#-> i am sorry.. i feel dumb!!!!!

[saltlog]

enabling asks as a test because i cannot reply. to replies mistake of my own making. i may have 2 trigun blogs and egrhhghgh💧

[generalsdiary]

listen I might sound crazy but you know how Aventurine would spend all of his money on his family were they alive? like they grew up poor- worse than poor, and he is always gambling yes- but he is also insanely rich. you just know he'd shower them in money and buy everything for them and that credits today have little to no meaning to him because he has gotten them too late. it wasn't "fast enough" to save them, to ease their lives. and you just know he regrets it, but still hoards more credits, gambling, earning, wasting, etc.

now allow me to draw a parallel to a character in gi most of the fandom doesn't like. dori. LET ME SPEAK- dori's sister died (in her arms) from an illness because her family didn't have enough money to buy the herbs prescribed for her sister's treatment and that is why Dori ends up cherishing every mora/money, turns in a mora hungry capitalist powerhouse and makes everything about her; just money. because she couldn't help her sibling when it mattered. also the "limitless mora" for her comes from receiving a bunch of items from Alice (Klee's mom) - they made a business deal, etc, just a detail.

and it is interesting how most of the fandom dislikes dori so much (meta wise I get it, and also some other povs), when the parallel to aventurine is a straight line and he is loved and liked by so many (granted, I love riney). no amount of mora/credits can bring their family member(s) back or fix what happened, yet they stay in it, hoarding more, be it due to our boy's luck, or Dori's deal and persistence. I know many ppl draw his line to Kaveh, but from this pov it is screaming Dori.

and yh his story is more tragic- but we are talking money rn ppl- stay focused;

here is where their characters differ in the money area. with how little regard he has towards the money, Aventurine, our Kakavasha is so kind, so so kind. he gives out freely, he doesn't give two shits while sending money to the TB (it is worth mentioning that he thinks he also HAS to do it, and that gifts and things of high material value are most appreciated, ex. the gifts the TB receives after become the captain of the ship in penacony. he sadly has a view of it that everyone needs to be given something in return, truly struggling with forming real friendships/relationships except with the TB and Ratio- which I'd love to go more into on another analysis), he openly shares his money to whomever- and in his contrast, dori would probably rather jump off a cliff than give a single gold mora coin to... well, anyone.

both have been through such tragedy and turned rich later on through various means- when it technically no longer matters to them as much as it could've mattered before- and to see one be indifferent towards it/see it as a means to an end & what ppl respond well to vs. the other be stingy to the point she is hurting people while doing it and purposefully putting them in debt (I hate you for what you did to Kaveh TWICE, dori.), makes a really interesting parallel made by hoyo ngl. thoughts?

[hiphopcherrrypop]

this one goes out to ME IN 2016 or whenever!

[charalol]

LOVE IS SO MANY THINGS. I AM SICK OF PLATONIC LOVE BEING ERASED WHEN IT IS ONE OF THE MOST STRONGEST AND IMPORTANT LOVES EVER. IM SORRY. IM SAYING IT. When you get broken up with?! Your friends are there. When someone hurts you and you need to vent or even just share STUPID GOSSIP?!?! Your friends are there !!!! People like me who don't have biological family to rely on. Hell my closest friends are basically siblings to me. I literally call them siblings. Platonic love is so strong and important and it means so much. Yes romantic love is awesome. Yes familial love is awesome but the love that has the most impact on you? Platonic. Sorry. You'll fall in love platonically more than any other love.

Also. Hey. The only rules are the ones YOU set. I'm sick and tired of people saying you cant do "romantic" things with platonic relationships. Yeah sorry. I'm taking my friends on "dates". Yes we can hold hands. You want to kiss your friend on the cheek?! Go for it dude. The world is literally your oyster and as long as you both consent. WHATEVER !!!!!!!!

[uncanny-tranny]

If I'm honest, the whole "love in every stitch" saying for fiber artists does not apply to me, like. I'm trying to get this fucking hook into stubborn yarn and I'll be stabbing it like it owed me money. Is that love because I hope not 😭💀

[incorrect-riordanverse]

It's really disheartening that Rick Riordan stance on the war I understand that he wants to be neutral on this stance but in my opinion by becoming neutral he only worsening the issue as many Palestines are dying that are mostly children, how the majority of Israeli are supporting the Genocide of Palestine, and how the government is trying so hard (but miserably failing) to justified the genocide. I will hold him accountable for what he said on this issue as during this period the choice is basically "you are with us or against us."

