#a theme in my art is that my style is Incredibly inconsistent

[spotfurfan]

can you draw a bristlefrost maybe ... :3

duvet by bôa starts playing

[szczurherbacany]

you have an absolutely insane artstyle like. i feel like i have to opwn my eyes more when i look at it you know

that is so kind, thank you????? i feel like my art is incredibly inconsistent in both themes and art style so im always happy to hear that people enjoy it :,)

[needmorekimch1]

9. What are your file name conventions

I have art folders usually one for each year, and my default art file names for drawings/doodles is "Random Doodles [X]" and X is ascending numbers. I switch to a new file when it gets too big (50-100 mbs) or I switch themes or something. But for specific projects/commissions I'll create a folder and project names for the files. And don’t get me started on layers...

21. Art styles nothing like your own but you like anyways

Uhhhhh I consider my style pretty unrefined and inconsistent, so I think my art is way different from almost every other art I see haha. But I really love styles that are painterly, and illustrative. Not neccessarily more detailed or refined, but just more dense with texture and visual flair. I have a fairly simple cel-shading coloring/rendering method and cleaned up linearts, so seeing that much care and effort put onto surfaces the backgrounds is incredible.

26. What's a piece that got a wildly different interpretation from what you intended

uhhh, I haven't really finished a lot of big projects so I never had a lot of stuff for folks to look at. But also I just never really get a lot of feedback on my work? Lol, I've never made much art of substance, which is kinda my fault cause most of my development has been in my world building and writing stories.

[yurimother]

LGBTQ Manga Review – Syrup: A Yuri Anthology Vol. 1

Shakaijin Yuri, stories featuring love between adult women who have left school, is a well-established corner in the Japanese Yuri market. Over the past few months, the scene started to pick up its full force in the West. English audiences are experiencing new Shakaijin series, both contemporary like Still Sick and older such as The Conditions of Paradise. For me, there are few works so prolific and intrinsic to the Shakaijin boom as Syrup. In Japanese, the subtitle reads Shakaijin Yuri Anthology. While the English release drops the subgenre's label, the content remains the same, an anthology dedicated to nothing but Yuri love stories featuring adult women from some of the Yuri industries best. However, Syrup's focus on mature and workplace stories more than piqued my interest. However, readers will likely be disappointed with this inconsistent and often forgettable anthology that is just as sour as sweet.

One of Syrup's main draws is its contributors. Some of the best in the Yuri world touched this manga, and even Western Yurijin will likely recognize a few of the names like Yukiko (Futaribeya), Itou Hachi (Kindred Spirits on the Roof), and of course Morinaga Milk (Girl Friends). It is always exciting to read a story from one of your favorites. Even I, who cares rather little for authorship, was happy to see Ohi Pikachi, who wrote the incredible Our Teachers are Dating, among the list. It also provides readers with a chance to familiarize themselves with unfamiliar creators like Amano Shuninta and Kurogane Ken, who grace the anthology with some of its best chapters.

Another benefit of having such a variety of contributors is the plethora of different art styles in the anthology. There is such a stark yet fun contrast between more mature or sensuous styles like Matsuzaki Natsumi and Ito Hachi's bubble moe characters. The manga spans almost every point between these two styles, and just flipping through the pages to look at the artwork can be a fun experience. Of course, some are more polished than others. Mochi_Au_Lait's simplistic and flat style stands as an unfortunate outlier among some other fabulous artists. However, their story, "The Cram School Teachers," is one of the funniest in the anthology. Not every story's aesthetics will suit all readers, but that is the point of a collection, to sample a wide array of talents. Fly's beautiful cover illustration wraps the fantastic art within, standing as a crown jewel of Yuri manga covers.

Unfortunately, the plot and characters are not nearly as enjoyable as the art. While a mixture of aesthetics can add to a work, different story styles often feel inconsistent. For this reason, I usually prefer collections of a single author's short stories, like Rouge Nagashiro's Eve and Eve and Morishima Akiko's The Conditions of Paradise. However, a unifying theme can often correct this issue. Sadly, a few too many of the stories seem to revel in the more "adult" allowances of adult characters and ironically created some of the most immature entries in the anthology.

Before diving too deep into the weeds of mediocrity, there are some chapters in Syrup worthy of highlight. Two of the best chapters, Shioya Teruko's "Promise" and Kurogane Kenn's "Rose Quartz" feature women in established relationships taking the next step in their relationship. Reading about these women celebrate their feelings for each other is wholesome, charming, and even sensual. The latter of the two stories is also one of the few to use adult content in a way that feels more mature. It clarifies the characters' love and attraction for each other, rather than just flashing a panel of exposed breasts for fanservice. It is great to see artists use their allowance to show a little more in profound ways while not letting it run away from them. It demonstrates admirable restraint and thoughtful writing that respects its characters.

Other interesting chapters include "Mama X Mom," which is less about the sexual relationship between two women and focuses on the character's emotional bonds in a unique situation. Ito Hachi's "First Grown-Up Love" perhaps lives up to the Syrup title the most, as it is an adorably sweet and fluffy tale of first love at adulthood. As one of the longer stories, it also has a bit more time for subtly and, thus, it includes some of the stronger and more interesting characters.

Sadly, most of the stories in Syrup are incredibly mediocre. Telling a compelling narrative with interesting characters in such a brief form, in some cases as short as six pages, is a daunting task that most chapters fail to overcome. They are utterly dull and forgetful, with characters designed with little more than maybe a job and the fact that they are interested in a woman in mind. They leave little impression, and even in the moment of reading, one finds themselves tired and wishing for the passage to end. A few tales show some modicum of potential, like Kodama Naoko's "Daily Smile," but they often end before they can get going.

A few dull chapters are acceptable, as tastes will vary, and many will enjoy some of the stories that left me utterly unenthused. However, where Syrup struggles are in its weak chapters. Some, like Yoshimura Kana's "Coward Queen," a confusing and offputting depiction of two women making a pornographic movie, and Matsuzaki Natsumi's "My Femme Fatale" revel far too much in displaying as much nudity as they can get away with before being labeled as porn. The former of these portray a lust for sadism that clashes with the rest of the primarily mundane anthology. It might even spoiler the next several chapters, as it is one of the first stories and leaves readers with immense displeasure.

There are some questionable attitudes towards boundaries and crossing lines, even outside the more salacious and exploitative stories. Depictions or descriptions of actions like staring at a woman's underwear or breasts, or awkwardly splurting out "I'm a virgin," are tossed out casually, often portrayed as romantic. Now, this manga is a work of fiction and can be enjoyed even with some more questionable aspects, as they usually are not deal breakers here. However, the dated attitudes feel like something out of an '80s comedy, not in a manga that, in all else, appears to at least attempt to hold an air of realism. This pervasive element at best makes an already struggling story worse, but it can add unpleasant notes to otherwise delightful offerings.

There is no better example of potentially compelling work squandered by its unsavory elements than Morinaga Milks "Working with an Angel." It starts pretty well, introducing readers to an entertainment agency manager with a forbidden otaku friendship with a model. However, instead of taking a more intelligent or realistic approach of the two trying to keep their growing relationship secret or a heroic, "consequences be damned," declaration of love, the story turns sleazy. The model wants to show her naked body off to the manager as the latter admits that she spies on the models while they change. Off-putting is the most generous review of this final chapter.

While Syrup: A Yuri Anthology has a few bright offerings of sweet and compelling relationship between adult women, it is incredibly bogged down by forgettable and mediocre stories. Few stories can present more than a weak premise and characters best described as "female" within their short page count. More objectionable, with a few notable exceptions, Syrup muddles its attempts to show how grown-up Yuri can by mistaking boobs and fanservice for maturity. Yes, Shakaijin stories, tales of adult women can be sexy. In fact, they should be more than willing to describe inelegance and lust; after all, for many people, that is what love is. Still, too often, Syrup forgets the heart, affection, and emotion, substituting them for cheap, uninspired story beats and characters. There are some chapters worth readers' time, but unless you are a hardcore fan of a contributor, this is an easy skip 

It is challenging to award ratings for Syrup, as each story's merits vary. Some are a comfortable 8 or 9 and others a measly 2 or 3. However, the majority of the book was unobjectionable yet poorly constructed fluff, as respected in the scores below.

Ratings: Story – 5 Characters – 3 Art – 8 LGBTQ – 6 Sexual Content – 8 Final – 5

Review copy provided by Seven Seas Entertainment

Purchase Syrup: A Yuri Anthology Vol. 1 digitally in print: https://amzn.to/39ObT5F

Legally purchasing manga helps support creators and publishers. YuriMother makes a small commission from sales at no additional cost to the consumer.

[blankd]

Thoughts on The Mitchells vs the Machines

I watched it a while ago and kept forgetting to post my thoughts on it, but some posts here on tumblr recently reminded me.

I disagree with the majority takeaways I see but is that not the spice of life?

As a standalone movie its inoffensive and the writing of it will likely exit my brain in a few months.  However I can appreciate that the visual style was different from the typical fare and the mixture of 2d elements for visual embellishments were mostly enjoyable and well-suited for Katie as the POV character.

It's a bit "hyper" for my liking, but that's fine, it's likely intended for an audience that's accustomed to the flood that is the current norm of the internet.  It was probably made with GIFable moments in mind and that is the most frequent content that is shared about it, so it certainly succeeded in that regard.

My more critical take is that jokes are delivered at the expense of what could be more authentic themes.  Quips are made that draw attention to character flaws or undercut questions the movie should try to answer, but inevitably they are ignored to move onto the next joke or story beat.

The rest would fall more into spoiler territory, so read more for that.

--"They Were Both In the Wrong"

I personally disagree heavily with the thrust of how "both sides" were wrong when the degrees are disproportionate.

I've seen claims that Katie was "as in the wrong" as her father, but she's incredibly patient to the man who does her material harm.

I've yet to have seen someone say specifically what Katie did *wrong* to her father that is at all on par with the *years* he at best hasn't been able to interact with her or worse, actively refused to engage with her interests.

I would generously venture that her flaw was that she was more willing to communicate her feelings to strangers, but she easily talks to her mother and brother- her brother even helps her with her movies and she happily engages him with his own interests, which pivots the point back to how her father is physically/emotionally unavailable and led to the erosion and distance between the two of them.

Due to this, MvM comes across more as Kaite having to do so much more to guide her father rather than a more mutual learning experience for the both of them.

--"Technology that [Dis]Connects"

It's probably beyond the scope and intent of the film, but I was surprised there was no examination about why technology can be more alluring than interacting with physically present people.

For better or worse, the internet can be used as a means of supplementing the validation and acceptance of family.  It can also lead to no longer connecting to people around them because of the validation high of appealing to a constantly 'awake' sea of strangers- the spotlight is warmer than the cold reality that they are not the internet image they have cultivated.

For example, the rival 'perfect' family was never revealed to be a carefully constructed highlight reel that Mrs. Mitchell envies, they really were actually that perfect- because that provides an easier punchline than an examination or acknowledgement of how the internet can create unhealthy expectations.

I also can't expect MvM to acknowledge the reality that LGBTA+ people who are rejected by their family resort to seeking a new one through the internet because it would be much harder to redeem/rehabilitate a man defined by being tethered to "old values" if he was homophobic instead of "overprotective" and apprehensive at his daughter's departure from home and her dubious art career.

But hey we got that quick line at the end that Katie likes a girl, so that's a diversity win or something.

(To be clear I'm not expecting a whole parade or even an A or B-plot dedicated to it, but I think it should be acknowledged that this kind of "surprise inclusion" is very easily erased with a change of audio and would be completely unsurprised if this were the case for countries that are homophobic.  People can be happy about it, but it is dishonest to pretend that this is a bolder statement than it is.)

In that sense, I do and don't hold MvM to taking a "safer" route about how family always has your back, but this still feels like an important omission considering the focus on technology and its dynamic with the Mitchells.

I will also say that it was also bizarre, to me at least, that the obvious route that her father sees the value of home videos didn't become an active point between him and Katie.  Or that Mr. Mitchell's carpentry never really amounts to anything despite having a sentimental wooden moose.

Lastly, I think it's an unintentional, but it's interesting that Katie going to college to pursue her passion is viewed as a Terrible Thing by her father even though if he had his way, he'd be ostensibly living in the woods away from everyone else except his wife.

This isn't a problem, people are a collection of contradictions, but It's fascinating to see what the *narrative* treats as a difficult sacrifice while simultaneously pulling at heartstrings when PAL cites how children ignore their mothers.  There's an unexamined comedy that Mr. Mitchell's losing out on his 'passion' to live in the woods away from people is treated as tragic despite the movie's insistence on staying connected with your blood family.

--"The Inconsistent Personhood of AI"

PAL is rightfully angry at being discarded for something new; it's provided as a glimpse of what Katie will do when she finds 'her people' at college.

This in of itself is a good hook, because there is no one universal answer to when a flawed relationship should be mended with compromise or if it's better off being broken for the wellbeing of the ones involved.  Family and relationships are not programming, it's a choice and a gamble for whatever it brings but is nonetheless something that must be mutually worked upon.

Initially I thought that PAL was being set up as an exaggerated parallel to Mr. Mitchell.  PAL and Mr. Mitchell did their best to provide for their family.  PAL and Mr. Mitchell are in different stages of being 'discarded' by their family.  PAL and Mr. Mitchell both retaliate at their lack of power in the scenario by using the power granted by their roles to infringe on the autonomy of others for selfish reasons.

PAL even gives a 'chance' for her plan to be halted with, I had assumed this was being set up as the thesis of the movie, about humanity and the value of family, relationships, etc. being used to help someone who is already hurting.

