#A COMPLAINT ON ITS OWN...

[sergle]

I turned off rbs on that earlier post abt the AU that thin people live in because I could feel it wanting to grow legs. and. contrary to popular belief, I do Actually value my sanity. a snippet before I go finish making my stew: what's unsaid here, but should be EXTREMELY OBVIOUS. Is that nobody takes issue with someone who is thin, making their own post or talking to a friend, bringing up a time someone made unsolicited comments about their body. and complaining, bc who isn't going to complain abt someone being shitty at you. (that's not "skinnyphobia" btw it's usually just misogyny) but that's not what happens, bc what happens is that someone uses the time Jimmy called them emaciated in high school as a REBUTTAL, AGAINST a fat person who was already talking about their own bad experience. and that one time the dress shop didn't carry XXXS is Proof that fatphobia isn't real and that thin people suffer just as much. check and mate. your thing can't be true, because someone was mean to me Once.

[poorly-drawn-mdzs]

Historians Hate Him

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[arriettyspin]

I don't know why Chad Charming being adopted is considered to be implausible by some. Cinderella, an orphan, choosing to adopt her firstborn to save him from a childhood like her own is the most in-character thing ever.

[popfizzles]

Eeon is awesome and 2018 tumblr did you wrong. we're ready for her now

thank you 🥺 im glad today tumblr loves her

[dukeofthomas]

"Jason just needs to see things from his family's perspective and understand how much they love him (despite them never actually communicating or showing him through their actions)" is out. "The batfamily putting a single bit of effort into understanding Jason and reconciling with him on his own terms" is in.

[ajastu]

god okay. sorry for yet another text post. but i'm just still thinking about the argument that veilguard is bad because the only option re: morality of your player character that it gives is kindness.

Now, to preface. I understand where this criticism comes from. Veilguard IS a departure from the general scheme of the previous games, in several aspects. And i understand how people would be upset at not having quite the same kind of options/ways to influence the world. It took me some getting used to, also.

What i do disagree with, however, is using that to claim that the game is bad, irredeemable, and also meaningless n soft or whatever.

Because it's really not. It's just different, with a different narrative focus. I've played the previous games several times, and as i said before, origins is in first place for me. Veilguard is a very close second. And i'm not more right or wrong in this opinion than someone who thinks datv is the worst game in the series.

You can still make choices that will influence the world in wildly different ways, they're just not... ''genocide or no genocide'' kinds of choices. Which i can see how some people would not consider the difference significant enough to be interesting for them personally. Which is whatever, im not their dad, i dont really care.

However. I think it's kind of weird to say that ''the game made me resent being a nice person'' or that "kindness you dont have the choice not to offer isnt worth a lot"

Like, game criticism aside. That is just an objectively weird thing to say.

There are ways to phrase that particular dissatisfaction in a way that will not make most people side-eye you. This is not one of those ways.

The thing is, it was a deliberate choice in characterization. Since game development at AAA scale is. an incredibly complex beast, i suspect there were many different reasons for it, and not all of them purely narrative. It is also not 2009 anymore. We are not getting another Origins, like, probably ever.

But. Rook is established in the very second cutscene to care about other people. It makes sense narratively, too, with Varric being the one to recruit them. Their backstory also shows that they gravitate towards the 'moral' choices. It's not bad writing. It's deliberate.

That does not mean that everyone has to like it. And i don't think the people who are upset about the change in this gameplay aspect are stupid or wrong.

We are all different people with different preferences, and i really am sorry if the game ended up being a disappointment for you. I know how it feels, and it does suck.

But i also do think it might be worth to examine the way people choose to phrase this complaining. The claim that kindness is somehow diminished in value if you aren't offered the choice to be cruel alongside it. I just think that, like. misses the point of what kindness is?

I know what those people mean when they say it, i just...fundamentally disagree with the sentiment. And i think phrasing it in this way is incredibly weird. sorry 🤷‍♂️

There is a better way to talk about this particular complaint. I just never actually SEE that being done. and i do think a lot of it comes from not actually engaging with the source material people are trying to criticize. Like, the person i sort of quoted earlier explicitly said they have not finished the game. If you never give something a chance in the first place, if all the information you have is second-hand, then i do not find your criticism valuable in any way. There is no substance to it, no backing. You are not proving a point, you're just chasing your own tail at that point. There isnt even a bone to chew. You've only heard of the bone. you havent actually experienced it.

Another part is people being too twisted up in the emotion of disappointment to actually see that they're not making compelling arguments, necessarily, and that they're actually being a tar pit.

I know not everyone thinks as much about the push towards dismissing the value of kindness for kindness' sake as i do. But like. It really is very weird to see this insistence that game bad bcs it didnt have the option to do a murder to an innocent person, or something. While also dismissing the horrible things we Are shown as 'not in your face enough'.

