded by family and would be cared for by everyone present. Yes, he made a shock-collar for Leo and Leo got hurt, but Donnie also made the collar in a way that Leo could take it off again without Donnie’s help. It’s the difference between getting your head dunked in a toilet and getting waterboarded. He says he wants to go “semi-lethal” on his father, but he asks for permission. He could’ve just fired. But all it takes for him to stop is Leo telling him “No.” Out of all of them, Donnie has the weakest moral compass. But he cares deeply enough about his brothers, that it doesn’t impact his place in the story.

Looking at it through that lens, Leo is more responsible that Donnie. I’ve noticed a trend with Leo being the one to “not let Donnie shine” the most. (I’m like, 99% sure Donnie would’ve already killed a man without him around.) And April as well! (Whenever Raph’s stopping Donnie it seems mostly for trying to keep Donnie out of harm’s way. Mikey tries to prevent emotional harm to and from Donnie, e.g. Shelldon’s restraining bolt.) Without his family, Donnie might be...

well.

(Donnie says “I’m sorry” more often than Leo during the series by the way, always towards or because of his family.) What I love about this is this: Donnie claims to “never let things go” and Leo seems also able to hold a grudge for a while, but they forgive each other pretty easily. (All the brothers do.) To close it out: Yeah, Donnie is “the purple brother” and thematically he wears it well. He has the weakest morals, is incredibly destructive (emotionally as well as physically) but he does love his family above everything and his destructiveness is the strongest when it comes to protect them.

(I love how, despite his manic rage here... purple is also a soft color.) (They really love each other, hehe.)

#rottmnt #rottmnt donnie #rottmnt analysis #rise of the tmnt #rottmnt leo #rottmnt movie #tmnt donnie #tmnt #rottmnt donatello #rottmnt leonardo #not me writing about purple instead of my college project #ah welp #I'll be more productive tomorrow #<3

[blackautmedia]

Sonic Prime, Nine, Pain and Protection

Sonic Prime Season 3 Spoilers

After watching Sonic prime season 3 it was a real joy to watch. It's certainly not without flaws, but I wanna talk about Nine and how people were reacting to him.

One of Prime's biggest strengths is the sheer amount of expressive faces it uses to indirectly communicate to the viewer. The unspoken storytelling goes a long way.

They emphasize how Nine is laser focused on his ambitions, but his path of trying to convince himself that he can't trust anyone is self-destructive.

He tries his best to hide his pain and assert himself as evil or powerful because Nine is desperate to maintain a sense of control, something that's important to him because his whole life he's only known pain, bullying, physical abuse, and isolation.

The prism itself really takes his toll on him and the show's expressions do not let you forget how much it's hurting him and he can barely hold together. He collapses several time, he grasps his body in pain--this kid was already hurting and he's self-harming in his pursuits.

Sonic even points out how it's destructive to him and throughout the entire fight Sonic genuinely sees Nine for what he is--a scared and deeply hurt boy in a panic and feeling threatened by everyone around him.

I'm pretty sure Sonic was going to point out how the prism power is harming Nine, especially because he points out how much the energy is hurting him shortly after this scene too.

Keep in mind it's not just the strain of using the prism energy.

By this point in the series, Nine was already held prisoner most of season 2. He likely wasn't fed well if at all.

After that, he spends a bunch of time and energy fighting alongside Sonic to escape with the shards. After that, he's having to do more fighting at ghost hill in addition to reassembling the prism.

And then he's doing all of this.

There's a great visual metaphor in Nine's barrier gradually closing in closer and closer until he can't escape having to confront his fears. Toward the end of their big fight, one of the last things Nine does is just form a barrier. Nine is terrified here.

Everyone else sees a traitor they want to get back at, but Sonic is the only one who has seen his vulnerabilities, seen his kinder moments, and sees the humanity in Nine worth saving and fighting for, especially when he's a large part of the cause.

What breaks Nine is that a big part of him is clearly hurt and wants so badly have companionship in his life, something Sonic is still offering him and something that continually breaks Nine's masking:

Notice how dejected and exhausted he is and how his metal tails drop down because he's tired of fighting before steeling his focus again. He's not saying how he can't give up with a look of confidence. He's trying to convince himself there's no other option.

He doesn't want to keep fighting but almost feels compelled to and shifts blame to Sonic because of refusing to process his grief or self-reflecting.

Nine yells at Sonic or cuts him off because he knows how much Sonic's words are cutting through his mask and how he knows that it's getting through to him emotionally. He needs Sonic to shut up so it's emotionally easier to keep fighting. Sonic knows Nine too well for him to be able to maintain a facade.

Nine feels violated that the only love he's ever felt after years of abuse was always seemingly for someone else. He feels that he has no other option than to pursue his ambitions and live a life of painful isolation even if his body and heart are screaming otherwise.

He's desperately trying to convince himself that he can't trust anyone so that it hurts less, he tries to make himself seem powerful and invulnerable, he tries to convince himself that he can only have voiceless machines for companions all to avoid feeling vulnerable and hurt.

He very much does not want to fight and can't keep it up, but he's also overwhelmed with feelings of fear and mistrust.

There's a very cool role reversal in how Sonic and Nine fight each other that becomes apparent throughout the big battle.

Nine is trying desperately to maintain some kind of control and when he's not hurting, he's continually frustrated. Look at how he reacts when things don't go as he predicts and despite his belief that Sonic would rush in, Sonic learns and adapts by relying on someone more experienced than him.

Nine gradually fights more like Sonic--reliant on just his own individual power (or rather the prism's) without slowing down to reflect on his actions--just keep going, just keep pushing. Protect your home. Rush the decay to force Sonic's hand. Gotta go fast.

He targets Sails and Mangey first because the thought of them reminds him of the projection Sonic was doing and he doesn't want to think about it. It also doubles as a way to goad Sonic into acting impulsively, something Sonic wants to do but ends up not going through with.