But despite Katie looking at the camera and explaining herself, it is never actually directly resolved or challenged because a punchline was deemed more desirable for this narrative climax.

This begs the question of why PAL bothered with the pretense that she could be reasoned with, especially since this is not some question leveled at all of humanity, just two people.

I'm curious how the writers came to the conclusion that this was the best execution of the scene or if Katie's speech was considered immune to any challenge from PAL.  Would anyone have accepted this outcome if PAL were not an AI but instead a person?

It's not necessarily bad writing they went this route, but I doubt anyone would consider this good writing either.

By the end of the movie, PAL is no longer a 'person' who was betrayed and is lashing out, she is an object to be destroyed because the movie has to wrap up.  No compassion or chances are spared to this AI that did literally everything asked of her except take being discarded quietly.

Did PAL deserve a redemption arc? For this length of movie, probably not.  But it could have concluded with a commitment to doing no further harm.  Instead it is an accidental glimpse at how easily the pretense of compassion can be quickly discarded and mostly unexamined with the right framing.

A likely unintentional example is the conditional humanity given to Eric and Deborahbot who are adopted as "family" while the rest of the robots are mowed down without another thought.  Some are even beaten and broken while begging for mercy, because again, it is a funnier punchline.

Far be it for me to advocate that the murderbots needed 'a second chance uvu' but for a movie whose conceit rests on 'sticking by family' and 'giving chances', the writers certainly made a choice in deciding which AI get honorary humanity and spared violent death- perhaps PAL had a point about humanity's callousness after all.  Bad robots are discarded, good robots get to live.

Even the CEO who realizes he enabled this mess (easily the most unrealistic part of the movie, honestly) is given another chance and he manages to take away a completely wrong lesson.

Speaking of-

--"Maybe I Shouldn’t Have Used Tech Like This"

There's a particular image/gif set posted about MvM with the CEO apologizing for the machine uprising, attributing it to unchecked technology and monopolies.  I've always seen it accompanied by people congratulating the scene as if any of this is at all relevant to the movie.

Charitably, these are people who haven't watched the movie and don't know that PAL is a phone AI single-handedly doing this, but most take the stance that this scene is proof the movie is not saying technology is bad, only corporations are.

The speech isn't technically wrong but it is so utterly divorced from what happens in the movie that it's surreal to see people congratulate it as anything but a moment of soapboxing.

None of the datagrabbing was used at all as part of the takeover.  It's all magical kid-friendly terminators with no relevance to what anyone's browsing history is.  If the company was one that produced robot assistants instead of a being a super tech monopoly, there would be no narrative difference.

The closest to a predatory tactic that is used in MvM is the offer of free wifi which is used to lure most people into their cells which they happily comply with. Curiously this... commentary of people’s mindless addiction to technology is not acknowledged by the Tumblr Court with the same intensity as the CEO’s speech.

But more constructively, I do feel it’s a missed opportunity that Katie who's supposed to be an extremely online person apparently never said any bad things about her family or made any petty vent films for PAL to weaponize.  Instead an in-media audio at one of the outskirt locations was used to accomplish its Traitor Revealed moment.

IN CONCLUSION

MvM is a movie that involves topics that ought to be touched on and explored properly in media and chickens out on all of it due to possible concerns with age-appropriate handling or because it was more committed to its comedy than whatever it has to say about family, change and how technology affects people.

It also reminded me that I hope media will finally graduate from the trope that if you spec into any ‘outdoorsy’ hobby you are incurably afraid of technology.

[rachelbethhines]

Tangled Salt Marathon - King Pascal

This is, in my opinion, the worst episode of season two and I’ll get into why under the cut. 

Summary:  The group is stranded on an island after a storm. The tiny islanders, the Lorbs, mistake Pascal for their mystical ruler; the chameleon loves the adulation, until he’s expected to protect his people from a vicious monster.

Since When Did You Learn How to Sail, Rapunzel? 

So they hit the storm and Rapunzel starts doling out orders like she always does, but like, she logically shouldn’t know what to do here. She’s only been out of the tower for a little over a year and sailing takes time to learn. There’s been nothing to establish beforehand that she’s learned this stuff. If anything Eugene and Lance should be the one giving the orders here as their backgrounds could feasibly included sailing as they’re world travelers. 

Here lies part of the problem with Rapunzel’s characterization, and I’ve already touched upon it back in The Alchemist Returns, but Rapunzel can’t and shouldn’t be magically good at everything. She can be incredibly skilled in some areas, like acrobatics and the arts, but she also should have lapses in knowellage just due to a lack of experience and expertise. 

A female character isn’t ‘weak’ just because they have to sometimes rely on other characters. They shouldn’t be written to be magically better than the male characters just because they got boobs. That’s not empowering; that’s condescending. Women are people, and real people have varied skill sets and weaknesses that match their interests and backgrounds. 

So Why Is the Island Tropical? 

According to what few maps we see in the show (and yes, they are inconsistent, but bare with me), Corona is somewhere in Northern Europe near an ocean or sea. According to dialogue at the end Forest of No Return, they’ve been traveling east, and according to the map in Rapunzel’s Return, the Dark Kingdom is north east of Corona specifically. Meaning that they must be somewhere in the northern Baltic Sea right now, which is not tropical at all.  

This is part of the problem with Tangled’s ‘throw it all into a blender’ style of approach to worldbuilding. If traveling the world is going to be a major plot point for a season then we kind of need to know where things are in relation to each other. Climate should help determine such things, but if you’re all willy nilly about culture, which climate affects, than nothing is going to make sense. 

My only guess is that the island is suppose to be magical so it has a different climate to the surrounding environment, but that’s just a headcanon and not actually stated by anything in the show itself. I shouldn’t have to be doing the work of the writers for them. 

So Why are We Separating the Guys Again? 

Back in Freebird the writers needed to get Cass and Raps alone in order for them to have their bonding time and a heart to heart, but here, it’s just lazy writing. This is a Pascal focus episode and it requires that Rapunzel interact with lots of other characters, so splitting the group up doesn’t benefit the story in any way. 

The writers just didn’t want to fool with writing for eight characters at one time (I’m not counting Fidella or Owl, though logically they should be considered characters in their own right and not just props for the story, but oh well); which begs the question of why they wrote in so many characters to begin with. 

It’s also an excuse to make the girls seem more competent than the boys, which, as I explained above, is not real ‘girl power’; just bad writing.  

Let’s Talk About the Outfit Changes and How Marketing Affects the Story 

The entire point of this episode and indeed this whole island arc, is just because of marketing stipulations. Every season is required to have one Pascal focused episode and one Max focused episode, because Disney marketing wanted to sell cute animal toys. Another requirement of the story was outfit changes for the mains so that once again marketing could sell dolls and variants and such. It’s why Rapunzel, Cass, and Eugene get so many alternate costumes, while Lance doesn’t despite being with them on this journey too. 

Which is understandable to a point. American television animation has always been about selling toys and merchandise. It’s how these shows make most of their money back. If there’s a show that you enjoy and you want to support it being on the air, you need to buy the toys. Priating doesn’t do jack to the bottom line, it does not affect ratings as most people don't own a nielsen rating box. (an increasingly outdated method to calculate popularity anyways) But whether or not the toys sell is the make it or break it point of every show. 

However, there are better ways to implement these stipulations then how Tangled goes about it. You want to give Max and Pascal focus? Then actually give them focus that relates to the overall plot and not just meaningless filler. You want to the characters switch up outfits and have that tie into the story? Then make sure it fits all of the characters and don’t drag it out more than it needs to be, because this island arc it too damn long. 

And you want to know what the biggest kick in the teeth is? There’s barely any merchandise for this outfit. There’s like one paper doll set and that’s it. The toys for Tangled the Series did not sell and they stopped merchandising the show after season one. Now add in the rating plummet during seasons two and three, and we’re incredibly lucky the show didn’t get canceled outright because it’s by all accounts a financial flop. 

I suspect there was an upfront contract that guaranteed them three seasons no matter what, and that’s the only reason it managed to escape the chopping block and why Chris and Ben weren’t let go sooner from the project. Because Chris at least no longer works for Disney. He left as soon as production ended on the show. 

The False God Trope is Over Played 

I can find examples of this trope dating all the way back to the early 60s, and arguably even sooner than that. However around the 80s, after Return of the Jedi hit theaters, the trope was inescapable in children's media. Every cartoon since has had this same plot shoved in somewhere. It also became paired with the ‘liar revealed’ trope (the bane of my existence) more often. 

And that’s what this is; an incredibly stale take on an incredibly by the numbers story. I kept waiting all episode for the other shoe to drop, for some sort of twist on the usual cliche, but it never came. 

This episode is boring, aggravatingly so. It’s the main reason why it’s in my bottom five. Because while you could argue that really little kids wouldn’t be as over exposed to the trope like an adult such as myself, the writers themselves desperately tried to distance themselves from that targeted audience. They’re the ones that yell ‘it’s not a kid show’, while feeding us crap like this, and I just have to roll my eyes. 

Tangled doesn’t know who it’s audience is. It should be pre-teen girls, but the creators want shoot for an older audience, teens, while marketing wants this to be a preschool show. So the series careens wildly all over the place in terms of tone and winds up satisfying no one. Older audiences are frustrated by childish filler such as this, while younger audiences are exposed to themes and messages that they probably shouldn’t be. I know several parents who have stopped their kids from watching the series because they don’t approve of the toxic values the show prometes in its incompetence. 

It bungles so many of its attempts to be mature because it won’t actually explore the complexities of the plot. Either cause it’s wasting too much time on filler, it can’t explore it’s more disturbing elements to their natural conclusions due to the audience, or it just mistakes ‘shocking’ as deep. 

King Pascal isn’t mature or deep. It’s pointless guff that adds nothing while actively taking away from more interesting storylines. I say skip this dreck and go watch Doctor Who’s The Aztecs instead if you want to see this trope done right with maturity while still being all audience friendly. 

It’s also has the added bonus of featuring two well developed strong female characters who hold their own with the equally capable guys while actually developing all of those characters simultaneously, and was co-produced by an actual woman. If they could pull that off in the early sixties than Disney and Chris have no excuse today. 

This Is the Same ‘Lesson’ As Pascal’s Story

In addition to being boring and unoriginal, this episode is also redundant. Rapunzel already learned to show appreciation to Pascal back in season one. Why are we having her relearn this lesson instead of giving Pascal a new arc? 

It’s not even consistent as Rapunzel only acts this way towards him in his focus episodes. It’s also not a lesson in behaving condescendingly in general because Rapunzel goes on to be condensing to everyone anyways. 

So Did We Really Need This Episode Just to Introduce the Island and the Firefly? 

Yes both of these things come into play later, but not in any significant way. We’re here on this island for four whole episodes and it only comes back for one in season three, and only to further a side character’s story; not the main plot. Also the Firefly will help resolve the plot in five episodes time, but it’s just given a reintroduction there anyways. Why couldn’t this information have been condensed down and repackaged into another episode entirely? 

That’s what I mean by poor pacing. Tangled is not efficient in its storytelling. It drags things out only to give us rushed endings or no resolutions at all. Stop drop feeding info in the backgrounds of filler episodes where it’s not relevant and actually give us stories that focus on the plot, dang it. 

Once Again, Rapunzel is a Hypocrite 

Just like in Pascal’s Story during season one, Rapunzel is quick to show consideration for her oldest friend but can’t be bothered to admit fault to a teenager that she abused. One that she knows is currently facing horrendous and inhumane treatment inside of a jail cell right now and still does not give a damn. 

You can’t claim Rapunzel is a kind and compassionate person so long as Varian and his story exists.You just can’t. Because no matter how you slice it, being a minor means that there is a power imbalance in how adults and the government treats them. A power imbalance that is constantly being exploited by the mains. 

Conclusion

You won’t miss anything other than the shipwreck itself if you skipped the episode. Which is aggravating because it means it’s technically necessary to the on going story without actually adding anything substantial to it. It’s like the series opener all over again, only made worse by how boring and redundant it all is. Worst episode of season two; and now I just want to go watch Doctor Who instead. 

[bookcoversalt]

A+ youtube video! I feel like this is a dumb question, but what other sources, exercises, etc would you suggest for a writer wanting to get better at, like, everything you do in that video? I feel like I'm just not intelligent when it comes to writing and reading. I slap down whatever seems fun and I'm sure it makes for a bland story full of stupid plot holes and everything you talked about, so how does one get better at dissecting this stuff and...writing/reading intelligently?

Thank you so much!! There’s a tendency to consider analytical people just “smart”, as if the observations they make come naturally to them. But that super isn’t true: being thoughtful and critical about media, like drawing or writing or playing a sport or learning an instrument, is a skill that you pick up by absorbing reference, learning the language of the art form, and then practicing replicating it through your own perspective.

ABSORBING REFERENCE

My two biggest critical inspirations are Lindsay Ellis, a video essayist who covers film and culture, and Film Crit Hulk, a screenwriter and movie critic, and I’ve been consuming their work since I was 15. (I’m 25 now! that’s a wholeass decade.) I've picked up many, may other sources along the way: other video essayists, pop culture commentators, TV critics, spirited roasts of 50 shades of gray, actual “writing craft” books and blog articles, long goodreads reviews of books I thought I had a pretty good grasp of the flaws on, funny booktube reviews, even “anti” posts. I read “how the last season of game of thrones went the fuck off the rails” articles til my eyes bled, not because I cared about game of thrones, but because there was so much good, insightful reporting being done on How And Why A Story Fell Apart.