Part of me wishes he will realize what he said was wrong and understand the bigger issue that plays at hand. I will criticism for his actions as how can a man who promotes LGBTQIA and representation of minorities and disabilities in his books turn a blind eyes to Genocide of people. However we can only wait and see on his next move.

One last thing about your previous you said you don't group Riordan with other authors where do you would group him with? Also this is more on an opinion base answer but many people are boycotting companies that support Israel there as been another post on Twitter on boycotting authors. Rick Riordan happens to be one of them. Do you believed that he should be boycotted with other authors or he should be properly educated and apologized for his previous statement? If you believed he should be boycotted what do tou have to say to those who might have the mentality of "separate the art from the artist"

thank you for this ask, and i completely agree with you! it is extremely hypocritical of him considering what he preaches for in his books. i think he’s convinced he has properly addressed the apartheid by using very vague language that can be applied to anything, and in doing so, he’s addressed nothing really.

your first question on who i would group him with— probably other authors who are doing the exact same as him in their virtue signalling. i always like to link my other blogs to each other, so i don’t think it’s a secret that i have a red queen account and i’m pretty passionate about that. unfortunately, victoria aveyard is another fantasy author who has literally wrote a whole four-book series on the uprising against oppression but is now playing neutral in her address of the apartheid. rebecca yarros is in the same boat, although i haven’t read ‘fourth wing,’ fans have said there are large themes of oppression within the book. so if i had to group riordan it would probably be in the ‘i-like-to-write-about-it-for-profit-and-praise-only’ group.

in terms of boycotting, i think that’s a great idea! i would also like to remind everyone that the percy jackson tv show is coming out in a little over a month, but disney is a huge industry financially supporting israel as well ($2 million in funding), which is obviously far more damning than a poorly written address by one person. there is a boycott happening for disney as well— and the pjo show will be released on disney + . i implore everyone to not watch it on that platform!! personally i will be pirating it online (idk if i’ll get into trouble saying that here but lol oh well), because im pretty sure the boycott is only for withdrawing financial support, not simply consuming media.

i feel like separating art from the artist only works if that artist is… like, dead, and you’re using that art and its values as a historical insight to how the world was during its time. you can still like a piece of work that has a problematic artist, you can engage with the work (to an extent). but separating art from the artist barely works because either:

to engage with the art is to support the artist in some way, so that artist is making money based on your interaction with that (particularly in the case for singers and streaming of songs)

that artists’ views and values are so rancid that it’s literally embedded within the text itself. to ignore it is harmful.

harry potter is my all-time favourite example to use, because jkr is the scum of the earth, and her views are entrenched in her work. a lesser known example is sarah j maas and her books (she’s also not as dogshit as jkr, but then again, its not hard to be a better person than her). i’m not going to bag on these people for liking things by problematic people (would be hypocritical of me), i just think it’s cowardly not to address it when you come across it, or at least admit to it. to simply write things off as ‘separate to the artist’ is like purposefully turning off your critical thinking skills.

on whether boycotting or an apology is enough— if riordan did apologise and used specific language and not the nonsense he had in that blog, expressed his remorse for his ignorance and then actually did or said something to support the people of palestine then, yeah. that’s fine and that’s how we learn ig. but he should educate himself, too many activists, people from the arab community and especially palestinians are expected to be all-knowing and to educate everyone else on an already draining and personal tragedy. it’s been exhausting for me, i can’t imagine what they’re going through. if riordan (or anyone) needs to be educated, he should do it himself, and (at least in my opinion) i don’t think the info is very hard to find now. it’s just about weeding out the misinformation.