Meanwhile, Sonic is listening to reason, biding his time, making observations (like the dome shrinking, forming a plan that gives him the upper hand, using the pit to his advantage, etc) and capitalizing on the knowledge he's taking in.

He delegates tasks to other people instead of reacting. He's fighting and thinking like Tails and Nine would, while Nine is acting and fighting more like Sonic would.

I feel the pacing was a lot more tolerable this time compared to prior seasons because while it's one big fight, so much of it represents a gradual change in psyche between Sonic and Nine on top of the other side character moments.

But then Sonic sees the palm tree and finally recognizes Nine's intentions. What makes this scene so great is that Nine makes one last desperate attempt to hold up that same mask he always does. Scare off threats through intimidation. But he's too exhausted.

But then Sonic protects him. People are angry and threatening and attacking Nine (and while the CC isn't justified, everyone else has valid reason to dislike and distrust him) with no recourse. But for the first time in his life, someone stands up for him and protects him.

His brother still is showing him so much love and trust.

and Nine is moved by it. Moved by the endless compassion and brotherly love Sonic still is giving him. Compassion Nine doesn't even feel he deserves after what he's done.

The pained, panicked look as his friend sacrifices him for his mistakes is one of the best shots in the entire season. It's a knife through his heart knowing moments ago he would have willingly sacrificed the only one who showed him so much love.

I'm seeing reactions that people were upset that this was "obvious" when Nine was never trying to be deceitful about his intentions.

The whole reason Sonic and Nine communicate so poorly is made clear in watching the first two seasons. They spend very little time together where they can actually slow down and breathe. They spend almost all of season 2 apart with Nine a prisoner, then they're attacked for two whole episodes before the end when they fall out.

In season 1, they meet, get captured, seize the crystal, get separated, then reunite when Nine makes his offer for the Grim.

There's also this sentiment that Shadow was right about everything and Sonic messed it up--but really, Sonic, Nine, and Shadow were all partially right and wrong.

Sonic genuinely wanted to give Nine a better life, but he also failed to properly listen or communicate with him because he was preoccupied with his own hurt from having destroyed his own home and friends.

Nine does the same thing in how he just assumes Sonic wants what he wants and doesn't contend with how Sonic is hurting too. Both of them are hurting a lot for different reasons. But while they project on each other, they do genuinely love each other too and Sonic specifically argues with Shadow that Nine is real and should be treated as an equal with a stake in their situation.

If they had time where they didn't have a constant threat looming over their heads, their conflicting wants would have gone a lot more smoothly. Sonic could make his case properly and Nine would be a lot more open to see that Sonic not only cares about him, but wants to give him a paradise too.

Shadow is only partially right in that Nine doesn't want the same thing as them, but he believes Nine to be inherently untrustworthy or dismisses the other shatter beings as just fakes or obstacles which fails to get at why Nine is fighting so hard to begin with.

Shadow accuses him of wanting power and Nine agrees, but only in the sense that he's still trying to maintain that control. What he wants is a home, love, and safety.

Shadow routinely dismisses the others as Sonic just being mindlessly sentimental even though they're are a large part of how Sonic even got the shards at all and triumphed.

Sonic could not have succeeded without the others and especially not without Nine. He would have needed a way to extract his own energy and couldn't handle the other shards without Nine's help, Nine's regulators or some kind of cover.

He also would have had his running abilities impaired and that alone would have made things difficult if not impossible. How would he get around the ocean world or search for the shards without Nine's upgrade as a regulator and compass?

How was Sonic supposed to steal the shared from the Chaos Council by himself when his running was affected by the shard energy and he would have had to face that entire army alone? It was difficult to pull off even with the combined strength of five people.

Imagine how heartbreaking it would have been if Sonic agreed to Nine's plan, they try to build the Grim, and Nine learns he needs to sacrifice the brother he fought so hard for.

So not only was it ultimately necessary to work together, Shadow doesn't have the same knowledge Sonic does.

He hasn't seen Nine share his vulnerabilities like he did with Sonic.

He didn't see Nine manipulate the chaos council to protect his friend.

He hasn't seen the joyful Nine who's grown so close to Sonic that he's willing to move heaven and earth to build a paradise for his friend.

He's flat out wrong in the assumptions he makes even if he was right that Nine didn't have the same goals as them.

He didn't see Nine feel he failed his friend by inadvertently unleashing Chaos Sonic. He didn't see Nine stick his neck out so much for his brother.

That's not to say the others were obligated to listen to Nine--they had valid reasons to distrust him--but it doesn't change the fact that Nine is still ultimately an abused kid desperate for a home and has grown up in such isolation that he has no regard for others.

He's not trying to destroy the world--he wants to fix it and isn't against leaving others in isolation.

When Nine hugs Sonic, his mouth trembles. It's like he's struggling to find words to say but can't get them out.

(EDIT: I've updated some portions with new knowledge about the series when before I had speculations)

Now the bigger issue I have with the show is that only ending at episode seven leaves without a lot of closure for Nine.

Nine is the deuteragonist of Sonic Prime. Part of what made Sonic's plan to take Nine with him to Green Hill so moving was that he wanted to give Nine more than just one friend--he wanted a new environment and life for him and wanted him to be surrounded with people who love him.

It would have gone a long way to have even one scene maybe indicating they can travel to other worlds or have Nine meet the others in Green Hill, showing he has that now.

The moment where he hugs Sonic is very great especially because it's Nine himself initiating it. But as it stands it only leaves it at Sonic and Nine reconciling but not indicating what Nine's fate is after this. The other shatterverse people don't have any reason to trust him so it reads like he's just left alone again.

Even one scene of Nine getting to see a lush, green place for him to live, getting to just have fun with a whole group of friends, sticking him in a safe environment where he'll be loved and respected would have gone a long way.