LEARNING THE LANGUAGE

Not all of this is good or useful. There’s a lot of bad faith or shallow criticism out there. The cinemasins clickbaity style of nitpicking “plot holes” or penalizing a work for the mere presence of tropes without regard for broader artistic intent and cultural context is particularly insidious and should die. The people who think twilight is stupid because it has sparkly vampires are missing the point. A LOT of people critique YA in particular from a place of bitterness or bias or misplaced expectations (and so did I, to some degree, for a long time. I’ve worked really hard to grow out of that, I hope). But the point is to seek out content in this vein-- not what I consumed necessarily (I would not wish that many GOT thinkpieces on anyone), but stuff that interests you. The more of this you mindfully consume and the more perspectives you collect and compare, the more context you’ll have for what’s being discussed and the more you'll naturally start to form your own opinions on it. You will learn, slowly, by osmosis, to pull what strikes a chord with you from the noise.

REPLICATING IT THROUGH YOUR OWN PERSPECTIVE

The cool and fun part is that to some extent, your brain will start doing this on its own. You’ll read a book and you'll just notice more. You’ll call plot twists faster, or be more cognizant of the pacing, or connect dots you might not have otherwise connected. You’ll see the logistic scaffolding in your own work more clearly and you’ll be more aware of choices you’re making subconsciously. You’ll recognize thematic hypocrisy or worldbuilding inconsistencies and have the language to name them.

And you’ll also have the tools to explore your less clear-cut, more emotional reactions to art. And this is the most important but “hardest” part of this: sitting with vague feelings and unformed thoughts trying to suss out what’s at the heart of them and why, using your hard-won critical “training” and your contextual knowledge.

I like to frame them as questions:

Why did the end of [book] feel disjointed? Why didn’t I connect with the main character in [book]? What really resonated with me about the plot of [book]? Why does [character] appeal to me more than [other character]? Why does [book]’s use of [theme] make me uncomfortable?

Sometimes it comes down to just preference or subjective taste, and that’s fine and good to know. But more often than not, you’re reacting to something concrete that can be identified: 

The ending of HOUSE OF SALT AND SORROWS feels disjointed because it comes out of nowhere and has nothing to do with our heroine’s efforts in the larger story. I didn’t connect with the main character in HEARTLESS because within the context of the worldbuilding, her choices didn’t make sense. What really resonated with me about the plot of UPROOTED is its thematic coherency. The Darkling appeals to me more than Mal because the villain romance power fantasy aspect of the series is better fleshed out and ultimately more rewarding to read than the love story of two flawed teenagers. ACOWAR’s use of trauma and recovery makes me uncomfortable because it ceases to be a sincere element of anyone’s arc or characterization and becomes yet another tool to make Rhys look like the best and coolest and wokest fae boyfriend.

Pulled from an old Captain Awkward article, this is something I have in a sticky note on my desktop as sort of a criticism guide: 

One of the things we try to do is to push past “I liked it”/”I didn’t like it” as reactions to work. What is it? What is it trying to be? Is it good at being that thing? Was that a good thing to try to be in the first place? Did the artist have a specific agenda? How did it play with audiences at the time? Does it play the same way now? What stereotypes does it reinforce/undermine?

Even if it’s only for your own personal growth rather than intended for an audience, I recommend putting burgeoning critical thoughts or questions you’re trying to “work through” down in writing somewhere: goodreads reviews! tweets! blog posts! spamming your group chat! Even just a private word document. The synthesis of thoughts into written content forces you to identify and choose a specific articulation of your idea(s). If it’s in a pubic or semipublic forum, you’ll also be able to see which of your ideas resonate with other people, and that can (isn’t always, but CAN) be useful information as far as having an external barometer for when you’re onto something.

And then..... you do that a bunch of times in different ways for many years, with a lot of different books and movies and games and whatever else. Like any other skill, you will get better the more you do it. (Again: I have been doing this for ten years now, and it still took me three months to write that video script. Forming nuanced, informed opinions and then articulating them coherently is hard.)

As kind of a footnote tip, seek out peers who have the same goals and feelings, and try to connect with them! Lots of my current internet friends found me back when I was posting on my personal blog about problems i had with THE SELECTION or RED QUEEN and we bonded over having similar opinions and being in similar places in our writing/ reading/ careers. These people now beta read my scripts and posts and help me brainstorm or refine ideas. I strongly believe that creatives (and critics) do their best work and grow the most within a network of support and feedback.

But also, in regards to creative writing in particular, i want to be clear that having fun is the most important thing. I absolutely think creators need analytical skills to improve their craft, but without the enjoyment of doing the thing at the core of it, there is no craft at all. If you have to choose between the "smart” thing and the fun thing, choose the fun thing. Tbh, if you’re worried your work is bland, analysis probably isn’t the solution--  figuring out how to have more fun is the solution. And letting yourself lean into the stuff that’s wild and awesome and so incredibly you that it sets you on fire to write is a skill of its own :)

[semper-legens]

78. Crimson and Bone by Marina Fiorato

Owned?: No, library Page count: 312 My summary: A mysterious encounter on a bridge ends up turning around the life of Annie Stride, penniless sex worker in Victorian London. She thought she had nothing to live for, but now eccentric rich artist Francis Gill has taken her in - both to be his model, and to better her life. But is there trouble in her new paradise? What secrets is he hiding? My rating: 4/5  My commentary: 

Aaaaand we’re immediately back into Dark Victorian Romance territory. This is one I picked up with but a cursory glance at the summary, so I had literally no expectations going in, other than Vaguely Gothic Victorian Nonsense. That’s not quite what I got, but I am not complaining!

Annie is our protagonist, who starts the novel wanting to jump into a river. She’s clever, she’s wily, but she’s had a hard life - sexual assault lead to the life of a streetwalker, her best friend is dead and she’s pregnant and out of money. She is ‘saved’ by Francis, who takes her in and, Pygmalion style, immediately starts to make her act posh and wifely to him, as well as serving as his model. Annie’s an incredibly sympathetic young woman, though the darkness of her narrative straight from the get-go did turn me off a bit. We really get to feel for her as she tries to navigate her new situation and work out when the other shoe is going to drop. Annie has been used for her body so often that it comes as a surprise to her than Francis doesn’t want to have sex with her - seemingly, at least. Still, she’s working hard to play the role he seems to want from her. Often, her narration notes her submissive responses or her praising of him is explicitly because she thinks he expects it of her. A lot of the novel is her trying to guess his motivations and thoughts, which serves her well at the end, when it all comes together. In all, this is her story, and her story of finding some agency in her life. 

Most of the tension in the novel comes from the fact that you know Francis is up to some fuckshit, but you don’t know exactly what. Some parts are guessable - the fact that Annie has a convenient miscarriage the day she goes to his home, after he’s insistent that she drink a posset prepared by him, the odd inconsistencies in his stories, his relationship to his mother, the hasty move to Florence, the particular paintings he wants from her. The mystery was pretty well concealed - I guess the broad shape of it, but not the particulars. He comes across as affable and charming, which is disconcerting given that the reader knows there’s Something Going On. The novel almost tricks you into believing it’s a double-bluff, and Francis really is as charming as he seems. Almost. Guy’s up to some fuckshit, which I won’t spoil, but let me just say that I didn’t see that element coming.

There’s a lot of symbolism in the art of painting, about which I know diddly and also squat, so I think I missed some stuff here. Still, it doesn’t take a genius to connect Francis’ obsession with painting Annie as Mary Magdalene, or Jezebel, or Eve to something strange and psychosexual on his part. There’s a lot of emphasis placed on Annie’s looks, and how they are used - by her to attract customers, by Francis to create art - as well as the Victorian notion of the ‘fallen woman’ being a major theme. Annie is ‘fallen’, but that doesn’t mean she’s worthless as Victorian society would view her.

All in all, a very engaging read, I liked it!

[moved99999999999]

U guys wanna know what I think about that hell hotel show

I feel like twitter’s very tired of seeing ppl talk about Hazbin Hotel, so I putting my opinions on tumblr where they belong. I’m not a “professional critic” by any means, but I’ll try my best given what I know. And don’t worry, I’ll be incredibly nit-picky to suit the internet’s needs.

I’m gonna mainly focus on HH itself instead of Vivzie’s accusations because that's a WHOLE other can of worms to open.

During the time of me writing this, I haven’t watched any YT reviews, but I’ve read a few threads criticising the show, so take that as my social influence bias.

My ted talk is allllll below the cut. Enjoy~

Context: 

My first exposure of Vivzie’s work was her “Die Young” animation that I came across around 2016. Instantly I fell in love with how “smooth” and lively her animation was, and especially the fact that it was hand drawn. Animation like that was extremely rare to come by (and still is) and seeing her execute it so well with such complexed characters was amazing to my fetus self. 

A few years later and I see the first trailer for HH. I instantly went OH I RECOGNISE THAT STYLE AND THOSE CHARACTER TYPE DESIGNS and was looking forward to what it had to offer. 

On “opening day” I watched the pilot ASAP to avoid my opinions from getting warped by all of the key-mash memes and post call-out bitching (literally the extremes of the HH opinion spectrum), and overall.....

I thought it was good. 

Not ground breakingly amazing, not horrifically terrible, but charmingly good.

(Ok now it’s actual review time)

Animation Quality:

As a hand drawn animation that has the freedom to get creative with its shots, a lot of effort was clearly put into how everything moves (it definitely didn’t take any lazy flash puppet shortcuts for the main sections of the show) and I can appreciate that. However it tends to be... rather inconsistent, most likely due to the varying skill level of the animators on the project. It’ll be nice and smooth one minute, and then awkward and choppy the next which can make the viewing pretty confusing at times. I’ll be honest I found myself overlooking these inconsistencies due to the characters and backgrounds themselves being very visually engaging, especially considering how over designed some of them can be (which I applaud the team for handling cuz wow that must have been painful). However, the needle thin and exaggerated art style makes some things incredibly hard to look at. While it helps with adding fancy details, it hurts in catching peoples eyes in the right place.

It’s also chalk full of little details, visual gags, and references that are hilarious to look at if you have the luxury of pausing every two seconds (the news segment and Sir Pentious turf war w/ Angel and Cherri are good places to look). But I feel like these lil details were put in at the cost of some some continuity errors (Charlie not wearing her coat in one shot, and having it back on in the next, papers being blank, etc.) and lip-syncing issues which really shouldn’t be happening considering all of the detail they were able to put in. There are also some shots that have just SO MUCH detail put into them, only to be shown for less than a second. I get that’s the cost of animation sometimes, but save the detail for the shots that need it, because at that point you’re just causing the animators to waste their efforts.

However, I was surprised at how professional the soundtrack and editing was. Not one but THREE songs in this single episode was really surprising, and the variation and quality of each was great (as cringy as Charlie’s song is)

But overall, the production quality is surprisingly good for a project like this, the editing, sound effects, and sound track act like a cherry on top. Of course there are some noticeable drops in quality, but given time and a budget, it has enough chops to look like an actual show.

Writing: 

As far as overarching plot goes, it seems like it’s going to be one of those procedural shows that tries to be serialised, but it’s a creative twist on hell and has an interesting premise to begin with. You can get really creative with seeing how you’d dive into getting redemption out of all of these seemingly lost causes, and I’m sure there are many people willing to know the backstories our main cast. As a pilot, it did it’s job of launching the plot very well, setting up the premise of the hotel and introducing characters in a very engaging way. I was legit really interested in each segment with who in introduced, and it didn’t feel like I was being overloaded with names to remember (which can be a problem for many medias and introductions). The cohesion between each scene is VERY smooth, and I genuinely enjoyed some of the cliché cuts/gags. 

Unfortunately I can’t extend this interest to our main character. Charlie is one of the most generic tropes we’ve ever seen. She’s a boring Disney princess who has a “cute happy positive goal to change her world” and the only thing that would make her more generic is if she wore a dress and cried “I’m tired of being so privileged”. 

(Although it’s impossible to tell, I honestly think Viv is just projecting through her, especially considering how horrifically accurate the hotel’s opening mirrors the internet’s reaction to the pilot itself)

I would be more forgiving if she was a supporting character or someone less important, but she’s the freaking protagonist, arguably the character that has to be the most interesting. Angel’s personality seems to be “flirty porn star”, and while that’s just as bad as being a boring Disney princess, at least he gets a few jokes and has a profession more interesting than Charlie’s. Around the end of the pilot he just seems like he’s getting involved because Viv likes giving him attention. If he’s supposed to be leeching off of the hotel, wouldn’t not care if it survives or not?

(There’s that whole stereotype issue that everyone keeps bringing up, but I genuinely think that’s BS because people are blatantly ignoring the fact that Angel is a porn star, Vaggie is portrayed as helpful, and that the show takes place in H E double hokey sticks.)

The transitions may be smooth, but the dialogue pacing can get really awkward at times. This paired with the animation sometimes having awkward quality drops makes some movements incredibly jagged, and has some detailed shots show for incredibly unbalanced screen time as mentioned before. 

I don’t have enough to give voice acting it’s own section so I’m just popping it down here:

The voice acting is legitimately better than several big name projects I know. It’s consistent, great at expressing the character’s mood properly, and each voice fits each character perfectly. My only gripes are that Alastor and Sir Pentious tend to grain on you after awhile due to them keeping a single tone for too long. 

Character Design: AKA the only thing I have legitimate experience with.

First thing’s first. The characters are WAY too over designed. There are so many markings and accessories that are incredibly unnecessary. I think the mindset for these characters was “the more complicated and attractive the better”, which makes them look like they’re designed by an edgy tumblr artist (heck I fall for this too some times).