i think boycotting is a good idea as of now. it can serve to be a catalyst for self reflection for many people. also, as much as i hate most online discourses, talking about it online needs to happen. i don’t want these authors to forget, for a moment, about the ignorance they posted online during a time of international crisis.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[ganondoodle]

i often really do feel like an .. unwanted part of the fandom, i dont draw beautiful landscapes, i have unpopular but strong opinions im constantly annoying about and rarely change, dont like/dont draw the pretty young popular twinks and hot gurls to fanboi over nor do i turn characters into one, the opposite moreso, draw only one ship no ones heard of really, got little energy to interact with the few people that are nice to me and send me asks so it probably looks like im ignoring everyone and unfortunately but still rarely get so stressed i get overwhelmed and emotional about pehaps seemingly minor things and spiral almost into a breakdown feeling super embarrassed about it afterwards but the damage is already done and i look like a freak or agressive weirdo

[3-aem]

MY BRAINS NOT WORKING AND THE CUTE BOY I WORK WITH KEEPS CORRECTING MY GRAMMAR THIS IS SO AHAIWIAKSDHDGRRRRHRNE

[wikiangela]

wip wednesday

tagged by @diazsdimples @tizniz @daffi-990 @bidisasterbuckdiaz @fortheloveofbuddie @hoodie-buck 💖💖

i wasn't gonna post today but I'm currently writing another one of Buck and Taylor's arguments and I'm having so much fun lol (there's gonna be only one more conversation between them after this haha) I keep having new ideas for the in-between of what I had planned, and I hope all of this turns out coherent, I'm probably gonna have to do so much editing lol I'm so determined to post it this month and I'm actually inspired!

prev snippet

___

“I don’t know what to tell you.” he sighs, averting his gaze, as he’s trying to think about anything to say, but his mind is blank. 

“How about the truth? I really just want to know what the hell is going on with you. Because this-” she throws her hands out, vaguely gesturing around. “This isn’t a life together, and I don’t know how many more times we can have this exact same conversation.”

“Taylor…” he starts, hoping more words would come. “I’m sor-”

“Is there someone else?” she blurts out, angry tears welling in her eyes. He feels his own eyes widen in surprise, and his cheeks burn.

“What?”

“I mean, are you seeing someone else?” she doubles down, her tone a little shaky, but still determined. Suddenly, he feels his heart in his throat, and he has to make a conscious effort to breathe. Fuck, fuck, fuck, fuck.

___

no pressure tags: @elvensorceress @gaydiaz @thebravebitch @shortsighted-owl @eddiebabygirldiaz @watchyourbuck @eowon @loserdiaz @evanbegins @ladydorian05 @wildlife4life @diazpatcher @lover-of-mine @monsterrae1 @thewolvesof1998 @puppyboybuckley @weewootruck @loveyouanyway @spagheddiediaz @rainbow-nerdss @epicbuddieficrecs @pirrusstuff @spotsandsocks @alliaskisthepossibilityoflove @nmcggg @rogerzsteven @hippolotamus @giddyupbuck @sunshinediaz @honestlydarkprincess @underwater-ninja-13 @exhuastedpigeon @911-on-abc @jesuisici33 @steadfastsaturnsrings @theotherbuckley @buddieswhvre @dangerpronebuddie

[no-i-will-not-post]

hi i'm not great at analysis or writing so this might be nonsense. and also i don't have any way to review the movie/certain scenes again so forgive i've misremembered something (and point it out please). but i've been possessed by this thought since i got back from the theater and i need to get it out of me or i'm gonna explode.

also spoilers for transformers one.

i cannot stop thinking about d-16's sticker.

like there were theories about why he already had the decepticon insignia/logo/whatever. i remember there was one where the theory was that the decepticons were straight up a separate race or maybe the decepticons already existed and d-16 would take them over or its a tattoo for some reason and so on and so forth. theorizing and such and whatever. and then it's just a sticker.

like. it's a sticker. it's a sticker of megatronus's head because megatronus is d-16's favorite. and he only has it because orion got it for him because orion knew megatronus is d-16's favorite and d-16 is orion's best friend. and it's a gift that makes d-16 happy and meant nothing more.