Having said that, I've watched a few reviews now and find it frustrating none of them are framing this criticism in a way that addresses the fact that more people in the production industry than ever now are striking, we're in a pandemic, and exploitation of employees is a major issue with the advent of AI, among other things.

I can't say for sure, but I wish more of these criticisms were framed less as "man this show is lazy, even fan works are better than this" like I'm seeing on YouTube and Twitter and acknowledging the very real conditions that we're seeing play out in real time.

I'd have ended with the last episode being an entire epilogue or the picnic Scene with Sonic saying "hey guys there's someone I want you to meet" and it's Nine. Sonic would be showing Nine all the little joys in life he could never experience until now.

The final season went to great lengths to use its animation and writing to portray how taxing this all was for Nine, so easily one of the most important plot threads to resolve is him getting the safe home he wanted so badly and giving him some way of being safe and getting to heal emotionally.

The series did pack in quite a few character moments for the rest of the cast and I don't want to take away from that, but I feel a large part of the current mixed feeling or dissatisfaction comes from how it leaves a large portion hanging for Nine. The hug was huge. But it still doesn't really resolve the larger narrative built up with Nine.

That said, a lot of what we have seen was great and a lot of fun. Sonic chose to see what he always knew was in Nine.

#nine sonic prime #sonic prime s3 #sonic prime spoilers #sonic prime season 3 #sonic the hedgehog

[therealdesitalk]

hi!!! since we're questioning stuff, i wanted to say this, it's been on my mind for a while now.....

what is bollywood trying to do making AND promoting films like 'animal' and 'kabir singh'?????

they are clearly promoting toxic masculinity and violence which is affecting the public sooooo much......and they got the nerve to defend it as well????!!!!!

there are sooooo many films now which promote violence......ranbir kapoor is an excellent actor, yet it's sad to see his most successful film was 'animal' and not 'barfi' which is actually touching.....you know why?? because this is exactly what people want to see, violence, uncontrolled rage and madness......

the uneducated section of the society is very influenced by this and this is pretty well known, then why make films like this???

why not make more films on moving topics THAT ACTUALLY FUCKING MATTER and cause people to change their mentality????

people are much more affected by movies than by books, especially in our country, where sadly, a large population still does not have access to books and education.....what's worse is that learned and educated people also don't actually fucking care and promote this kind of bullshit......

please share your opinion and also reblog.....i wanna hear more about this from different people as well......

Thanks for reaching out i appreciate you taking the time to ask a question, And i am happy that every girl is asking such questions to support each other

So namaste everyone

In my view many directors in India focus on making movies that make a lot of money. These movies often include things like sex, violence, and negative portrayals of women which have been popular for a long time. Unfortunately people have gotten used to these kinds of movies and directors care more about making money than about the impact their movies have on society however not all directors are like this. Some directors want to make movies that show women in a positive way It's important to support these directors and their movies so that we can have more respectful and inclusive films. But people don't give much attention to good movies if we create good marketing of good movies and make their good scenes go viral on the internet maybe it's possible that more people will watch good movies This way directors will also realize that people's preferences are changing

The Impact of Such Movies : Movies that glorify toxic masculinity and perpetuate misogyny can have a detrimental impact on society. They reinforce harmful gender norms, normalize abusive behavior and contribute to the marginalization of women. Additionally they can influence audience perceptions and attitudes shaping societal beliefs and behaviors. It's crucial to critically examine these movies and engage in discussions about their implications while also advocating for more socially responsible and inclusive storytelling in the film industry.

👉🏻 So Let's Jump On Some Questions 👈🏻

Why Male Directors Make Such Kind Of Movies?

Male dominated industry : The Indian film industry is largely controlled by men. This means that the stories being told are often filtered through a male lens and women are frequently portrayed in one dimensional or stereotypical ways.

Audience demand: There's a perception that a large section of the audience prefers these kinds of films. Masala movies with over the top action romance and violence have long been a staple of Bollywood and filmmakers may be reluctant to deviate from this formula for fear of losing box office revenue.

Societal factors: Sexism and misogyny are deeply ingrained in Indian society nd this is reflected in the films that are produced. Films often mirror and reinforce existing social prejudices making it difficult to break the cycle

👉🏻 So, What Can Be Done To Reduce Sexism In Indian Films?👈🏻

Encourage more women in filmmaking: Increasing the number of women in key decision making roles, such as directors, producers, and writers, can help bring about a more balanced perspective in films.

Because guys! if movies are made from a female perspective there will be significant changes seen in the movie industry so encourage your friends and cousins to talk about these things

Make Everyone Aware! Aware! Aware! :

If someone in your house talks about movies like "Animal" and "Kabir Singh" and says it's just a movie sit down and explain to them that what you watch is not normal. Even if you receive negative feedback you know what your job is - make everyone around you aware of this issue. Don't let these movies be normalized which people have modernized.

Take Advantage Of The Internet : Promote Media Literacy educate the public through internet especially young people about media literacy and critical thinking skills teach them to analyze and question the messages portrayed in movies on Instagram, Twitter (X) Reddit , Facebook , Blogs including recognizing and challenging harmful stereotypes and representations

👇🏻👇🏻

Last note : And we should keep hyping movies like women empowerment on the internet. We have the internet in our hands so let's make good use of it. Otherwise what's the point of sitting and thinking about what's happening in society? Don't just think do something even if it's a small step like what I'm doing with my blog. I know that not many girls will reach it but those who do are a big number for me. So, spread women empowerment movies and their scenes everywhere on the internet whether they are old or not just make them viral and spread awareness through social media and blogs

Thanks everyone. Please Reblog this. 🪷🦢🐚

#desi teen #desi thoughts #desi culture #desi life #desi literature #desi people #desi girl #desi stuff #desi side of tumblr #being desi #desi blog #desi blr #desiblogger #desi light academia #desi aesthetic #desi tumblr #desi studyblr #desi student #txt #txt post #desi tag #desiblr #indian culture

[stranger-rants]

When representation is a performance of allyship rather than a commitment to equitable storytelling, it comes off as cheap and hollow. This is essentially the issue with Stranger Thing's portrayal of people who are marginalized.