Especially if a character is going to be animated, you have to keep in mind the value of simplicity. You absolutely don’t have to fill in your character with markings and trinkets to make them look unique, I mean just look at the gen 1 pokemon starters. Thanks to the limitations of the game, the sprites were forced to be simple, and it was that simplicity that made them such unique and varied creatures. You can tell Blastoise is a bulky water blasting turtle just with a quick glance. 

Many of the characters suffer from over complication, but I’ll look at Husk for example. He has these stripes all over him that do not contribute to who he’s supposed to be at all, and only look like they’re added to make him more unique. The markings that DO help are the little card suite marks on his wings, because those at least infer he’s linked to a casino/gambling type of theme. I would say his outfit helps as well, but formal wear and bowties are worn way to often by the main characters, which brings me to another problem.

They may look different, but they feel way too similar. From the same skinny body type, to generic head shapes, to outfits, the focus characters just don’t stand out amongst each other. Even the ones with interesting features still suffer from feeling generic. I’d say Sir Pentious is a good example of this. He has a serpentine/naga body and clever hair style that make his concept really creative, but his skinny body type, complicated eyes all over his tail, and generic “young but supposed to be at least middle aged” face just push him back into obscurity. He’s even wearing the SAME outfit as Alastor (who's an even worse offender of that generic face problem), and unless Viv has some plan to link the two, I’d say the characters need to stop using a dress code.

A successful character design can to tell you who the character is just by looking at them. You should be able to tell if a character’s personality, function, age, the universe they belong in, and if they’re important or not, and that’s a big problem when it comes to the background characters. If you pause on one of the extras for a minute you can see all of the effort put into designing them, and that takes away so much attention from the main cast. Not only that, but they have actual variations in their body types and outfits, which makes them more intriguing than who we’re supposed to be interested in.

Regardless, this pilot has potential, and if they can get someone to comb out the flaws, you can end up with something good. No one can deny a legitimate animation was made here, and the team successfully executed the start of a story, and that’s something anyone can look up to.

TLDR: The pilot is good. It has some major flaws, but it has potential to be a good show.

If you actually read this far epstein didn’t kill himself.

[artemis-entreri]

[[ This post contains Part 2 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

I. Introduction

II. Positives     II.1 Pure Positives     II.2 Muddled Positives

III. Mediocre Writing Style (you are here)     III.1 Bad Descriptions     III.2 Salvatorisms     III.3 Laborious “Action”

IV. Poor Characterization     IV.1 “Maestro”     IV.2 Lieutenant     IV.3 Barbarian     IV.4 “Hero”     IV.5 Mother

V. World Breaks    V.1 Blinders Against the Greater World     V.2 Befuddlement of Earth and Toril     V.3 Self-Inconsistency     V.4 Dungeon Amateur     V.5 Utter Nonsense

VI. Ego Stroking     VI.1 The Ineffable Companions of the Hall     VI.2 Me, Myself, and I

VII. World Breaks     VII.1 No Homo     VII.2 Disrespect of Women     VII.3 Social-normalization     VII.4 Eugenics

VIII. What’s Next    VIII.1 Drizzt Ascends to Godhood    VIII.2 Profane Redemption    VIII.3 Passing the Torch    VIII.4 Don’t Notice Me Senpai

Mediocre Writing Style

I admire some authors for their lyrical phrases, some for their poignant imagery, some for their rapid-fire dialogues, and with so many others, for their ability to show a true mastery of language. I have never felt this way about Salvatore's literature, which will probably never win any awards for its diction if it remains consistent to its current level of quality. Salvatore has his moments, which I've described in the previous section, but sadly, they range from being vastly to overwhelmingly dwarfed by the rote and tedious writing practices he employs. It doesn't help that in addition to the employment of unimaginative diction, Salvatore writes a lot of long and laborious scenes full of words that serve little more than to fill up space. There is so much telling instead of showing, a problem further compounded by the exhausting amount of poorly-chosen anecdotes which he relates that, despite being a nonstop action book, Boundless is very hard to pick back up after putting it down. And, of course, there's the repetition of the same themes, of the same kind of things happening to the same characters, that certainly doesn't help the predictability.

Bad Descriptions

For every good turn of phrase I mentioned earlier, there exists a score of bad ones. If I were to give examples of all of them, with the other things I'd like to discuss, this article would end up being as long as the novel itself, so I'll simply point out the most cringe-worthy ones. 

The metaphor that takes the cake for the worst of the book is, "The horde had come, and now it pounced upon them misshapen humanoid forms, the wretched lesser demons known as manes, shambling out of the brush like an army of humans risen from the dead." Basically, what is happening here is that Salvatore pretty much wrote, "those demons came shambling out like zombies". It doesn't matter how much one dresses up a turd, the most one gets from the effort is a fancier-looking but just as stinky piece of excrement. Furthermore, the dressings that Salvatore uses in this example are flimsy and unsatisfactory in substance, with the vague adjective "wretched" that's as descriptive here as his customary usages of "magnificent"/"fine" and the tedious repetition in "humanoid" and "human". Additionally, it begs the question of why Salvatore specified an army of humans in a world in which the undead of all races would shamble, or, better yet, why not simply say "zombie", for a zombie is a prevalent and known theme in both the Realms and our world. It would've been one of the few ways Salvatore uses a shared concept without incurring a world break like he normally does. 

A close second in the diction mediocrity contest is, "as if Yvonnel's breath, blowing them out, was that of a magical dragon, one designed specifically against the life force of a demon." Why a "magical dragon"? Are there non-magical dragons that breathe magic? Not that there exists a type of dragon in Forgotten Realms lore with a breath weapon that is specifically designed against the life force of a demon. However, as is par for his course, to counteract lore not agreeing with his lazy constructions, Salvatore doesn't bother to research an appropriate in-universe analogy. He completely invents one but doesn't actually develop it, not that doing so would be appropriate in this context, but the creation of it is wholly unnecessary for the sake of a poor analogy. 

Another awful passage is, "with horrid creatures -- half drow and half spider -- all around the drow women and filtering back through the many shadows of the forest. Scores of these horrid mutants milled about..." It's bad enough to use the adjective "horrid" in an empty and vague way, but to do it twice in quick succession makes it seem like Salvatore doesn't know how to describe driders. By itself, a half-drow half-spider creature isn't inherently abominable. There's an increasingly large number of art pieces featuring dark elf arachnid centaurs, with beautiful humanoid faces and torsos attached to streamlined spider bodies that would even give arachnaphobes pause. What makes driders menacing, which Salvatore has described himself in the past, is that they're not these romanticized images of spider centaurs. Their humanoid torsos, rather than looking like they should belong to supermodels, are bloated and misshapen such that they're more reminiscent of the flesh beasts of nightmares. They have vicious mandibles protruding from their cheeks, sometimes multiple insectoid eyes, making their faces look more decidedly non-elven even with pointed ears. Admittedly, the physical appearance of driders has fluctuated through the D&D editions, but it's as though Salvatore couldn't be bothered to look up what their current iteration is. Maybe he did try and couldn't find a definitive answer, in which case he could've approached the drider's description in a more evocative way, for example by describing how the tips of their arachnid legs were sharp like swords digging into the earth, or perhaps by mentioning their aura of menace as they regarded the dwarves whom they towered over with hungry anticipation, as though the shorter folk were their cocooned victims waiting to be devoured. Or, even referencing how the driders came to be, the excruciating transformation process and fall out of favor with their goddess, both of which would've rendered them at least slightly unhinged. 

Some descriptions consist of fewer words, but are just as bad. For instance, Jarlaxle's bracers are at one point described as "magical wrist pouch". This evokes an imagery of literal pouches hanging from around his wrists, dangling like a pair of testicles in the wind, testicles that shoot out magical daggers into Jarlaxle's hands. Another similar example doesn't contain an analogy but is just as bad is, "a smallish man dressed in finery worthy of a noble house. His face was clean-shaven, his hair cut short and neatly trimmed." This description is so ambiguous and features adjectives that have been applied so frequently to other characters that it could have easily been Artemis Entreri, except it is someone quite different (Kimmuriel Oblodra). Putting aside how jarring it is to use "man" to describe male drow, there's a world break here in that drow shouldn't need to be clean-shaven, as they can't really grow facial hair, but at least there's the nice detail that Kimmuriel is apparently short-haired, contrary to what many assume of him to have long hair. Nonetheless, what happened to the usage of the word "short"? Furthermore, why not just state a height for Kimmuriel and put it into his character bible? To be fair, I've speculated that Salvatore doesn't use character bibles, but it's never too late to start. 

Salvatorisms

Boundless sees a return of what I've dubbed “Salvatorisms”, which are clichés and poor sentence structures that Salvatore abuses frequently. In Boundless, there's more than just those Salvatorisms dragging the narrative down. It's disappointing to see a professional author, especially one who'd been working in the field for over three decades, fail to follow a rule taught to amateur writers. Making the New York Times' Bestsellers' list does not make the usage of clichés, such as "merry band of misfits", acceptable. Especially considering how it's not even appropriate in the context that it's used for, namely, describing Bregan D'aerthe. Even though it's a priestess of Lolth who is considering the mercenary band this way, it's so incredibly unlikely that she'd think they were jolly, which the meaning of that cliché specifically includes. 

In Boundless, we also see a return of the “how [character] [action]ed!” sentence construction, after a refreshingly complete lack of any in Timeless. This is one of Salvatore's favorite ways to tell and not show, for stating how a certain thing performs a certain feat doesn't, ironically, actually ever convey how that thing is done. There's a new overused Salvatorism to add to his cliché stable, namely, the “up went”, “down went”, and other similar ways to open a sentence. There's nothing wrong with these kinds of phrases when used sparingly and with variety. As it is, the flavor of the text is quite intolerable, seasoned as it is with an excess of one type of additive. By the same token, in a fight scene between Arathis Hune and Zaknafein, Zaknafein's superior prowess is indicated by the sentence, "Except Zaknafein wasn't there". This sort of device can be effective to convey surprise and the unexpected, again, when used sparingly, but unfortunately, it is yet another one of Salvatore's favorite writing practices. The sentence is hardly even a proper sentence, but is used as its own paragraph.

The telling and not showing approach in Boundless extends beyond the diction. On numerous occasions, it's almost as if Salvatore couldn't be bothered to actually demonstrate how something is true, but instead, just tells us that it's the way it is. One way that he does this is through the usage of rhetorical questions, for instance, "Could anything be more invasive and traumatizing than having your body stolen from your control and turned against you?" I'm not sure if any of his readers can actually answer that question from personal experience. It's almost as though Salvatore did that purposely to minimize the possibility of someone realizing that different strokes exist for different folks and that the most traumatizing scenario for one person could be very different from that of another person. That aside however, a question like this leaves little room for imagination, and is even a bit bullying, for it corners the readers into having to answer "no" even while the scenario painted prior to it was not powerful enough to solidify that impression. 

Another way that Salvatore tells rather than shows is to use empty comparisons that lack a frame of reference. For instance, the reader is to understand Athrogate's strength and resolve through, "A lesser fighter would have fallen away in terror. A less sturdy person would have simply melted before the reeking horror." The problem with these statements is that they don't serve any purpose. They state the obvious, and are a poor attempt at being evocative. They have the same effect as simply stating that Athrogate stood his ground and didn't falter, except being more verbose and less effective. 

It's not just word usage that's repetitive. Boundless sees a continuation of the theme of having the same sort of things happen to the same characters. It's as though each character is a designated target for certain motifs, with those motifs not being applicable to other characters. For instance, Entreri appears to be the go-to target for torture, and after being made the one with the repeated childhood sexual assault, the sexual victimization in Menzoberranzan, the victim of rape by a succubus in Neverwinter and the over seven decades of enslavement, I'm getting very sick of seeing him the victim of yet another long-term grueling experience. Meanwhile, Drizzt is as holier-than-thou and full of sanctimony as he was in Timeless, and it's not a flattering look for him. I'm not sure if Salvatore thinks it is, but it isn't so much character consistency as stubborn obnoxiousness. In Drizzt's journal entry, he writes, "I fear that Zaknafein's transformation will not come in time to earn friendship, even familial love, from Catti-brie or from our child, and in that instance, it will not be in time to earn the love of Drizzt Do'Urden." Drizzt then goes on to state, "But he is my family by blood, and she is my family by choice. I have come to learn that the latter is a stronger bond." While the message that's attempted to be conveyed here is a very important one, the validity of it is harmed by the context. It's very unfair for Zaknafein to be presented as though he were more akin to the other Do'Urdens instead of the unconditionally loving father who didn't hesitate to put himself in harm's way, including dying in excruciating and humiliating ways so that his son could have a chance at freedom. This is yet another scenario in which Salvatore creates unnecessary drama while ignoring facets of his story that have genuine dramatic potential. Zaknafein is not the type of character with whom Drizzt should have to choose between family by blood and family by choice, as he's already shown that Zaknafein is trying his best to adapt to the new world. It is true that there are few opportunities for Drizzt to flaunt his moral beacon in Boundless, but there's nothing wrong with that, and should've just been left as it is, but it's as though Salvatore can't write a Drizzt novel without Drizzt having to be sanctimonious and preachy. It was wholly unnecessary to villainize a non-villainous character to repeat some of the same old tired writing practices. 

Also in the category of repetitive and tired themes, albeit one that doesn't further butcher the characters, is the catching of projectiles in one's cloak. This is a phenomenon that happens so frequently in the Drizzt books that had a reader no knowledge of the purpose of cloaks, they might think that their main purpose is to act as an anti-missile system. Cloaks originally became common because they protected the wearer from inclement weather while allowing access to the wearer's worn possessions. In D&D and other games, it became an additional equipment slot and as such, gained an practical value as well. A cloak without enhancing properties would actually serve as a detriment in a fight, acting as a loose and difficult to control extension of one's body that can be easily grabbed by the opponent, something that's accurately made a point of in The Incredibles. I suppose that there could exist a magical item like a Cloak of Missile Catching, but this isn't what any of Salvatore's characters ever wear. It's difficult to give Salvatore points for coming up with a creative use for what's basically an aesthetic item because it's just so impractical and unrealistic. It doesn't help that he repeats this motif so much that it approaches ego-stroking levels.