(in the world of transfomers one, i mean. we all know it means. but in the world of the movie it's just a sticker. it's literally merch.) and if i remember right orion literally physically puts it on d-16's shoulder for him. it means nothing!! d-16 wears it though the whole movie and it's! just a sticker! it's a decal!! of someone he looked up to! he could take it off anytime he wanted to !!!

and it means nothing until the end, when it abruptly becomes the symbol of the decepticons and of megatron and everything the autobots and optimus are/will stand against. it's just a sticker until sentinel literally carves it into his chest and it can't be taken off anymore! he can't take it off! it's literally a part of him!! it goes from just being a sticker and a gift (and maybe you could call it a symbol of friendship, too?) to being a literal scar. it cannot be undone. and he only has it because his best friend gave it to him. i need to lie down

[spocksgotemotions]

I saw a stupid post on instagram about how being called skinny made this person change how they dress and wrecked their confidence and blah blah and with very few exceptions all the comments were like “oh mean fat people! It hurts just as much getting told to eat a burger than being told to stop eating burgers.” And its like I’m sorry you feel bad about your body, but until skinny people are consistently being told to get invasive surgeries or to take potentially dangerous medicines to get fat I will not feel bad for you for being skinny. Like genuinely, I do feel for anyone who is insecure about how they look, that is a shame. But you cannot tell me that it’s because you get bullied for being skinny.

[civetcider]

While gender-nonconformity-club (this post: https://www.tumblr.com/blog/view/gender-nonconformity-club/746406850785869824) doesn't outright say she's a transmisogynist, she reblogs from TERFs and gendercrits. I really wish TME people were better at spotting crap like this. Do better next time, please.

this is so condescending what the hell come off anon

you yourself say she doesn't say it out right and only reblogs stuff from other poeple :((( what do you expect from me :(((((( you want me to not only look through the blogs of every post i reblog but also all the blogs that person reblogs??? :((((((((( there are so many levels of separation here :(((((( i dont even follow them or anything i don't know anything about this person :(((((((( you want me to google everyone i reblog from to check to make sure they are good people?

[katyspersonal]

Marika & Messmer are fascists but not the hornsent who chop people to small pieces and put them inside jars to achieve divinity because they believe they're "chosen" people and therefore superior to other races? Have you considered the possibility that sometimes both sides of a war can suck? This is why frenzied flame is the way🙏

Anon, I am going to scold you before I get to the topic because "have you considered [thing]" here should be reserved for a problem when someone is ignorant and in a bad, poor-taste way! Which I was not because obviously I "considered" this! You are referring to a silly post of me liveblogging how I got to Messmer, and so of course I addressed Messmer! I should not add long disclaimer about every other lore-relevant thing when I make a basically liveblog-ish remark to "demonstrate" that I do not let other culprits in the story "get away" either! 😣 For example recently I've been focusing on Fire Knights to express my hatred for religious purism, but later in another post about story of Abyssal Woods I've instead focused my vitriol on Hornsent Inquisitors! There is its own post and time for everything!

Okay back to the LORE with light heart now!! This is true of course that both sides are atrocious; the Hornsent basically pulled a mad cult crusade on the shamans, and very ironically long time after their folks were victims of also a religion-driven crusade! This is basically playing extermination ping-pong for generations and regardless of who "started it", none of the innocent people (children, those who disagree and simply belong to [race], distant descendants that did not DO anything etc) deserved to be exterminated by association.

To get more elaborate, one has to take into consideration just how long the conflict has been going on for, and everything else Marika has done besides the Crusade. The people being killed by Messmer's army are most likely generations apart from the people who hurt Marika's! I've mentioned that earlier where I questioned how Grandam and Hornsent (NPC) seem to not even know why Marika/Messmer went with war at them at ALL. Like, both are/were barbaric in their own way, but there's clearly a side that has suffered enough now. Like, this was such a disgusting conflict that even Marika, who was the one who had it ordered in the first place, felt the need to distance herself from it because it WAS the battle without glory or honor. There were the Hornsent, likely a cult or something, who murdered and mutilated the Shamans back in their time, but Marika was the one who started the war and kept it going even after it was clear that the Hornsent had lost, and ruined the lives of many people that weren't even part of the war in resistance like the Hornsent NPC! (One more nitpick about it is that her/Messmer's war was that of exterminating of all who have no Grace, as opposed to some insane idea on how to force them to be reborn to "join" her type of people hfhhhbhf)

Correct me here if I am wrong, but so far we can't know if ALL Hornsent accepted the practices of Bonny Village and their higher religious institution. The Greater Potentate Cookbooks that we find relating to hefty pots describe the author as having been "haunted by the grotesque practice of his village of birth". This guy didn't sound like he was very proud of what his people were doing, and it's coming from someone who was raised there! There's likely a lot of other Hornsent who found the practice just as disgusting, especially amongst those that didn't do it themselves, but we don't know that because most of them are dead and the ones who remain are understandably upset and distrustful of "our" kind!