It's why they so easily play into tropes that are deeply rooted in harm to marginalized and "injured" communities, despite providing many and varied surface level representation but it's the presence of that very surface level representation that they hide behind in order to avoid any critical examination of those representations.

The audience can see themselves on screen and feel that they are a part of the show, but the story was ultimately not made for them. I can see traumatized people in the show, for example, but the story was not made to comfort me as a traumatized person as the pattern established in their story telling shows that being traumatized and showing it is punishable by further injury and death - something I'm already very familiar with in my life.

They're not giving people voices. They are perpetuating the hegemonic values of society that they benefit from while recreating the conditions in their stories that marginalized people live under. They don't reckon with it. They don't wrestle with it.

It's a joke.

#text post

[tatyanafederovna]

stop telling people what to do, its dnd, its not real & that serious.

ok don't know which post this is about since i haven't posted anything in a bit, so i'll just say that speaking up about whitewashing ireena and the biphobia/erasure towards strahd isn't wrong.

i'm not sorry that it has apparently made you or others uncomfortable. speaking up about these things is important even if others may disagree.

i'm not telling people "what to do" with their dnd. of course everyone has the right to their own personal autonomy, it's just important to recognise and understand that the individual choices you make can still perpetuate harmful societal norms and attitudes. yes, even in your private fake dnd game. addressing issues like racism and other forms of discrimination requires introspection and personal accountability because meaningful change begins within oneself and extends to interactions in public spheres.

i would consider and think very deeply about how your private actions align with your stated public values. maybe consider why there might be a disconnect. why do you (general 'you') claim to support LGBT rights, yet continue to perpetuate biphobia/erasure? maybe reflect on the underlying beliefs or biases that may be influencing your behaviour, and challenge yourself to align your actions more closely with the inclusive values you claim to publicly profess.

the same goes for whitewashing and racism. reflect on why there may be discrepancies between your public stance against racism and your private actions perpetuating whitewashing or racial stereotypes.

also the thing with dnd (and by extension, fiction itself) not being "that serious" (which i assume you mean 'not real' or 'not influencing real life') is like. a common misconception. i know it's a form of entertainment for most people, but like every other form of fictional entertainment, it often reflects and reinforces our societal attitudes, values, and norms. fiction can and does shape our perceptions, attitudes, and behaviours, influencing how we perceive ourselves, others, and the world around us.

what this means is if you're perpetuating harmful stereotypes or discriminatory portrayals in your fictional story or games, they can contribute to the normalisation of harmful attitudes and behaviours in real life. this is why it's always important to critically examine and challenge harmful media (dnd) representation and also critically examine yourself and where your own biases may come from.

btw many gothic horror works have used the genre to challenge societal norms and conventions. horror is not an excuse to engage in private bigotry. challenging societal norms in storytelling involves more than simply depicting violence or discrimination; it requires thoughtful examination and interrogation of power dynamics, systemic injustices, and the ways in which individuals and societies perpetuate or resist oppression.

#i make the posts i do to encourage meaningful dialogue or to educate people who just don't know #and it's okay if people don't know. we're all still learning and make mistakes. i know i have and do!! i'm learning every day and it's ok!! #i'm not going to come to your house and yell at you for not knowing lol or harass you #i do it to advocate for positive change and bc i studied this in uni. it's literally my passion #and if you're resistant or want to reject that change #then u can just block me it's okay #anonymous #ask #curse of strahd #cos #strahd von zarovich #ireena kolyana

[creation-help]

Miscellaneous character design tips (that everyone could find useful)

- Feathers in hair, behind the ear, on the head, in some headress ect? Just don't. Unless you're indigenous I strongly, strongly advise against it, bc native people have criticized this design trope time and time again. Accessories and clothing like this can be very difficult to get right if you don't know what you're doing.

• Also! W*ndigos. Don't. If you wanna design a character that "looks like" (or is what you imagine when you think of a) W*ndigo, just. Design a character that looks like that and call it some other monster (Disclaimer: I'm mainly talking about things like those skull headed monsters with antlers ykno). These creatures have alot of deep meaning to the cultures they're from, and people are tired of them being appropriated and misrepresented. It will cost you nothing to just make a generic monster rather than butcher something from a marginalized culture. (Also, I've censored the word because in the past I've been told that using it's name is bad luck/harmful, so I'm doing this to be respectful)

(Natives/indigenous people are welcome to add on discussion about this if you feel like there's anything I could've said differently)

- Unless your character design is meant to be flexible, up to artist interpretation, or just messy, place patterns and decorative characteristics on distinct, memorable places. For example if your character has spots, put the most notable ones on places that're easy to remember and replicate, like on particular body parts. I'd also advise to make just a bit less of these patterns. Generally, if you're not aiming for a cluttered looking design, prioritize quality over quantity, when it comes to patterns.

- A character design's intent is just as important as the actual character design. You'll see me mentioning this on the previous point as well. Unless we're talking about offensive caricatures, there's teeechnically no such thing as a "bad" character design. Just rather a failed or unsuccessful one. What I mean by that, is that if your design is meant to look cliche, tacky, messy, or just plain unappealing, and it looks like such, that is a successful design! If you designed a character just to be something fun for you to draw, that's a successful design! I often see this point applied more professionally by other art advisors, to mean more like "You should be able to tell what kind of character it is based on the design", which is also true! But intent and purpose matters in storytelling. Obviously, not all aspects of a design need to be there for some very specific reason (looking at the people who ask "Why was this character made fat/gnc/black/poc?" and so on.) just keep in mind what this character is supposed to be. I think it's better to worry about if the character design does what it's supposed to, rather than if it's ""Good""

(And yeah, there are still things that just objectively don't look very good together, according to human perspective and color theory and whatnot, but again, if you're aiming for that, you go buddy!)