The second most major contributing factor to Boundless' tediousness is the obscenely large amount of recollections strewn throughout the book, making them overall more unsightly than the plastic polluting our modern day oceans. In the scenes set during the current timeline, almost at every turn we're given a history of what so-and-so is, or who so-and-so have associations with. These reviews, although brief, make up for their concision with their frequency. I can understand why Salvatore does this, for Timeless wasn't as standalone as he'd hoped, but his attempted method to rectify this fact in Boundless is more distracting than enlightening. Especially considering that much of the reviewed content is along the lines of, "Drizzt, trained in the ways of the monk by Grandmaster Kane", ergo, telling us how awesome Salvatore's protagonists are rather than shedding light into the significant events that shaped what is happening in the current book. When a significant event is mentioned, it is done so in such a cursory way that all a new reader would know is that something happened in the past that relates to what is happening presently, but otherwise it's like explaining different colors to someone who's never had vision before. For instance, "this was a trick Kimmuriel had used before, and very recently with Drizzt in Menzoberranzan, creating a telekinetic barrier that absorbed the power of every strike, magical or physical, holding it in stasis, ready for the magically armored person to release it back." This recap does manage to explain the relevant mechanic, however it also alludes to a very significant event, yet it's unclear what the purpose of it doing so is. The reference to what Drizzt did in Menzoberranzan doesn't say enough to allow anyone who hasn't read Hero to understand, but someone who's read Hero should remember the details of the climax of the book. So much of what Boundless presents is like this, retreads that make the novel tedious to read for those who have been reading, and probably only serve to further confuse those who haven't. Who is Salvatore writing for, then? Those who continue to throw money his way but never pay enough attention to what happens in his books to remember the climaxes? Are these the kinds of people that any author should point to as "proof" of their literary excellence?

Laborious "Action"

The one aspect that drives most of Boundless' tediousness is the sheer amount of long and boring action sequences that are wordy and not much of anything else. Salvatore's action scenes are more reminiscent of IKEA furniture assembly instructions than descriptive imagery, except that IKEA instructions are actually visual enough for one to use in constructing a pragmatic (and sturdy) physical object. Salvatore's action scenes are reminiscent of the type of smut in fanfiction that gives fanfiction a bad name, namely, cut and dried descriptions that are more like making a grocery list than painting a picture. At the very least, Salvatore's action scenes are not too anatomically ridiculous (yet), which makes them slightly better than the kind of fanfiction referenced. 

An example of a grocery list action scene is as follows:

There's so much going wrong in this passage. The inconsistent specificity of each element makes the whole feel like an incongruous collection of parts. Jarlaxle hooking his fingers on a jag in the stone is clear enough, as is flipping over, and rolling his feet can be understood even if vague, but how all of that ties together is as clear as a chunk of obsidian. How Jarlaxle pulled himself around the base of a mound isn't articulated, other than that he did it while keeping his momentum, which is superfluous because any acrobatic maneuver would keep its momentum because momentum is what makes those maneuvers possible. It's like the only basic physics concept that Salvatore understands is gravity, because "he fell with gravity" is one of the few things he doesn't spell out in his action scenes. In any case, specifics like if Jarlaxle went left or right aren't what's needed, but rather, how about some evocative imagery like, "he snapped like a whip around the sharp turn"? I'm not saying that's the correct analogy to use, I honestly don't know, because I have no idea what's supposed to be going on in this passage. The same is true of what's said of Zaknafein, which while a bit better, is still painfully dry. Some of the stuff doesn't make sense, for instance, how did Zaknafein leap on the wide base of the stalagmite? The base of a stalagmite is that which the stone formation grows out of, inside the rock itself, does Salvatore mean that Zaknafein propelled himself off of the side of the stalagmite near its base? The rest of the sequence, it's unclear what Zaknafein is flipping over and running along. Is it still the same stalagmite, or a different stalagmite? All of that is just words words words, except, of course, the one thing that's clear enough: that Drizzt is awesome and so is his dad.

Another grocery list action scene is, "A glance left, a glance right, and off he sprinted, up the side of a stalagmite mound, leaping, spinning, somersaulting, to hit the ground in perfect balance and at a full run." What this scene brings to mind is more along the lines of a Driver's Ed course followed by the Sky Dancer toy from the 90s rather than the agile moves of an acrobat. Again, an excess number of words are used to little effect, and all that's conveyed is, "Zaknafein is awesome". I almost feel like he should be clad in skin-tight black leather and be wearing high-tech sunglasses.

Yet another example of writing that only conveys how awesome Salvatore's characters are is, "the barbarian came to realize that this foe was far more akin to Drizzt or Entreri than to what he'd expect from a pampered Waterdhavian lord. The man's sword worked in a blur, every movement sending it at Wulfgar in a different angle, sometimes a slash, sometimes a stab, sometimes a punch from the hilt." The first sentence in this passage, although not describing any action, tells us a lot more about Wulfgar's opponent than the second sentence, which does actively describe the man's actions, even to a new reader whom wouldn't know about Entreri's history and what makes him what he is. Furthermore, there's a stuttered nature to the second sentence, with the "blur" description disagreeing with the choppy rhythm of the specified attacks. Rather than a blur, the noble's attacks feel more like a predictable pattern of programmed thrusts from an automated training dummy. 

Boundless wouldn't be the first Salvatore book in which I'd wondered if he'd confused himself with his writing. One example of what leads me to think so from this novel is:

What is even going on here? Did Salvatore switch Zaknafein and Jarlaxle's names by accident, intending for Zaknafein to be the one caught by surprise? Zaknafein's "don't wait for us!" suggests that he knows what's going on and has some level of confidence in the circumstances, yet as is demonstrated later in the passage, this is not the case. Indeed, later in the sequence (not shown), Jarlaxle is the one in control, deploying a back-up plan to guarantee their safety amidst the chaos. Yet, it's unlikely for Jarlaxle to scream, and Zaknafein to gasp, so perhaps Salvatore meant what he wrote. It's all too convoluted to tell, however. Further, while its a trifle nit-picky, wouldn't the command to "Let 'em fly, boys!" come before the quarrels were discharged? I mean, these are quarrels that do make things like stalactites explode, both powerfully AND beautifully, but dwarves have a lot of discipline.

Perhaps the most tedious action sequences are Zaknafein's extensive training montages, like the one in chapter four. It takes up literally forty percent of the chapter and proceeds in excruciatingly dry detail. The entirety of it is too long to quote here, but there are a lot of statements like, "hands across his belly to grab the hilts of his swords at his hips, right forearm over left", "he turned his right wrist as that sword came across bringing it vertical in its sweep, then shortening the cut, while the left went across perfectly horizontally, with full follow-through and even a step with the left foot in that direction", "he went to a series of same-hand, same-hip draws, where he brought forth the sword on his left hip with his left hand, right hand for the right", and so on. It's like Salvatore is writing The Dummy's Guide to Drow Swordfighting, as these sentences are more like step by step guide points than flowing combat moves. It's actually worse than that, because more than likely, these moves are more theatrical than actually practical, such that anyone who followed such a guide would indeed be a dummy, and quite a dead one at that if they expected to survive in drow society like that. And there's just so much of it, such that it begs the question of if Salvatore had a word count quota that he had to fill.

Finally, after a refreshing break away from it in Timeless, the standard Salvatore C-rated Hollywood stop motion fight scenes are back. Speaking to many members of the SCA and historical combat re-enacters and fencers, including ones who have read Salvatore's books, have taught me that most of the combat scenes, specifically concerning the usage of swords, are totally wrong. A consensus among the actual martial artists is that there's a lot of slashing when there should be stabbing, and the way that the characters conduct themselves in combat is more akin to sports than martial arts, being particularly evocative of hockey. It isn't surprising that Salvatore's inspiration comes from hockey, that is what he knows after all (more than swordsmanship and D&D anyway), but it seems that rather than improving his knowledge with research, he supplements it with popular themes in movies. Something like, "slowly they closed, though, until they were but a few strides away, when both, as if some silent understanding had passed between them, leaped into the air and roared" feels more like a transcription from a live action sequence, for in reality no purpose is served for two combatants to leap at each other roaring. It's a waste of energy, especially as the two have been aware of each other's prowess for a while and are not easily intimidated. If this scene was something that we were watching rather than reading, the sound effects might enhance the the drama, and while imagined sound effects can do the same for a written scene, something as bland as simply "roaring", just makes the whole scene banal.

[xfirecorex]

Spicy Steven Universe opinions

Everyone and their dog has done an SU analysis but I have my own take so here we go.

I want to state that I don’t hate the show, in fact I really like it in spite of its flaws. SU is amazing with its characters, foreshadowing of plot elements, and background art.

Steven Universe is a show that tries to do a lot. It’s for kids but also adults. It’s a comedy, but also a drama. It’s fantasy, but also slice of life. And I think trying to be all of that is this show’s biggest struggle. The crew seemed like they had a ton of ideas, but no real plan of how to implement them so they just shoved them all in there.

Rebecca Sugar is an incredibly chill and nice person, but I think she needed to put her foot down more during production.

She has stated before in interviews that she wants to let the story boarders’ individual styles shine through but this resulted in inconsistent animation and episodes written out of character. It’s pretty clear that the crew had a vision, but the execution of that vision was sloppy, rushed, and inconsistent.

Pacing and scheduling was another huge issue, but I can’t blame the crew because they had no control over airing times. SU came in at a transitional period where streaming hadn’t yet taken over as the default way to consume media in the US and I think that was absolutely a factor. SU’s pacing is a lot better without 6 month gaps in between batches of 5 episodes.

SU has gotten a lot of criticism for “redeeming” the vast majority of its antagonists, with complaints that this is overly naïve and unrealistic.

That’s wrong on both counts. Not all of the antagonist have been redeemed, (the diamonds especially were not they were just putting on an act for Steven) and the show was never meant to be realistic, Sugar has stated in interviews that Steven universe is meant to be an idealistic fantasy. Whether this is a good thing to be showing to kids is up for debate, but that was always the intention.

I will say though that there are a lot of times that SU does not feel like a kids show at all. There’s a lot of sexual themes that are inappropriate for kids (even older ones) and some content that even makes adults uncomfortable.

I feel that way about a lot of modern cartoons, that the creators of them wanted to make a show for adults, but because of the stigma of “animation is for children” here in the United States were forced to make it fit the kids mold.

So basically, there is a good show buried in there, you just have to have a lot of patience to get through it all.

[once-and-future-alaskan]

Considering I apparently decided to spend the past three days binging Archer derivatives, here's Pacific Heat vs Moonbeam City.

Pacific Heat: for the record, I honestly only watched this because I comfused it with Moonbeam and only realized it wasn't when the last episode ended and the scene I'd been watching for never came up, so we're already off to a bad start. There are a lot of problems with this one visually, the animation is ugly, no one ever turns their head, everyone is always at a left facing 3/4th view, and the actual visual style is really flat and ugly.

Comedically It's incredibly stale. Most of the jokes come from everyone but the blonde one, Maddie, being too dumb to live. This is made worse by the fact over half the cast has no defined role beyond idiot fuck up, 2 of the 4 main characters are completely interchangeable and forgettable while the main dude is just as dumb while also being a womanizer. Each of the main characters has one joke that is repeated multiple times an episode and it is just as predictably dull as you're thinking. Frequent unfunny racial stereotypes and fat jokes are also the shows bread and butter with the main """villain"""" being an Asian businessman who talks exactly like a south park character of the same ethnicity. It suffers from the Meg effect of insisting a character is something different when they're drawn exactly like everyone else, in this case insisting Maddie is overweight despite the fact shes just as thin as the other girl on the team which just gives them more excuses for unfunny fat jokes.

Narratively it just doesn't work, they're supposed to be police officers but in at least 4 of the 13 episodes they end up being sent to foreign countries doing special forces shit and two more where they act as personal bodyguards for foreign dignitaries. This doesn't work because it's inconsistent with the theme, that being cops in Australia. This should be a parody of a police procedural but instead, it's trying to do Archers seasonal setting changes in one season without the commitment, this wouldn’t be so bad if it wasn’t for the fact the main cast are literally always together meaning there are no subplots to break away too. Overall it isn't explicitly painful to watch but good lord should you steer clear of it.

Moonbeam City: I honestly only remembered this show because of a clip I stumbled across on YouTube ages ago, it stood out in my mind largely for the aesthetic. Visually this show pops, it's like a synth vaporwave fever-dream that's absolutely drenched in neon and it super works. I would unironically love another show with this aesthetic. It also helps that the actual characters and art look good, so while the color is the strongest aspect it's not the only thing holding it all together.

Comedically it's solid, the characters have well-defined roles and personalities. They're definitely just archetypes don't get me wrong, the stern serious chief, the idiot womanizer, the straight woman, the idiot comic relief rival, it's not groundbreaking but the important part is it works! Additionally, while some characters do have a gag it's usually only visual and is used sparingly. While the show doesn’t break new ground the jokes land more often than not and I can’t really think of any that were explicitly bad.

Narratively it’s consistent, setting stays in the one city and isn’t constantly globe-hopping. The characters are cops, neon-drenched incompetent cops but still. They do cop stuff with an occasional aside but there’s usually at least one side plot to cut away too that’s more “on topic.” While I wouldn’t call it amazing or a must see life-changing watch, I’d say it’s definitely a solid way to spend an evening. 