🤔 It is also because of this why it's more reasonable to call the two leading figures of a cleansing war fascists than an entire race, because we can't just assume that ALL Hornsent are fascists just because their religious order and justice system is fucked up. We just don't have a key leader figure to redirect such sentiments towards, unlike with the Golden Order! Basically confirmed fascists are Marika, Messmer + Fire Knights + Black Knights + troops, various warriors and perfumers and what not who agreed to participate @ the Hornsent who are doing the potting, the Hornsent who did slaughter Marika's village, and remaining corrupt clerics leaders of the religion!

(On a side note, Frenzied Flame is definitely the answer but y'all shouldn't tell Melina on me hfjjchjgdh)

________

UPDATE 1 from July 4th that I wanted to add in the OG post instead:

I have nothing to add here, all of these are rather fair points! I am a little late with adding these screenshots but you've probably seen some more speculation on the Hornsent Inquisitors these couple of days by me and @val-of-the-north in my blog! Here if you missed these: ( x ) ( x ) The gist of it is that seems like Inquisitors are hunting their fellow Hornsent as heretics for serving the "impure" nobles, but regardless of whether it happened before Marika's mentioned "betrayal" or after, it is STILL horrible to harm people for association with those that didn't even do anything wrong :^)

Still applies that calling the whole race fascist doesn't work (heck, the Hornsent who choose to stand with Midra and Nanaya are confirmation of strong exceptions!), but the sentiment is certainly very strongly rooted culturally.

Sigh.. I am pretty sure there are people somewhere in the fandom that would fall into "hornsent deserved it" pit over this, too. Like "hey, even currently Hornsent culture is a rich soil for Shaman Villages 2.0 and 3.0 and 4.0 and so on to happen, so why not preventively exterminate an inherently dangerous culture?" (..if anyone here really thinks along these lines, please know that this is a dangerous line of thinking and you'll get ideologically groomed into excusing genocides before you know if you don't question what you're implying here) What they needed was more communication with other cultures and adopting more tolerant and humane principles. Seeing that various horn-ness species are just like them rather than sitting in the "we divine they filth" bubble if it is THAT bad. Maybe Marika even HAD the power to provide such change and bridge the gap while she was still a trusted figure to them during her "infiltration", and yet instead of putting and end to terrible traditions with careful planning and diplomacy, she chose the path of revenge..

Genuinely a depressing point to think about. And yes, absolutely doesn't do her a honor to choose ruin and hate.

________

UPDATE 2 from July 11th:

I also completely forgot to back it up that the fellow Hornsent were also facing execution through being stuffed in jars!

Yeah nah, definitely their people in power were so dangerous that should someone protest against the murder of Shamans and alike, they'd meet the same fate.. Having to swallow what your insane authorities do, with your own life in the line, is also something very real. This situation obscures the number of people who are against it from the superficial look.

I myself live in the country where people can't protest against the government unless they want to go to prison or face other dire consequences, so having to sit quietly for the sake of yourself and your own families for the outside world LOOKS like we don't care and ""'"agree""". :)))) Fun stuff. :') Here, anyone who would ask why Hornsent that disagree with their leaders don't express it would technically be in their right to do so, but most people will protect their own life first, especially if sacrificing it won't really avail anything. Again, Elden Ring is incredibly real with these topics. :')

[allgremlinart]

nothing has made me more annoyed with people who drive high than getting high myself. yes, even just a little bit. "it doesn't affect me" Jessica, now I KNOW you're lying. or at the very least incredibly stupid and incapable of assessing your faculties objectively.