- Sorta coinciding with the previous point: Don't be afraid to use "ugly" traits when designing. I think the reason why is obvious (beauty standards can go suck a dick), but there's more to it than just radical acceptance! By giving more unique, weird, or "ugly" traits to your characters, you make them more memorable and distinct from one another. If there's a billion smooth faced perfect pretty characters who are the exact same kind of flavorless vanilla sexy, it gets boring, and they blend together! And please don't limit these traits to just villains or characters who are supposed to be disliked!! My other advice on this point, is, pllllease don't design villains "ugly" and heroes "pretty", I feel like that should be a given, but alot of people may be doing it without even realizing. And that's understandable, but I heartily recommend taking a second to think about it more deeply. Why is this visual trait "Bad", or "Evil"? I just feel like so many artists are deathly afraid of having their characters look the least bit unappealing or challenging. I could go on about this but I'll stop here to keep it concise. Don't beauty police your oc is all I'm sayin

- Reference! I don't necessarily mean take inspiration from other existing character designs, although that can also be helpful. I mean that look around you, think broadly! If you have a certain theme for your design, try to round up all the little things (items, concepts, colors, animals, traits) that could be associated with it! And try to reflect that in your character design. You can get a little wacky and experimental. You can literally just broaden your inspiration to things like everyday objects, a specific fabric texture, an element, or a fungi that lives in moldy houses. Anything! My main point is to try to think outside the box and consider more unconventional things to reference for your character design, you'll never know what might work and look really interesting. Often, a bland design is worse than a weird one. (Disclaimer: Unless you're aiming for bland ofc, per my prev points, but ykno). You can also just go by "Hmm, I'm making a character who is X, what does that remind me of?" or, what I also recommend "Hmm, so X kinds of characters remind me of these things. Let's ditch that and think what one usually wouldn't associate with X kinds of characters!". Ykno, defy convention, think about things you might not usually do. I know it can be easier said than done but once you get into a habit of trying to think more broadly, it'll come to you easier. Don't be afraid to get odd and unusual

- While I don't condemn designing a character in a way that just, is that way, because you designed it like that, I also recommend thinking about how and why the character is like that in-story. Might seem like an obvious tip, but I'll elaborate. I for example, have a pair of bug demon characters who grew up on the streets and didn't have the normal amount of nourishment for their age, so, due to that their mouth pincers and other buggy parts were left much smaller and more "plain" looking than others of their species. They never developed to their appropriate adult size. Things like this will reflect on a character design! And that's just one example. If your character has a habit of nervous picking, or sensory problems, or live in an area where certain resources for clothing aren't available, all of this will reflect on the design! Of course, you can also work backwards from a design and think "Hmm, what justification will I think of for the character having these traits (especially if they're uncommon for their story setting)?"

I may do a part 2 sometime later, I just had some thoughts I wanted to compile for now! Obviously you can have your own design principles but these are ones I consistently use (also the first one being as specific as it is, is just something I particularly wanted to say).

#Character design #for character design #Character design tips #character design ideas #Cultural appropriation #Ask to tag #design tips #Design ideas #Artists on Tumblr #monster design #Artblr #Important

[uranium-city]

as an aspiring storyteller & writer i find analyzing what works & what doesn’t work in media to be incredibly important. not only does it help us realize where we may have made mistakes in our writing & how to improve going forward, but it also helps understand why certain stories work so well. it helps us realize why critically acclaimed media is so critically acclaimed & appreciate the thought, care, & intelligence that went into making it so special. without criticism- all that thought loses its meaning. bland stories become indistinct from the incredible ones & all the deeply well thought out plot points & messages wash away into a sea of poor &/or lazy writing. we need criticism to appreciate strong writing. being critical of your interests- whether it be a highly acclaimed film or a weaker piece of media that you hold deadly despite its flaws- shows maturity, media literacy, & overall the beauty of how different stories resonate so deeply with people regardless of its issues. that’s why the way Vivziepop responds to criticism irks me on such a strong level. Helluva Boss is a very poorly written show (in my humble opinion, at least). Season 2 has retconned a ridiculous amount of things established season 1 (most notably Stolas’ entire character), has a massive problem with maintaining tone, jumps around from plot to plot by introducing new threat after new threat only to abandoned that threat by introducing a new one the next episode, struggles with developing its own main & supporting characters, & perhaps most offensively of all often comes off as downright fetish-y of gay men. These are all valid criticisms, all of which Vivziepop tries to dismiss as “baseless & unfair”. She claims she respects fair criticism yet never makes a distinction between what is fair & unfair, treating everything as the latter, going on twitter rampages where she attempts to defend her writing decisions & ridicules anyone who dare challenge them. If Vivziepop believes she’s writing the show in the optimal way, fine. If she doesn’t want to listen to criticism & continues to take Helluva Boss in the direction it’s currently going, fine. so be it. She’s in such a unique position where she’s so close to her audience & actively listening to their criticisms, I personally don’t understand why one wouldn’t try to take advantage of that to better their show, but at the same time I can understand having a set story in mind & wanting to take it your way despite what anyone else says. It can be frustrating to have everyone telling you you’re doing your passion project wrong- i get that. but in that case- just continue writing the show how you want, ignore the criticism, & stop having hissy fits on twitter calling people homophobic for not liking your writing (seriously what the fuck? that’s laughable of her to saying given how she writes her gay characters, just saying). Your writing should speak for itself, you shouldn’t have to defend it by crying on twitter. Dismissing all criticism & trying to paint the narrative that you’re nothing more than a victim with a hatedom out to get you is BAFFLINGLY immature ESPECIALLY as someone in their 30s. It only bothers me so much because she’s actively fostering an environment that dismisses criticism which i think is genuinely harmful. & as much as Helluva tries to be an adult show, let’s be real here, a majority of its audience are teenagers who look up to Viv & if THIS is the mindset they end up developing surrounding criticism I think it could genuinely be a problem in regards to their media literacy in the future. People can like Helluva Boss, people can ignore its flaws, but that kind of relationship with criticism is not healthy. at all.