[yurimother]

LGBTQ Manga Series Review - Kiss and White Lily for My Dearest Girl

The tenth and final volume of Kiss and White Lily for My Dearest Girl is finally out in English, and honestly, I expected this moment to feel more climatic. This long-running series debuted in 2013 and quickly became one of the most consistently popular Yuri works in the current era. However, perhaps because of its relative longevity, it always felt like the background; The consistently safe and trope-filled home I could return to after exploring new and exciting Yuri works. There is often something comforting about home, and many of the cute kisses and relationships featured are joyful and entertaining.

Kiss and White Lily for My Dearest Girl is a Yuri manga series by Canno. It follows numerous couples at Seiran Academy, a fictional middle and high school with a sister university. The common themes and tropes of the Yuri genre riddle the work. Some are seen in individual couple’s stories, while others, such as the all-girls school, style of uniforms, and repeated girl meets girl then love narrative. While these tropes are by no means a negative, being a fan of this genre would be impossible if they were, they are such old hat for Yurijin that they become dull, and Kiss and White Lily does little to forward or subvert them. In this way, the series feels like a showcase of the genre, a series I can thrust at people and say, “you want to learn about Yuri? Then read this” (an honor I usually reserve for Whispered Words). In short, the series is enjoyable but tiring and predictable.

Before I get into the spoiler-filled breakdown of each couple, there are a few overarching elements to note. It is achingly sweet, not in a heartwarming way, but an “I just a bit down on cake and have a cavity” way. Nothing in the first few volumes has any real consequence or impact; it is just cute and stupid. Now I like cute and stupid, but it has to be fun and enjoyable to read, and at first, this is not. Many characters lack chemistry, and often, the drama is caused by their own nonsensical choices rather than from the complications that come with relationships or friendships. If I do not like these characters together, I do not want to see them hugging and kissing and being cute.

You may have noticed that I spoke of how I enjoyed the series but then went on a rant about how weak the plot is. Fortunately, as the series goes on, the writing improves drastically. Characters who are in or are moving towards relationships, mostly, have compatible traits, and with stakes grounded in some form of reality. The What’s Behind the Story!? Sections, single pages devoted to the perspectives of random other characters and couples, are another welcome addition. Here, the lack of consequence or chemistry works, as each is given only a few moments to give a one-liner or snapshot of service. 

The artwork in Kiss and White Lily suffers from a similar problem as the plot. It is too adorable for the sake of being adorable. Kurosawa reacts with a huge smile and sudden anthropomorphic ears far too often in the early volumes. There are other inconsistencies also, mainly in tone. For example, in the first volume, there is a moment where one character is being introspective and dramatic, when suddenly, in a moment of metaphoric imagery, another is holding a gun to her head. This scene is awkward and unnecessary. No other moment uses such visual tricks to illustrate emotional conflict, and it is completely removed from the rest of the work. Finally, the artwork is cluttered. Almost every panel has so much crammed into it feels overwhelming.

However, just as the problems with art and story are similar, so are the solutions, time. As Canno continues, the art drastically improves. It takes on a more consistent tone, relies less on visual tricks, and quickly becomes one of the series’ highlights. Seeing the characters be gentle and affectionate will put a smile on all but the most begrudged reader’s face, especially with the more likable characters. Canno also makes frequent use of beautiful double-page spreads, many of which I have bookmarked so I can refer to them when I need a smile.

Now that I have gotten those points out of the way, I can get down into the meat of Kiss and White Lily for My Dearest Girl, the couples. There is an explosive plethora of pairings in this series, and I love it. Each feels unique, has a compelling story (mostly), and a satisfying conclusion. Every reader will easily find their favorites or see their own life reflected in one of these cute couples.

Ayaka Shiramine and Yurine Kurosawa are the principal couple of Kiss and White Lily, and their courtship spans all ten volumes. Unfortunately, they start out as one of the weaker couples in the story. Shiramine is the model student, working hard, helping out at the school, and getting high grades. However, she is consistently ranked second in all tests (teacher’s side note here, publicly posting student’s grades has been shown in research to be horrible for student achievement by multiple studies) behind Kurosawa. However, unlike Shiramine, Kurosawa does not try at all; she usually sleeps through class and does not participate in school activities, and succeeds only by her “genius.” Kurosawa’s effortless achievements anger Shiramine, and she confronts her about it. However, Kurosawa is pleased by the notion of Shiramine beating her and begins to aggressively pursue a relationship (the aggressive gay woman is the worst trope. Consent and enthusiasm are a central part of romance).

In what seems to be a running theme for this series, Shiramine and Kurosawa’s relationships improve as the books go on. First, Shiramine becomes less of a stereotypical tsundere character, as her motivation for being the best is revealed, a cold and frankly awful mother who scoffs at her daughter’s achievements. Likewise, Kurosawa, who starts incredibly inconsistent, moving from peppy to cruel to bored within the span of a few pages, settles down into a more calm character, with her enthusiastic love for Shiramine intact.

The beginning of their romance was weak, mainly due to their personalities and lack of chemistry, but the end conclusion was incredibly satisfying. Kurosawa realizes that she came to love Shiramine because she thought the perfect student could beat her and make her a normal girl, not a genius. However, in the end, she realizes that it was not their grades, but the ways Shiramine drew her out of her shell and THE FRIENDS SHE MADE ALONG THE WAY that made her a better person. Shiramine changes too, becoming more courageous and finally standing up to her horrid mother, thus breaking the spell the woman had over her and freeing Shiramine of her burdens.

In the final volume, Shiramine realizes that she likes being with Kurosawa and that their rivalry was her favorite part of the school. These feelings are all admitted in a fantastic speech she gives to the incoming students. I was smiling throughout the whole second half of Volume 10 as their relationships reached its inevitable conclusion, and for that, I offer praise.

Mizuki Senoo is the star of the track team where Moe Nikaidou, her longtime friend, is the manager. These two are one of my favorite couples, but they also have the most problems of any. Both girls are entirely captivated by and devoted to each other, so much so that they become codependent. However, the way they address this codependency is horrible. Moe suddenly stops talking to Mizuki, which severely distresses the athlete and leads to poorly written angst. There is no logic, only nonsense choices made for the sake of plot. Of course, they resolve the issue, everything is happy and pleasant, and they decide to be together forever. And then (and this is my favorite part) they graduate and go to university and live together! This action is perhaps the one time that Kiss and White Lily manages to forgo the conventions of the genre and begins to approach queer representation. Mizuki and Moa are no longer bound by the walls of the high school, the confines of Catholic school style uniforms, the tropes of Yuri, but they are free adults who love each other and are together. It is a perfect ending, which does not excuse the atrocious middle. 

Volume 2 introduces to Chiharu Kusakabe and her roommates Maya Hoshino and Ai Uehara. These three are close and live together perfectly. However, as Maya is older than Ai and Chiharu, she will be graduating soon and leaving them behind. Chiharu struggles with her conflicted feelings for her senpai, with whom she has fallen in love. On the one hand, Chiharu wants Maya to be happy and go to a good university; on the other, she selfishly wants her to stay close. Chiharu begins to close herself off, but then she meets the stubborn (idiot) Izumi Akizuki.

The two girls start a sort of reluctant friendship, where Chiharu waits outside the school each morning to chastise Izumi for riding her bike, which is against school rules. However, Izumi does not stop riding her bike, and Chiharu never reports her. They grow closer, and Izumi helps Chiharu reconcile her relationship with Maya. Eventually, they start dating. It is all cute and wholesome. As these two get together early in the series, the reader has lots of time to enjoy them being together as they appear frequently. The conflicts in their relationships are grounded in reality, and working through them together has a clear positive effect on the character. The only complaint I have is that after they start dating, they mostly keep it a secret for no reason.

Towako Mita and Yukina Ooshiro are one of the worst couples in the manga. They are the only members of the gardening club, although they eventually recruit Kurosawa. As the club is so small, it is always on the edge of dismantlement, as the student council wants to move resources elsewhere. While Ooshiro works to save it, Towako is actively working behind her back to end the club. Her reasoning, she does not want things to change. That’s it, full stop, it is complete nonsense. Of course, they make up and decide to be together with an equally illogical apology. If characters are going to hurt others and then be forgiven there must be effort, reason, and care put into them, traits all lacking in this story. It is all awful.

The fourth volume is a mix: containing some of the series best moments and its worst, by which I mean, most boring. Moe and Mizuki’s romance reaches the spectacular crescendo previously referenced. But, half the volume is spent depicting Kaoru Machida, Kohagi Inoue, and Momiji Shikama. The relationship between these three is focused more on friendship than sexual or romantic desire (cough cough S). Actually, I do not mind this at all, but they. Are. So. Boring. I honestly forgot they existed in the first draft of this review and had to reread Volume 4 to remind myself of them. The fact that I am writing about this process instead of the actual characters says a lot about their lack of appeal.

Sawa Itoh and Itsuki Nishikawa are equally forgettable. They are easily the most mundane romantic couple in the series. The two knew each other long ago, but Sawa forgot about their friendship, much to Itsuki’s disappointment. However, they bond again as high school students and vow to make up for the lost time. Their story ends with Itsuki confessing her feelings for Sawa. Sawa returns those feelings in kind FIVE VOLUMES LATER. That is far too long to wait for a dull ending. NEXT!

Ryou Hiramu, Nina Yuunagi, and Amane Asakura make up Kiss and White Lily’s only three-person relationships and is one of the best. Polyamory is not everyone’s cup of tea. Still, in the context of fiction, their relationship works well and develops excitingly, complete with a healthy dose of melodrama. Hiramu begins to grow close to Asakura, much to the anger of Asakura’s roommate Yuunagi. Yuunagi wants Asakura all to herself, a point made abundantly clear to Hiramu. However, things get more complicated when Hiramu realizes that Yuunagi is an online friend of hers.

Yuunagi feels incredibly lonely, and her only real friend is Asakura. But, when Hiramu shows her kindness, Yuunagi begins to fall for Hiramu. Yuunagi feels incredible guilt over this, swearing that she should only need Amane and not wanting to compete for Hiramu’s affection. Their tale ends when a distraught Yuunagi runs away before being confronted by Hiramu and Asakura. There, in a tearful confession, she released her jealousy, her guilt, and her confusion. Despite being overblown, it is one of the most relatable and truthful emotional moments in the manga. The solution, Yuunagi does not have to choose; she can have more loves. It is a mature answer that, while not ideal for most, makes sense here and is healthy for all the characters.

The next volume focuses on Haine Aoi and her close in age aunt Aika Yukimura (who is more like her sister). Before anyone breaks out the pitchforks or plants this volume next to Citrus on their bookshelf, the relationship is not sexual. This intention is explicitly shown in a scene where Aika contemplates kissing her sleeping niece (creepy) but decides against it, saying, “I don’t actually want to kiss her.” This moment deliberately and awkwardly setting the parameters of their relationships as not sexual. However, there are clear romantic implications. As the two struggle with the idea of drifting apart as most “sisters” do, they decide that this will not happen to them, and they will only grow stronger together. Ultimately, they declared themselves to be soulmates, albeit platonic ones.

This relationship is the most divisive of the series. There will be some, such as myself, who can acknowledge the apparent class s ties and the familial relationship yet can still enjoy the wholesome and grounded story. However, many others will understandably have difficulty overlooking these aspects of the narrative. I invite readers to give this volume a look and decide for themselves. Even if it turns out that Haine and Aika’s storyline is not for you, Shiramine and Kurosawa are at their best here and will save the volume for you. However, whether or not you like this couple, can we all agree that the decision to feature a major story act about a piano player (Haine) and NOT include a piano duet is INSANE!! Canno is not at all coy with Yuri tropes in this series, and this exclusion will not stand!

Nagisa Tatsumi and Hikari Torayama are rivals, opponents in the student council president election, and secretly roommates. The two live together by necessity, with their adorable kitten. Neither one can stand the other. However, when given the opportunity to separate, they decide they would prefer to continue living together. There is not much here. Even though one is labeled as “nice” and the other “mean,” Nagisa and Hikari have the same personality. The other “tsundere” type character in Kiss and White Lily, Shiramine, works because she is given time to grow and develop as a complicated character and because she is paired with someone different than here. Unfortunately, aside from some cute trope-filled moments like an accidental kiss, these two are insignificant. But. perhaps I am too hard on them, as I am conditioned to expect Yuri featuring characters named Nagisa and Hikari to be far more dramatic, grandiose, and interesting

Asuka Sakurada and Mikaze Hagimoto are the final couple introduced, as the next and final volume is only concerned with wrapping up previously established relationships. A shame, as they are the single most problematic and dysfunctional couple presented. Sakurada and Hagimoto are both cosplayers, which is how they meet, and the younger Hagimoto quickly asks Sakurada out. Sakurada is awful. She is cruel, detached, and rude to almost everyone. After an injury forced her to repeat her final year at Seiran Academy, causing her to be somewhat jaded, to say the least. What little the reader sees of their romance, which last all of a dozen pages, is appalling. Sakurada is mean and unaffectionate, and Hagimoto attempts to force her into activities she does not want to do. They break up quickly, and the rest of the volume plays out like a tragic love story, as Hagimoto pines for her senpai, and Sakurada says dramatic lines about how she “can never go back.” Of course, by the end, they have made up and are together again.