[rxttenfish]

Asking because I’m extremely curious about this, how did MonProm’s writing get different over time? I remember you saying that the lore and characters feel different, and that it's missing sincere character interactions, too. I know almost nothing about the lore and I’ve only seen a few people mention the characters, so I’d be interested in a rundown of what aspects you think got worse in the series

I wouldn’t mind a very long response since I’m not that active in the fandom, I need to catch up on what happened

sorry for taking so long to answer this! i kinda waffled on it for a long bit, mainly because i started doubting myself again, and whether or not this was me simply overreacting or being tinted by nostalgia or simply being extremely picky and choosy in what i like (the last of which is true, i seldom get into fandoms at all for this reason and stay away from most popular media, but i wasn't sure if it applied here). i've posted about it already, but i'm in the middle of a psychotic episode where i can't feel a lot of pleasure to begin with + most things i do experience ending up solidly in the "very bad" category, so as you can imagine, i really didn't want to mislead and check that i was actually in objective reality.

as it is, this is also when a lot more screenshots started to be posted in the monster prom tag, and that helped me bridge the gap back into returning to the games themselves and feel like i was making a more accurate judgement. if you're one of those people who have been posting screenshots, i sincerely thank you, and i appreciated seeing you in the tag greatly.

for those not in the know — i've been in the monster prom fandom since it first released, prior to even the first additional ending to be added (the "Punch the sun" ending, and i recall the minor fandom drama that happened at that time due to it). my impression of monster prom is very much influenced by this, as what got me into the first game was the fact that the characters genuinely seemed to care for each other and were friends with each other (not merely tolerating each other's presences nor dressing it up, they sincerely thought of each other as friends and were open about that fact), on top of the wide variety of small details and statements that, if taken at face value, could create compounding complexity in the lives of each and every character and had wider implications for their lives.

no, they were not necessarily explored nor even necessarily "real", with so many conflicting events and statements, but i liked this too, because it meant a wider flexibility in what you could imagine, helping to create a more tailored experience for everyone who thought about these characters. this was what i liked about the early fandom too. what was baseline "canon" was so vague and minimal that you could have wildly different interpretations of the same characters' histories and relationships with each other. you would have radically different perspectives on what the world itself looked like, what it was like, that there wasn't really any wrong answers so long as their personalities remained the same. this is where you got the old headcanon of polly and liam being childhood friends who knew each other as humans, or that the world of monster prom was post-apocalypse where humanity itself had gone extinct or only existed in tiny pockets, or my personal headcanon that both monster and human society existed right next to each other and had minimal crossover for petty cultural reasons. this was also prior zoe-as-ro, and there were wildly different interpretations of zoe's personality, with most going for a far more disquieting creepy-cute than the deep nerd we got.

this is why you get stuff like the timeloop theory, where everyone is repeating the same weeks leading up to prom over and over, and are perhaps vaguely aware of it but broadly unconcerned. this is also why it felt like the joke that, the characters were still in high school but were all fully legal adults with most in their 20's, best landed, because it was absurd and strange and didn't quite make sense, but the world itself was inherently absurd and semi-malleable to begin with. realistically, i felt like everyone understood it was making fun of the trope of having adults play teenagers in american sitcoms and wildly casting outside the age range, but for more in-universe explanations it wasn't any different from the way that you would have a large, dramatic ending in which everything changed, but then you'd restart and everyone would be right back at the beginning with nothing different, or even having conflicting events in the same run. it was a dream-logic that fit with the tropes and, thus, diagetically made sense.

to be clear, i don't mind canon having a set, well, canon on which it refers back to itself. i don't mind expanding that or including more things which are set in stone. but there was a perceivable shift in how the games handled this over time, becoming a lot more... bitter, it felt, towards all of these different branching ideas and concepts that, yeah, the people making them knew wouldn't necessarily be "canon" because "canon" already liked to contradict itself so much. most people weren't even sold on any one idea, and there was a much greater sense of enjoying and appreciating all the varying ideas people would come up with even if you personally didn't share them. making the characters be out of character was the real crime, because then it didn't diagetically make sense in the same way, didn't wholly fit.