#let me be clear I don’t think Vivziepop is gonna cause the death of media literacy or anything. that’d be ridiculous #but as an aspiring writing myself & someone who dreams of creating an indie internet show like her it really is disheartening to see #also if you disagree with what i said or enjoy Helluva then cool. enjoy yourself /gen #I’m not trying to start fights or drama with this post. it’s just my personal opinions & i wanted to put my thoughts somewhere #helluva critical #vivziepop critical

[sideprince]

for the snape asks: 1, 12 and 14 please :)

Your favorite thing about Snape?

He gives no fucks and yet also cares so SO deeply.

He doesn't care what people think of him. He has a wonderful tenacity that comes from standing up for himself and not being intimidated by how others perceive him. We see it on the Hogwarts Express when he meets James and Sirius, we see it in the way he fights back again and again when they bully him, and we see it in him as a teacher. He doesn't care if people don't like him, because he's certain in his perceptions and perspectives. He doesn't care what the students think of him, or what Fudge thinks of him as he shows him his Dark Mark, or even what someone like Umbridge thinks. He can't help but be snarky because however full of self-loathing he might be, he also knows that he's the smartest person in the room and ran out of patience for everyone else's bullshit a long time ago.

At the same time, he is so deeply invested in serving Lily's memory and protecting her son, and as he grows as a person he comes to care so much for saving any lives he can, that his dedication ultimately costs him his life. As he works towards that moment, knowing it's on the horizon, his lack of needing to be liked by anyone serves him every step of the way. Chef's kiss.

12. While on the topic of Movie Snape, what’s your favorite Snape-shot from the films?

Brilliant. Best moment in the entire film series, without a doubt. Not one word of dialogue, yet it says so much. This is why Rickman was right for the role, in my opinion. He was incredible with physical work, and Snape, being a terse, serious, closed off character needed to be portrayed by an actor who knew how to speak through their eyes and movements.

The way he lowers his wand to signal he means no harm to Harry and isn't threatening him. The way his eyes convey a trust in Harry while also asking him to trust him in kind. The certainty in his hand as he puts his finger to his lips to convey that he knows something Harry doesn't. The look on his whole face, that says, we're not teacher and student right now, we're both here to serve the same greater purpose and we both know what's at stake. It starts with these these two characters who have a history of not trusting or respecting each other raising their wands to each other, and ends with him having Harry's trust and being in control, all in the span of three seconds. It shifts the dynamic between these two characters entirely. It’s the most connected and intimate these two are in the entire film series.

Snape's motivation is that he knows the moment he's dreaded has come, that he has to kill Dumbledore now, and he also knows that he needs to keep Harry quiet and below the action of the scene to protect him. Even though seconds later he will kill Dumbledore, in this moment Rickman is able sell the audience on the idea that this character has Harry's trust, serving both the goal of the moment between these two characters, and of the story itself because having that trust gives him something to subvert and raise the stakes in the drama of the moment that follows immediately after. There's an incredible amount of storytelling packed into three seconds here, and it's all character work. It's not the dialogue, and it's not the direction, it's pure physicality and decades of acting training and movement work culminating in a moment that looks deceptively simple and is beautifully, profoundly effective.

14. Favorite Snape line/moment? (books or movies!)

I love the moments where he lets the control over his facade slip for a moment and gives away who he really is, like when he's in the middle of an Occlumency lesson with Harry and hears a scream upstairs and immediately runs off without locking his office or telling Harry to get out. Or like when he runs upstairs from the dungeons in his night shirt in the middle of the night because he hears the opened TriWizard egg screeching and doesn't know what it is, just that it sounds like wailing. He forgets his own vulnerability, running out in a nightshirt that would, no doubt, make him look silly in front of colleagues or rogue students, and definitely doesn't help when he's confronted with Moody who already has him on the back foot Not to mention that the castle is described as cold and the man doesn't even think to throw on a dressing gown, he's just off like a bullet because someone might be in danger. I love seeing this character who's controlled, meticulous, who thinks first and then speaks, who observes more than he reveals, who's set up as a foil and is villainized by the protagonist of the narrative, drop everything because he thinks someone is threatened. Love a good chink in the armor.

I also love his first scene in the PS film. Dramatic. Ruthless. Establishes exactly who this guy is and his zero tolerance policy on bullshit. Irrevocably changes the vibe in the room when he walks in. Threateningly charismatic. Love to see it.

#asks #st-severus

[bonesashesglass]

Okay, I don’t know how many people are going to see this but I really want to talk about this. I want to start out by saying that I love comics, and normally I try to keep this blog positive, but Tom Taylor’s writing in the current Nightwing and Titans run has really been bugging me.

I know a lot of people on this site have already talked about this, but I want to discuss why I think his writing is poor and harmful to the character.

This is a page from Batman Year 3, where Dick Grayson finds out the man who killed his parents was let out of jail:

At this point, Alfred had been trying to get the chance to tell Dick until he saw it on the computer himself. It’s one line of dialogue, but you can feel the shock and the panic the moment he finds out. He’s scared. Alfred isn’t even on the page and you can feel how his heart goes out to Dick. There’s so much tension and emotion in this panel, and the fact that Zucco was let out of jail was never said, the reader just knows based on the context and character reactions.