Not only are we giving this vile relationship, but excellent moments of emotional distress are wasted on them. For example, Hagimoto delivers a tearful and moving speech on a train platform. There is also a rare moment of clarity from Hagimoto, where she realizes that she did nothing to make the relationship work, followed by an admittance from Hagimoto that she just wanted to be more like Sakurada. Now, characters realizing their mistakes and faults to move forward and become better, as individuals and a couple is incredible; however, there needs to be a solid foundation. The unfortunate truth is that such tragic and dramatic relationships take time and investment. The reader needs to want to see these characters get better and make up, something notably lacking here. This awful partnership tarnishes the beautiful scenes present.

Fortunately, Volume 9 is not a total loss, far from it. Shiramine and Kurosawa complete their personal arcs described previously in this review, thus clearing the way for Volume 10 to finally have them get together, perform a quick survey of the other characters, and tie up any dangling story threads in a bow covered with cute kisses and gentle service.

Kiss and White Lily for My Dearest Girl is an incredibly mixed bag of a series. It gives a wide variety of couples and tropes for the reader to enjoy, but many of the relationships suffer significantly from weak characters or uninteresting storylines. Its mediocre start does not help the series. Early outings are noticeably lacking in all categories from plot to artwork, which provides a difficult barrier for entry. However, there is a lot to love here. It is a spectacular showcase of Yuri and an absolute classic of the genre’s current era. Kiss and White Lily is THE YURI MANGA, a title that bears both the great and terrible of the genre.

This series concluding publication feels appropriate for the genre’s centennial. The tropes it features, which have paraded the genre for the past hundred years, will not go away. But, the conclusion of Kiss and White Lily feels, at least for the moment, like their last hurrah before stepping back to let a new century’s worth of newer and queerer works make their mark in the genre.

Ratings: Story – 6 Characters – 4 Art – 7 LGBTQ – 8 Sexual Content – 2 Final – 5

Kiss and White Lily for My Dearest Girl, Vol. 10 review copy provided by Yen Press ( @yenpress​ )

You can get the series digitally and in print today: Kiss and White Lily for My Dearest Girl, Vol. 10 - https://amzn.to/34k8sAj

[rockmiyabideusexmachina]

2018 Megaman Valentine’s Day Contest Results Thread!

Thank you all for your patience this year! I know this is a little later after the holiday than I would like, but one day is simply not enough to contain all this love! Once again, it’s always wonderful to have an assortment of both familiar faces participating, as well as many newcomers. 

As always, this will be a rather massive thread, so bear with me. Most of it will be hidden after the break, so please do take a peek at all these wonderful entries!

Due to the size and sheer quantity of comic entries, there are plenty of images to view. For that reason, I’m sticking to thumbnails for now. Please click to view the entry in it’s full glory!

Also, my thanks to @jaybird-c for the help with judging this year. I’ll have some of his commentary with my own below.

The three raffle prize winners will be noted by their alias, as well. 

For your reminder, there were two categories, broken down into Humor and Talent. There were 6 total Humor entries, and 14 Talent entries. So, to start off, we’ll begin with the category with the least entrants, and to fit with my tie-in promo art.

*EDIT* OK, now I think everything is good. So long thumbnails, to keep this shorter.

Once again, for an easy link to all the images in a single gallery, please go here: https://imgbox.com/g/uAbXkTDaot

Otherwise, I’ve tested it again on both mobile and desktop, and everything should link to a full image. It still does on my end.

*/EDIT*

For Humor, this year’s theme was “Beauty and the Beastman.EXE.” The goal was to illustrate a mismatched Megaman couple, one in a monsterous, beastly form, with another more beautiful character that falls for them. Any allusions to the popular tale of Beauty and the Beast were welcome, but not a requirement.

Here are your top 3, followed by the remaining entries in alphabetical order by alias:

1.) @prar-draws: (*Prar wins $100 USD or an item(s) up to that value.)

Jaybird wrote: Prar's comic has the absolute best execution of a joke, increasing the tension until the last panel when it masterfully throws the audience for a loop. Prar's style complements the story very well by making each individual moment easy to digest, and the last panel also just happens to be really funny to look at on its own. Just thinking about it makes me crack up.

Miyabi wrote: While this piece really contains more tension and drama until the final panel, I agree that the build is what helps bring the big laugh at the end. You can also see the temperature rising for Ciel, as her cheeks get redder and redder as the panels move along. I felt it tied in to the Beauty and the Beast storyline nicely, and your chosen characters fit well to pull off the connection. Very cute, and well constructed comic!

2.) @amiable-apparition: (*a-a wins $50 USD or an item(s) up to that value.)

Jaybird wrote: I don't remember this scene from the Star Force anime. Must've been cut from the final release. Clever use of trickery regarding who the real "monster" is; poor Damian appears to have misjudged the situation something fierce. Good idea and use of twist.

Miyabi wrote: I guess Sam was the one who was ‘Hungry Like the Wolf,’ after all! I too enjoyed the spin at the end, it was a funny deviation on how her character was portrayed in the anime. Subject choice was strong here too, connecting the theme with a couple characters who fit well with the concept. Nice work with the variety of panels you created to set things up.

3.) @frankenchio​: (*frankenchio wins $25 USD or an item(s) up to that value.)

Jaybird wrote:  Ah, the Princess and the Toad Man. Frankenchio's piece is a clever little reference to the classic fable, but most of the humor is in how Roll apparently didn't know what kind of prince was on the other end of that frog. Clever, pretty to look at.

Miyabi wrote: I like that you thought outside of the box with the theme, and used a totally different classic tale, but still connected it very well. Ice Man sure lucked out this time, after whoever cursed him into Toad form. While a simple few panels, your style is just adorable. Those jewels on the crown look really detailed!

Close, but not quite ~

Dark Dullahan:

Jaybird wrote: Dark Dullahan has the idea of recreating an actual Disney scene with Iris and (Zoanoroid?) Zero, which is very sweet. It took me a few repeat looks to digest what was going on here but it's amusing to see Zero protecting his wounds from the fierce and terrible Iris. Because she's obviously the worst thing that can happen to him. Cute, amusing scene.

Miyabi wrote: Sorry, I don’t know why this upload defaults to a side view, when I don’t even have it at that orientation. It automatically glitches that way, no matter how I upload it. :/ Anyhow, a clever spin using the EXE versions of Zero and Iris, living in a world where only reploids...no wait, they don’t exist here. This Beastly ZoanoZero will open up to her over time, I’m sure. But first, he needs to heal up. Again, good use of parodying the scene.

@drewblossom​:

Jaybird wrote:  The sheer concept of Rock-Belle made me wonder if they were going to throw in an FMA reference somewhere, but Drew's picture doesn't need it. They make good use of the Disney-classic-gone-wrong idea -- Oil Man and Time Man as Lumiere and Cogsworth are nearly inspired --though I think they didn't quite go far enough and should have rounded out the piece with a more feminine version of the suit; Rock-Belle changing into Mega *Man* raises questions about whether the main character's an actual girl or just a cross-dresser, which distracts from the joke.

Miyabi wrote: I guess Rock is both the beauty and the beast, for totally destroying those poor innocent talking inanimate object bots! While I had a good laugh at the quick-change blast, the character reactions, and the overall parody of the classic scene, sadly I did feel it just didn’t quite have the couple contrast/Valentine’s theme as well as others. 

@erekisaiko​: (*RAFFLE PRIZE WINNER* Captain N Height Chart)

Jaybird wrote:  I feel like I'm missing a reference to something else. As amusing as the concept of JunkMan's and Meddy's unsanitary hospital sounds, the picture doesn't present us with enough information to make sense of what actually happened (i.e. why was JunkMan wearing a cardboard Falzer costume in the first place?), and [=ClockMan's=] joke lacks the punch it ought to have because the punchline has no set up. (Unless of course this is all just an incredibly obvious reference to something I've never been exposed to that would fill in all the missing context). Amusing concept in punchline, it's fun to think about how this situation could've arisen.

Miyabi wrote: Meddy’s not oblivious, she just has a big heart ready to heal any messy, junky slob! Cute and different idea having more of a ‘fake’ beast, although I think Junk still would count as a beastly character on his own, in some respects. Very well-drawn, and appreciate all the detail you put into your internet background.

For the talent category, the theme was “If You Like It, You Should Put a Ring Boomerang On It.” This category was all about proposal scenes. And I am shocked there was not a single Jewel Man! XD

Here are your top 3, followed by the remaining entries in alphabetical order by alias:  

1.) @wintesm​: (*wint wins $100 USD or an item(s) up to that value.)

Jaybird wrote:  Jeez. Unrelenting Style. Your children's book painting is incredible as ever; your figures, your colors, your atmosphere, just about everything.  I ran into a problem with your composition, though; the stark black page divider clashes with the predominantly horizontal-mirror structure and makes it hard to wrap your head around the story as its meant to be told. It was less of a problem once I trained myself to ignore it, and you use the divider very effectively in the second-to-last section, but it still made it harder to enjoy the work. Masterful technique, colors, perspective, expression.

Miyabi wrote: With your subjects, I felt this composition was a very clever way to tell the story, and kinda mirror their separate, but similar tales side-by side. As mentioned, you have such a fitting children’s storybook style, from colors to shapes, that shines once again! It’s a cute tale for such evil characters!

2.) @peach35​: (*peach wins $50 USD or an item(s) up to that value.)

Jaybird wrote:  Peach deserves a lot of credit for her mastery of figure-drawing and perspective. That's something a lot of people struggle with, and accomplishment in these matters should be recognized. Another good choice of simple background to highlight the main moment, and awesome use of colors and lighting to suggest 3D -- I'm far more fascinated by Gate's nose than I should be. Incredible faces, hands, colors, and general shading.

Miyabi wrote: The sense of confused shock on Alia’s face is a different reaction that most, as it’s apparent Gate is slipping that ring on in total surprise. Clean lines and soft lighting helped this piece stand out.

3.) @tianura​: (*tianura wins $25 USD or an item(s) up to that value.)

Jaybird wrote: Tianura's style is difficult to read; the line quality can be inconsistent from panel to panel, some attempts to convey 3D positioning could use polish, and the panels never stray very far from simple torso and head shots. That said, the expressions are exceptionally clear (again, look to the eyes) and convey lots of emotion, and the page-by-page composition is very good. Very expressive faces, judicious use of colors for effect.

Miyabi wrote: I thought this was a creative parallel for life-long partners in using Netto and Enzan. You did a nice job keeping Netto’s goofy charm intact, with quite a few humorous lines. The ending was totally fitting for him, older or not. XD While I’m sure you would have liked to color the whole thing, I liked the differing use of screentone shading. And the watercolor look of the color pieces did give it some storybook charm as well.

Close, but not quite ~

@borockman​:

Jaybird wrote:  It's such a shame this isn't a humor category, because this deserves major points for funny (the Nana-Sigma romance anime that the fandom doesn't want, but nonetheless deserves). The linework itself is pretty good. Expressive, good use of background for mood. Also, Sigma, the ring goes on the ring finger.

Miyabi wrote: It’s a dream. It’s always a dream! Siggy puts the ring on her pinky because Nana’s his ‘lil pinky-poo... ;p With the tears running down her face, I really did like the emotional feel of the moment. 

@digitallyfanged​:

Jaybird wrote: In terms of sheer atmosphere, this is one of the best pieces. It looks like a still from some fairy tale picture-book. The forest scenery, the background, the flower-swing, the misting breath, the quality of the outfits and the details on the dress and sword all make this exquisite. Unfortunately the characters aren't quite as expressive as they ought to be -- this is very clearly a fairy-tale love scene of some kind, but what kind? Laika is clearly being emotional towards the princess, but what is he saying? "Who are you"? "You're beautiful"? "I love you"? "Be mine forever"? It's gorgeous, but it's a little too vague to tell whether it's on topic or not.

Miyabi wrote: Gorgeous scene that felt a bit like another Disney-ish tale, moreso of the Frozen variety. They may just be easy-to-use Clip Studio effects, but I really thought it was quite creative how you pulled off the swing design. The watercolor forest background is beautiful, as is Pride’s snow princess outfit. Pretty, pretty picture!

@drewblossom​:

Jaybird wrote: I'm glad I saw Drew's title, because it took me a minute to figure out exactly what was going on -- for a moment I thought Geminiman was trying to propose to himself with that (fittingly) gaudy diamond. The linework is pretty good, and I like the lighting effects on Gemini's crystals and the translucence of his chest plate. I'll give them points for an ambitious concept, but the best mirror art looks at a scene from two different directions, and Gemini's reflection is simply a reverse of the main view. Good colors and lighting, elegantly simple background that does a good job of highlighting the main action.

Miyabi wrote: No better way to practice a proposal than to recite it in front of your self. Of course, if he is proposing to his clone, then I think with his nonchalant actions, he’s got this down already. XD Clever, and unique!

@hyperbole1729​:

Jaybird wrote: This piece is another mix. It has some very nice things -- the colors are spot on, the composition is very nice (you take cues from the 18th century Romantic movement by having the whole world revolve around the subject), you clearly pay attention to character details, and your field of flowers is great.

Miyabi wrote: Another set of net-battling partners who seem like a great choice for being together forever. The background is a fitting place for Sal to do it, because I don’t quite see Miyu being the one to speak up and propose. That might be more of a frightening proposition. LOL Cute, traditional scene. 

@iris-sempi​: 

Jaybird wrote: Iris-sempi's got style. The colors are interesting, the subject is clear, the linework pops out because it's -also- part of the colors, the cartoony elements fit in very nicely, and the presentation as a literature/manga cover is well-done. The technique is some of the best I've seen. That said, I have to ask, if you were going to go through all the trouble of creating such a cool cover, I think it's only fair to point out the title is blocked by the artwork, which defeats the purpose, especially on something's Volume 1.