And honestly, personally? I dont love origins or any of the other ones specifically for the ability to choose the evil options. It's never even been a choice for me, because you can very well play the games without having to make the bad choices. theres always a workaround. And that workaround doesnt even harm u in any significant way. there isnt an actual like. terrible complexity here. I enjoy the dwarf politics quest a lot but ultimately, knowing the outcome? its EASY to choose Bhelen. Unless you're playing a dwarf noble origin, i guess. Rip Harrowmont 🙏 you would have made a terrible king.

And again, my personal opinion is not more right or wrong than that of someone who adored the prev dragon age games exactly because they allow you to make some terrible terrible moral choices.

At the end of the day. why are people still so pissed about a game that came out almost 6 months ago that many of them havent even played in the first place? Relax. take a walk if you can. Maybe move a snail out of the road if you find one. There tends to be a lot of them after it rains. Think about the ones that didn't make it. Try to find compassion for lives so easily dismissed. Maybe that will make you think about whether or not kindness on its own really is so lacking in value.

[luniviravosshipper]

So what if I said season 1 and season 7 of TDP are my favorites. Can you blame me?

And I'm tired of having to pretend those are some of the worst seasons of their retrospective arcs.

[birbnest]

I've figured it out, why I'm always a bit thrown about people defending Blitz this episode. Like don't get me wrong Stolas has not been perfect and has to grapple with his classism/etc. But like, in my head, I've always gone, 'but that isn't the point of this episode/fight/current conflict' but didn't really have the words to explain. But now I do.

Because, the whole point of apology tour (and everything that built to it) is that even if Stolas was a perfect boyfriend, even if they didn't have the complicated power dynamic and Stolas being really demeaning, etc, none of it matters because it would always have ended the same. Blitz would always set fire to the relationship the moment he confessed his love, it's what he did with Verosika after all. It's what he's implied to have done with more than half the people at the party.

Stolas could have been perfect, and nothing truly would have changed. Blitz right now is incapable of letting someone love him without lashing out. The whole prince thing is just a convenient excuse to yell and scream about, it's not actually the point. Like don't get me wrong, there's truth to it, but Blitz is weaponizing it to shove Stolas away. If he didn't have that, he would find something else to use against him.

I love Blitz, but he's a terrible person. His trauma only explains his actions but doesn't justify them. Apology Tour is the episode that finally shoved in his face his fuck-ups in all their glory, and gave him the wake-up call to finally do something about them.

[tiedsh0es]

Sighhh while I love inanimate Insanity I think they struggle with ending seasons. I still don't like episode 18 of s2 or s3.

While not terrible episodes, the episodes before them are so much stronger and set up things that don't go anywhere.

[coldjustness]

Waiting for the flood of people outside of tumblr to come rolling in confessing how they were too harsh and unfair on Dragon Age Veilguard.

[d1sheclectic]

people on mcrtwt are shittalking unholyverse im going to cry like what .. 😔😔😔😔😔😔

[dreamwinged]

cant wait to f/o reveal so i can put the biggest most annoying flashing rainbow colored DO NOT INTERACT WITH ME IF YOU SHIP WITH _______ banner on the bottom of every single post i make

[rouge-the-bat]

yu yu hakusho three kings arc but theres intense demon politics and an actual war instead of Dark Tournament 2.0: The Lesser Version and yusuke isnt suddenly Actually Has Been Mister McSpecial Guy All Along with mazoku blood and is still Just Some Dude with the power of stupid luck and friendship on his side and also KUWABARA IS STILL THERE AND SIGNIFICANT!!!!!!!! AND BOTAN DOES SHIT BESIDES JUST WATCHING THE GUYS DO THINGS !!!!! AND FURTHER EXPLORATION INTO FUCKING UP KURAMA AND HIEIS MENTAL STATES ESPECIALLY BECAUSE YAY SUFFERING!! WITH A BONUS OF KURAHI MUTUAL GAY YEARNING THATS FINALLY EXPOSED WHEN THEY MANAGE TO SNEAK A MEETING AND SEEK COMFORT IN EACH OTHER. and also a sprinkle of some making fun of yomi for my amusement. all this and more in the current brewing ideas of a three kings rewrite in my head right now

[sammy8d257]

begging people to also post their stuff in the main tags so I can reblog it

ajfbhshfhshsh

PLEASE YOUR ART AND POSTS ARE SO COOL

I can't even like or reblog or save it to go back to because you put it in the community tab to be lost and buried FOREVER

[okitanoniisan]

no one can reach my level of petty hating about the stupid english title

[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.