(again, this is not to say fanon didn't happen and characters weren't smoothed down into a simplified personality that fit these varying fan-interpretations instead of the game itself. certainly damien love/lust was just as bad as it had ever been, and everyone loved to mangle his character into a more stereotypical "bad boy with a heart of hold" all the time. but it certainly felt less set-in-stone about it than it does now, with any deviation from the norm being considered strange and odd and even broadly shunned from the wider fandom.)

all of this is setup for establishing what the writing, lore, and characters felt like in the earlier days. the characters were the strongest part, with their relationships to each other being equally as important. the lore played it fast and loose and was far less interested in setting anything in concrete because that wasn't the important part. the lore wasn't the important part, which was what made it all the more intoxicating to think about, all the more fun to play with.

montrip is easily the biggest offender when it comes to setting everything in all-or-nothing terms and demanding absolutism from the world. broadly i blame the hitchhiker conversations for the worst of it, but i think ultimately the way they handled the entire premise of the game is where this problem stems from. it's not really an exploration in the same sense that you might explore the first game, discovering different perspectives and different people with different relationships to each other. it's an exploration in the sense of a sequel that over-explains the monster, that takes the most boring option out of all those that were possible and floating around and settles on something that was blatant, obvious, typically rejected not because of how novel it is but how trite and par for the course it is in the rest of the genre.

yeah, okay. humans know nothing about monsters and there's a "monster dimension" that exists separately from the human dimension. there's no crossover between the two of them. of course there's a big grand-scale fight between the eldritch powers that zoe used to be a part of, from which not only are slayers the main organization against them, but also the merkingdom has some horse in this race too. it's an urge to make things so universal in explaining them, in revealing connecting threads which unite everything that's ever happened in here, that makes the worldbuilding and lore immediately much more boring than it ever was before.

and it didn't have to be this way! nothing in the first game contradicts any of this too explicitly (see the above, the first game loves to contradict itself), and i would even be happy if this was basically canon but never stated or confirmed to be the big overarching everything going on underneath it all. i believe you should probably know these things about any world that you create and have them in the back of your mind. the difference is that you can know these things and keep them in mind, even focusing on things where its very relevant, and still not reveal them. this is why you have lore bibles, after all. every horror writer knows exactly how their monster works and the full underlying reason for everything that happens, but that doesn't mean the audience will see it or possess this same information too, and leaving it intentionally obscure will make far better stories.

which, this is bad enough, but it wouldn't be the breaking point for me if this was all there was.

but the worst thing of all has to be the slow decay of the very same characters that sold me on this world, this lore, this game in the first place. monster prom is nothing without the characters in it. it's a dating sim, it has nothing but characters to get you to play, and liking these characters are the entire reason anyone would pick up monster prom in the first place.

and the first game pulls this off extremely well. it's all in the tagline: be your worst self. they are, indeed, all terrible people. yes, even that character that you just thought of right now. they all have points in the game where they commit atrocities, where they kill or hurt people, where they do inexcusable things that could not be ignored in a more serious setting.

but that's the point. i think there's something very powerful in creating a character who not only do you love and love their personality and the way they interact with the world, but who also are inapologetically terrible, and to have the humor and the charisma be so good that you don't get bogged down in the "this is awful". likewise, it never feels the urge to really go out of its way to justify what's going on. this is not to say theres no discussion of if someone "deserved it", but usually there's still the sense that the joke is on them, that this is still an extreme reaction specifically for comedy and not necessarily something that can be justified. you can have damien set leonard on fire and have it feel earned, without prompting the needed reaction of what it's actually like to watch someone burn to death.

this is what sets the prank masterz ending apart from the rest of the game, and really establishes it as the first real "bad ending". because nothing that you do or happens in the prank masterz ending is any different from anything else that happens in any other run. you summon evil beings from other dimensions as a throwaway gag on how visiting one location raises your stats. you kill other people and damn them to terrible fates. you watch as body horror happens. the only difference is that, in the prank masterz ending, the laugh track doesn't play.

the rest of the game and the writing echoes this philosophy, this careful interplay of tropes that keeps everything tongue in cheek and yet sincere enough to make sure emotional beats still land when they're needed. the characters feel true to themselves and their own emotions, even when the world is extreme and excessive, when everything else runs on comedy logic.

this is also what i noticed failing first as time went on.