Compare this to the same incident in Nightwing #99:

There’s nothing. There’s no emotion, no substance, no soul, no heart. Reading this is like watching to actors just read lines off of a page. Dick barely even has a reaction, the man who murdered his parents was let out of jail and he’s making quips. I feel absolutely nothing looking at this page, and that’s a problem. Storytelling is supposed to get the reader to feel like they are a part of the story, the audience should feel what the character is feeling, or at least be able to tell when the character is feeling something. Here, there is nothing. The dialogue feels like it was written by a robot, the characters feel like pod people pretending to be human.

I’m not saying that I want some world ending events or super emotionally devastating arcs for Nightwing, I think after the last few years Nightwing does need a lighter, more day in the life feel for a while, but even lighter stories need to be emotionally engaging, and this isn’t.

Tom Taylor has made a lot of creative choices that I don’t necessarily like (giving him a random long list sister, for one, and the whole thing with Olivia) but that doesn’t bother me as much because it’s a case of the audience just not liking a story, as opposed to the story being objectively bad.

I can think of a million other examples like this where he has introduced a concept that should have deeply affected Nightwing, but were executed in a way that made the characters and the audience feel nothing. (Him and Barbara getting together, finding a long lost sister, getting superpowers, fostering a daughter).

I want to bring this up because it looks like Tom Taylor is getting more and more control at DC because people keep buying his issues. Presumedly, because of the lighter, fan-servicy feel. But this writing is objectively bad. If he’s going to be writing more titles he needs to make his stories more emotionally engaging, and to do that, he needs to stop telling instead of showing.

#nightwing #dick grayson #Melinda Zucco #Titans #Tony Zucco #anti-Tom Taylor #Tom Taylor #negativity #Nightwing 99 #Batman #Batman year 3 #Batman year three #dc #dc comics #comic panels #dcu #alfred pennyworth #dc universe #comics #new teen titans #writing

[rabbiitte]

I don't understand Mew haters, I really, honestly don't. 😭

I get you Anon. I felt the same way a couple of weeks ago, but I already rationalized it. Actually, I think it makes sense that Mew is one of the most hated characters on the show (next to Boston and Top). Allow me to elaborate, I've identified three main reasons contributing to Mew's widespread unpopularity:

1 | Mew is a threat to Sand and Ray's relationship.

As we know, most people who watch Only Friends do so for their ships (in fact, this is something that the Thai industry encourages a lot in BLs). First and Khao are a very adored duo, this is related to the fact that they have more trajectory than the rest of the actors (many of whom are relatively new faces to those not deeply immersed in the Thai BL scene). As someone pointed out here on tumblr, people want a different story with the same ending, in which First a Khao (in their respective roles) stay together. Well, In this context, Mew emerges as a potential disruptor to the envisioned blissful resolution. A word from Mew is enough to jeopardize everything the Ray and Sand built.

2 | Mew isn't a transparent character.

Mew's enigmatic nature adds to the discomfort expressed by viewers throughout the series. Since the beginning of the series I've seen a lot of comments from people saying they feel uncomfortable because they can't read Mew. Basically, that which is unknown is uncomfortable. Mew is what I call "a character to interpret." In contrast to counterparts who lay bare their motivations, Mew shrouds his intentions in secrecy. He acts and, based on the clues offered by the narrative/visual storytelling, you must interpret his actions. The receptive audience, attuned to these cues, can discern subtle hints, such as those suggesting Mew's romantic sentiments for Top. Conversely, those less receptive might try to make Mew fit into the narrative they themselves have created, proposing interpretations grounded in personal perspectives and experiences. That's why there are so many people who say they dislike Mew because they know someone similar in real life. In essence, those who overlook narrative cues may attempt to fit Mew into personalized narratives, offering alternative explanations, such as positing that Mew's actions regarding Top are not fueled by love but by a desire for revenge due to a perceived superiority complex, divorcing it from heartbreak.

I think most people try to fit Mew into a negative narrative because he doesn't generate too much empathy. Typically, beloved characters resonate deeply with the audience, fostering a sense of identification and emotional connection (like Ray, Sand, or Nick). However, Mew's development has gone the opposite route to the route that would elicit empathy. Yes, we support Mew's revenge but, in real life, to get revenge on an ex is an uncommon choice. Despite outward declarations of support for revenge, societal moral education remains influential. In Mew's case, the chances of feeling empathy for him in his revenge era are constrained and contingent on specific conditions:

the revenge must be inventive yet not excessive, calculated without veering into obsession, causing harm without irreparable ruin. Mew is expected to mirror Boston but without becoming someone worse.

As I say, the possibility of the audience feeling an emotional connection to Mew at this point in the story, if they haven't already, is quite unlikely and diminished.

3 | Mew is the main character.

Undoubtedly, all the characters in Only Friends are protagonists but Mew is the main character. Don't know what the difference is between a main character and a protagonist? Don't worry!

Main Character: This term refers to the central character in terms of importance or relevance to the story. The development of the story revolves around this character, and often, his actions or changes are fundamental to the plot. He may or may not face the main conflicts, but their presence has a significant impact on the narrative.

Protagonist: This term refers to the character who drives the plot, the one who faces the central conflicts. The protagonist is not always the main character, although in many stories they are. The story's perspective is often presented from the protagonist's point of view.

In short, the main character is central in importance, while the protagonist is central in action, facing the crucial challenges of the story. Often these two roles overlap, but may be different in some stories.

In this case, Mew shapes the story's development and the protagonists' development, without him we wouldn't have any story (just think about it) because he's the center of the story. One of the side effects of this is increased screen time, something that people seem to be annoyed at (especially those who initially thought First and Khao were the main characters). I don't know what the order of publication of the promotional images was (although the most renowned actors always appear first, as in the case of the intro), but Mew occupies a central place in the official poster and takes the lead role in the trailer (so I don't know where that idea really came from). From the beginning, it was clear that Mew would assume a central role in the story. Do you see what I mean about how people don't get the clues that the narrative offers (the visual narrative is created even before the broadcast of a visual material, in promotional images)?