like i said, fanon has always existed and there's always been very specific ideas as to what characters are like in the same way fanon always flattens down characters into the same tropes over and over. scott is stupid and innocent and doesn't know what sex is. damien is violent and hot and too cool for anyone else. miranda is the idiot girl character. repeat over and over and over until you get sick of it.

but it's been an issue as time has crept on that canon has started to approach fanon and began to merge with it. now, scott is so innocent that he can't even curse. polly starts being mean to her friends and saying things that would be very hurtful to hear. the merkingdom isn't really super evil and fucked up, it's just miranda that's like that. they become simpler, easier to digest, streamlined for social media posts and mass-sharing. they become less and less subversions of existing tropes and moreso just another example of them, something else to add to the collection, not their own individual stories.

even further from this, what more complex traits they had are now stated and not shown. polly is stated to be smart and clever in a way that her party girl persona doesn't imply and to be sincerely rather down to earth with the people she cares about, but we seldom ever see this anymore unless its the game specifically trying to make a point about it, in which case it won't let her do anything that implies cleverness and moreso will just outline it in the narration. vera is stated to care for people in a very genuine and heartfelt way, but seldom will get a chance to do so, and every opportunity for her to do so to their faces is missed while she will just outright state it later. it does not feel consistent, it does not feel like any of these are intended reads of their actions. it feels like the devs have something they want to do but no idea on how to actually do so. and forget it if you want these traits to manifest in small ways that show up in unrelated moments and scenes.

the dialogue becomes harder and harder to tell between each speaker, if you are just looking at what's said and not at the pictures attached to it. the characters' distinct voices have been eroded away, so that they speak more and more like each other, relaying the same terms and ideas in the same words. perspective becomes a suggestion, instead of a must.

this is something that started back in monster camp too, as all of the endings in that game felt ultimately the same as every other ending. it's very hard to place or define the full reason why, why there feels like there's no emotional stakes nor investment, why everything feels moreso like selecting different coats of paint and trying to find all the different ending pictures rather than being interested in exploring the characters as characters.

stranger yet, the series that started with the tagline of "be your worst self" has experienced a kind of... softening, for lack of a better word? what i mentioned about being able to handle the balance between terrible people who do terrible things and the light tone of the game starts to change, as abruptly the same characters who were down with violent murder in the first game start to lose their nerve, acting more and more on more typical morality. it's one of those things that feels like it's starting to damage the tone, as abruptly it's not as absurd as it used to be, demands less suspension of disbelief which could buffer and support the rest of the setting on it. there's even a part in one of the endings in montrip which involves current-polly and current-scott looking back on their monprom selves and reacting in horror at how violent and careless their pranks are, in a way that fundamentally felt like it was undercutting and disparaging all the things that felt fun and made monprom what it was.

which is odd, really, because more and more i feel like the characters in these games like each other less and less. the friendships and genuine enjoyment of each others company that brought me to this game in the first place has gone. now they don't mention each other as much, don't care for each other's feelings and reactions as much, aren't as willing to support each other. they are more and more found on their own, relied on their own, seem to seek out contact and interaction with their own friends less and less. it feels like they're all separating out into their own worlds, but also feels like they wouldn't willingly want to interact with each other if they weren't already forced together by some other outside contrivance.

if anything, i'd compare it to every other dating sim out there, where you, the player, are the most important person in these characters' lives, and they only feel ambivalent or antagonistic towards every other character. which, again, is not why i picked up monster prom or why i liked it so much in the first place.

and it's because of this that it feels like the current state of the series has to focus on its increasingly weak worldbuilding and lore, trying to form a more serious foundation without character relationships being so tightly bound together, without the characters themselves being more developed and rich, without an aspect of absurd humor to rely on.

more and more i've noticed monprom has to rely on referencing other series to make itself funny and create humor, which, again, it's always done. it was just easier to ignore back then, if you didn't know what was being referenced, because there was always more going on in the exact same scene to bolster it and give context clues as to the setup and punchline at play. it feels like the current games are much more dependent on you knowing pop culture references in order to have any fun with it, and i'm someone who, again, is very picky in what i like or what i'll seek out. i'm not interested in a stream of references about other things that i would much rather be doing than playing through a game that feels like it hates that i like it at all, when i could, again, just be engaging with the thing that takes itself seriously and knows what it wants.