Although, even without any preconceived ideas, Book is a relatively new actor and some find it controversial to cast lesser-known actors in major roles.

#only friends the series #only friends series #only friends #ofts #mew #book #thai bl #gmmtv #only friends meta #only friends analysis #ofts meta #sandray #firstkhao #topmew #forcebook

[dmagedgoods]

RANDOM OC ASKS.

Which of the seven deadly sins best represents your OC? Which virtue? Would you consider them a "good person" or is their morality flexible based on their company?

Ohh thank you so, so much! 💗 That was such a great surprise to find. I’ll answer it for my 4 main OCs, because it’s very hard to decide. CIAN, Dark Urge in BG3, Drow, Sorcerer, in love with Raphael: His deadly sin is Greed. When he wants something, he wants it fully and doesn’t accept any less, no matter the price. His main virtues are Consideration - in most cases, he thinks carefully and analyses all facts before making a decision -, Creativity - his imagination is strong and he loves storytelling in all forms - and Passion. Flexible morale based on the company nails it for him. He doesn’t view himself as a good person, but he isn’t out there intending to actively harm others either and he fights the dark impulse to do so when it hits or when rage or helplessness almost drives him there. Sometimes, Cian even protects (to a degree and in case the cost isn’t too high) when he sees strong injustice, despite his haughtiness. He has a few principles he sticks with. When someone gets his loyalty, they have it forever, to name an example. At the same time, he can be very selfish with the things he wants and needs. He longs for knowledge and power – he collects it to place himself above others, not to rule them but out of a self-driven arrogance and a strong need for independence. On the other hand, he has quite an obsessive streak when something – or someone – captures his interest or even wins his love. Now the flexibility of his morals truly is showing, because he’ll do (almost) anything to win their interest and bind them to him, manipulative in his methods but disarmingly genuine in the devotion and adoration behind. He will not fully give up his beloved independence, though, deeply afraid of becoming uninteresting or worthless when he gives up too much of what makes him appealing in his own eyes. ~ SALVADORE, Knight Commander in Pathfinder: Wotr, Dhampir, Cavalier/Duelist: His deadly sin is Pride. His prideful conceit may destroy him one day. He always stays true to his own principles and personal expectations of himself, highly arrogant in it, and highly demanding, but it also gives him a lot of strength. His main virtues are Courage and Determination, he works hard for his goals and swallows his fears (in most cases), no matter the resistance, and also Dignity and Self-Discipline, being reliable and controlled. Salvadore is a born leader and a determined politician, aware that lies and other slightly questionable methods are necessary sometimes. But he has a set of strong principles he lives by and harshly punishes himself if he fails to fulfill them. He views himself as a radiant savior, he wants to rule but not only for the power (though he definitely is very power hungry), he actually wants to change the world for the better. In the best of cases, he will succeed with his high ambitions and despite his god complex, in the worst of cases his own arrogance may be his undoing or he could slip too much into a “the end justifies the means” mindset. ~ ROWLEY, Tav in BG3, Half-Elf (with a bit of fae blood in his line), Rogue/Assassin: The deadly sin that fits him best is Sloth, probably. For those knowing him, this sounds weird at first. Of course, he likes to sleep long and to relax, nonetheless, he’s very active. - But only because it’s fun for him. He refuses to follow rules and do something productive he doesn’t absolutely want to do.

(Lust might be a close second for him.) His major virtues …: Confidence - he knows his strengths and loves to debate and to provoke -, Courage - he rarely ever is afraid -, and Loyalty - protecting those important to him with all he got no matter the price. Rowley is an assassin, so being a good person seems to be off the table for him. He has a trickster mentality, loves to challenge people, to shock and offend them, and to paint himself in the worst possible light – much worse than he actually is. He makes it terribly easy (deliberately so) to overlook the good things he does. While Salvadore, who absolutely views himself as a good person, often thinks strategically before he acts and considers the best course and consequences in the long run and may decide to hold back with open help for this reason or that, Rowley goes in and does what feels right to him. He’s not especially empathetic or moral at all, but if he sees unnecessary suffering, he usually ends it (unless the situation is very funny). He has little love for those in positions of power and mocks them (they also are the main targets in his job), but he’s not out there being altruistic. He’s selfish, but those under his protection? – There is nothing he wouldn’t do for them. Unfortunately, he can develop into a very cruel and destructive direction when he loses someone dear to him and is in strong emotional pain. He becomes very dangerous in case his nihilistic tendencies win the upper hand entirely. ~ ENEAS, Salvadore’s mentor, maybe Tav in BG3 one day, Tiefling, Sorcerer/Bard or (depending on the universe) Warlock/Bard: His favorite sin is Greed and he believes it’s this one people are controlled by most. He is a collector of interesting, powerful, and beautiful items and a hedonist through and through who made it a philosophy to indulge in the pleasures of life. He also wants me to mention that he is fond of all seven deadly sins. His virtues: Patience, Generosity, Modesty (in a special way), Enthusiasm, and Creativity. Eneas doesn’t believe in good or evil or in the importance of those principles. Each being carries both. The worst deed can create something new and beautiful; the best intention can destroy it again. No, he is not a good person but his morals are not flexible either. He has his codex, his philosophy. He plays his games, some of them small and intimate, some immense, influencing families or whole cities/nations. He did as much good as he did evil in his long life. Some deeds he regrets, but he neither tends to be ridden by guilt nor is he especially prideful when he changes lives for the better. His attention is on the people he guides, ruins, advises, entertains, deceives. That’s what holds his interest and attention, a good story, an exciting reaction, a well-planned result, or a little surprise.

#thank you so much again! #this was fun #<333 #my ocs #dmagedanswers #oc: salvadore #oc: cian #oc: rowley #oc: eneas #deadly sins and virtues