Miyabi wrote: Just to clarify for everyone, the Japanese characters for this piece say "Let's Get Married" and "Sea Salt Honey." I thought it was a really clever mag cover format, where the characters really pop out against the pink background. With the waves, it really does feel like Splashy leapt out of the ocean to smack some salty sugar on Honey/Vesper Woman. Her vibrating antennae give some nice movement and comedic effect, too. Love it, but felt it just didn’t quite have the proposal feel as strongly as others.

@jb-artist​: (*RAFFLE PRIZE WINNER* - Megaman 8 cel)

Jaybird wrote: JB's picture is very cute, and we don't have much actual oekaki here, so props. While you deserve even more props for how direct you are to get to the point, it's difficult to judge how we're supposed to interpret this -- is Alouette precociously misunderstanding the nature of a marriage proposal or is it an actual proposal to her older sister figure? The perspective rocks, the colors and lighting are good, and there are lots of little details that portray lots of love for the Zero series.

Miyabi wrote: Zero’s such the silent, brooding type, that he sends Alouette to do the proposal for him. I’m just not sure if that will help or hurt his rank in this stage! XD It is honestly really cute, especially when you see her doodles on the resistance base’s wall. I think that makes the piece more than anything, and was a clever callback to the game. I like how you set up the scene with the background, and those are some really nice mountains back there, too. 

@lightlabs​:

Jaybird wrote: Now this is pretty. Great composition to direct us through the piece (-nice touch- on giving the ring some bling) and rocking use of paint swatches for style. The art does a great job of directing us into the center, and the warm colors in the center do a lot to convey mood. Zero, you smug jerk, stop showing the rest of us poor schlubs up.

Miyabi wrote: Yes, this is happening. There is a reason for me to go on. What...what am I using this line foooorr? The warm colors and sparkles give it a unique glow, for what seems to be a night scene. The brush strokes give it a neat paint brush look, for your coloring, too. Nice work conveying their emotions with their expressions as well. 

@pandapanic0:

Jaybird wrote: In terms of actual skill, the coloring is good and clear, the piece is composed well, the lighting effects are fairly elegant. If it were the actual humor category, the Ring Man's appropriately outlandish bid and Mega Man's exceptionally feminine reaction would gain the piece lots of laugh-out-loud points.

Miyabi wrote: Thank you for taking the title of this category literally and going for the humorous visual of a giant ring Ring Boomerang! Even if he says no, once he tries to get rid of that ring, it’ll just come right back. XD Rock’s blushing expression is cute. Nice crisp coloring and bold lines. 

@shikai-the-storyteller​: (*RAFFLE PRIZE WINNER* - Archie Worlds Unite Page)

Jaybird wrote: On a panel-by-panel basis, the art is very good: crisp lines; good color and lighting; good technique with hands and faces; great use of background and expression to convey mood -- you got more mileage out of your backgrounds than probably anyone else here.

Miyabi wrote: Another nice job of mixing humor into your piece, while still keeping it a tender, sweet moment. Nice way of showing that things don’t always go as planned for a proposal, but sometimes it’s the thought and effort that counts. As always, your lines, colors and penmanship are smooth and flawless.

Superbasket5:

Jaybird wrote:  Aww. If I've got this right, it looks like X is so nervous about giving Alia a valentine that he doesn't realize Berkana is giving Alia encouragement as well. I think. I have to wonder what Marty is doing here -- research tells me she has a crush on X, which seems like it would get in the way, and if that's the case, this impending trainwreck will be something worth watching. That said, the piece is still in its rough stages, especially your setting and perspective; I can't really tell where the characters are (outside at a park?), and Alia's hip is in front of X's arm.

Miyabi wrote: Alia has her support group, but I don’t know if she’s going to be able to pop the question to X with a crowd around her, either. XD Cute expressions, showing her nerves, while X is probably not quite expecting what’s hiding behind her back. I kinda wish we would get that visual of what she’s hiding as a cutaway, much like how you gave X a thought bubble for what’s going on in his head. 

@yugiohlesbian​:

Jaybird wrote:  Good job! I'd like to compliment you on how versatile your figures are and how you use that to make them very expressive; your use of perspective and individual panel compositions are both very versatile. While there isn't any color, the nighttime scenes do a good job with the lighting. Your style is pleasantly simple, but sometimes the panels seem to be oversimplified; more developed backgrounds would be welcome in several places.

Miyabi wrote: Totally different subject, but Zero, none of us understand taxes, either. I like how you illustrated the struggle of a reploid trying to understand human logic and traditions, and yet in the end, it still being something Zero didn’t truly need to grasp in that logical sense. While I know you wish you would have had more time to continue perfecting these panels, I agree that the night scenes stand out and give a good contrast between Zero’s computer research scenes. 

Thanks once again to all who participated! I will be contacting the winners soon enough. Work will probably keep me from replying to everyone immediately, but if you don’t hear from me today, I will send a message about prizes hopefully within the next day. 

For those awaiting the secret contest results...sorry, for another slight delay. Between finishing my promo art for this thread, and typing this, it took up too much time and I’ve gotta head to work. I will have those posted overnight, into Sunday morning, as it won’t be quite as intensive to write up. My apologies, but I hope you can all hang on for another 20 hours or less. ^^;

[dracomalfoys]

hi olivia!! congrats on passing your uni exams, and don't worry about latin, i'm sure you'll get there!! 💕 🐝 + i guess i like that i'm creative?? like i start my art course in september and i've already got too many ideas for projects lmao

georgia I’m so proud of you I’m sure you’re gonna ace your art course (and thanks i will die from studying but i will get there) 💕

blograte undercut!

want one?

T H E   B A S I C S

url - sorry I don’t get it | not from my fandoms | could be better | pretty cool | dammmnnnnnnn | who did you kill?

icon - could be better | don’t recognise it | okay okay okay | noice | awesome | i’m gonna steal it

T H E M E S

desktop theme - basic | not my cup of tea | nice | pretty | gorgeous | where did you get it…im just asking for a friend

colour scheme - not my taste | pretty | gorgeous | dammmnnnnnn son

updates tab - don’t have one | not my taste | bit basic | lovely | absolutely perfect

mobile theme - okay | nice | pretty but not my style | pretty | gorgeous | absolutely perfect

mobile header - nonexistent | I don’t get it | bit blurry | alright | lovely | basically perfect

mobile colours - not my style | doesn’t match | looks nice | aesthetic as FUDGE

P O S T S

reblogs -  kinda random | nice but not my fandoms | pretty good | wonderful | give me a sec while reblog everything (I already do so you shouldn't be alarmed)

aesthetic - aesthetic? | inconsistent | eye pleasing | absolutely perfect | AESTHETIC IS YOU YOU ARE AESTHETIC

original edits - I couldn’t find any | not bad | great start | pretty | lovely | so original | gorgeous | teach me I NEED YOUR KNOWLEDGE

Tag System - none | I don’t get it | needs to be more concise | great | perfect

O V E R A L L

overall - meh | pretty nice | lovely | incredible | your entire blog is mine now DONT YOU DARE EVER CHANGE A THING

following - no sorry but I still love you | now | how was i not before?! | yes ofc | you’re one of my fav blogs ever

compliment/advice: Georgia your blog is gorgeous I literally cannot think of any way that you could improve it! You are also one of the sweetest people on this site and i love you!

[iamanartichoke]

It’s almost 4am, I can’t sleep because of Reasons, and my brain isn’t functioning enough to be productive, so I’m just gonna fill out this writing meme. So, yeah, if you’re interested in some very long, self-indulgent writing babble, keep reading, and if you’re on mobile, I’m sorry the cut doesn’t work. 

1. What are your favourite genres and/or styles to write in?

Contemporary lit has always been my thing. I was never really into reading or writing much action/adventure or fantasy, which is weird because I was very into shows like Buffy the Vampire Slayer and LOST - but, I was mostly into those shows for the very rich character dynamics and developments, so. Anyway, Sanctuary is the first thing I’ve written in my life that isn’t in the contemporary, real-world genre and I’m doing okay with it, but I do sometimes get a little paranoid that it’s too character focused with not enough action/comic-genre stuff going on. This is really stepping outside of the box for me, to be honest. 

(I just remembered that I did write some Batman fanfic when I was maybe 16  or so, but I’m not sure it counts bc it was terrible and I pretty much just wrote  a Buffy-esque character to be Batman’s sappy love interest. God, how embarrassing.) 

2. What was the last writing project you finished and felt successful with?

Okay, so, when I was finishing grad school, I had to complete a “publishable” thesis project and mine is/was this collection of linked short stories that I spent probably a good year and a half (including my thesis semester) working on. Technically, I did finish it enough that it passed the graduation requirements, and I have been chipping away at it on and off since then, but after I graduated, I just ... stopped writing, in general. Depression and real life are a shitty combination for writers with very little internal motivation. But, despite that, this collection holds a very dear place in my heart. There are seven stories total, all young adult, coming-of-age themed, and they’re linked by character in that they all take place in a small town and the characters from each story sort of know each other in passing, as happens in a small town. There’s room for ten stories, because it’s a nice, even number. I love all of the characters and I think it could be something really great and could be published successfully - just, it needs a lot more work to get to that point. Eventually it will. Anyway, yes, that’s my last “finished” writing project and I do feel a modicum of success toward it, for what it’s worth. 

3. If you have a WiP how do you feel it’s going? What stage are you in?

I am actually 85% pleased with how Sanctuary is going. I started writing the fic without any real idea of what I wanted to do with it or where it would go - I was just having a lot of Loki feels during a difficult time in my life. Prior to this, I would handle my Character Feels by indulging in a lot of watches and re-watches and occasionally making music videos and sometimes fan art (graphics, I can’t draw for shit), but these methods just weren’t cutting it this time ... and hence, fic was born. 

It’s not a perfect story, of course - there are some inconsistencies and errors and the writing can always be more polished, but I’m just happy that I’ve stuck with it for this long and allowed it to develop the way that it has. I’m able to flex my writing muscles and get back into the practice of it while having fun at the same time. The story is four chapters away from completion, but I have plans for a sequel and also a couple of one-shots from Thor’s POV that I want to play around with. Overall, I’m pretty pleased with where I am in my little fic-verse right now. 

When it comes to original fiction, aside from the aforementioned short story collection, I am in the plotting stages of a novel involving reincarnation, because I am tropey trash, but it has potential. So, there’s that. 

4. What are your favourite places to write?

I actually feel like I write more productively when I am away from my apartment, which is a conundrum because I pretty much only leave my apartment to go to work or, like, the grocery store. I have a job that allows me to be at a computer for most of the day, so when I’m not busy, I like to write at work. I weirdly feel more productive and clear-headed at desktop computers, but I don’t have one of my own, so when I’m not at work or at the library, I write on my laptop in places like Barnes and Noble or laying in bed like a lazy bum. I do have a desk at home, but it is woefully neglected, I’m sad to say. 

5. Do you prefer to write with long hand or type? Or some other method?

9 times out of 10, I type. However, when I am struggling particularly hard with writer’s block, I’ll write long hand because, for whatever reason, switching methods jolts my brain a little bit and gets the juices flowing again. I wrote the entirety of the Kree battle and Val/Loki in the infirmary (I forget what chapter that was) long hand, among other scenes. 

6. Do you remember your first character? If so can we meet them?

My childhood is filled to the brim with embarrassing fiction. I don’t remember my first character, to be honest - I remember being in fourth grade and writing some kind of story for Young Author’s Day at school, and that’s the first thing I remember even writing, but I couldn’t tell you what the story was or who the characters were to save my life. When I was in sixth grade, I discovered S.E. Hinton’s books, and from that point on, I spiraled down into the genre of coming-of-age, tortured, sad protagonists (God, Ponyboy Curtis was my first spirit animal, talk about tragic) and I’ve never quite looked back. 

7. Where do you get your inspiration?

Where don’t I get my inspiration, would be a better question. Music is a big inspiration - sometimes I’ll hear a lyric that I want to put to a story, or a song will have a storyline that I like and that’ll get the creative juices flowing. I do get some inspiration from real life, but I shy away from writing anything too closely related to my own life - things that I pull from my life are incredibly fictionalized, but the roots are sometimes there, if that makes sense. Movies and TV shows, of course, especially with character types that I’m drawn to. Other people’s literature is a big inspiration, too. Idk, I think inspiration just comes from everywhere. Everyone and everything has a story that can be told. 

8. Do you outline a story before writing it, or does it all live in your head until the first draft gets put down?

I’m kind of 75/25 on this - 75% lives in my head and 25% is outlined, but the outline is always kind of a loose guideline that may end up completely changing by the time the words are actually on the page. I mostly use outlines to put things down tangibly when they get too cluttered in my head and I start confusing myself. I also use outlines to keep track of plot threads, to try to keep things consistent. For Sanctuary, my outline is a mixture of what I want to accomplish in each chapter and an extensive notes section on various canon I’m using, so that I can keep things straight. 

9. Where do you go/ What do you do when you’re feeling stuck?

Writing long-hand is a thing I already talked about. Other things I find helpful: going for a long drive to just sort of let myself zone out and think about the story without the pressure of sitting at the computer, listening to music ... sometimes I just put the story away completely and let it sit while I do/focus on other things, and I come back to it refreshed and ready to try again. 

10. What got you starting writing/doing Art? (Because I always love origin stories)

I don’t know - writing has just always been a part of who I am. The urge to write was something that came very naturally to me. I’m sure being a voracious reader was part of it, too - I grew up reading books like there was no tomorrow, and I was a very introverted, shy child, so I read more than I talked to people, and that just sort of naturally translated into writing stories of my own. I’ve never been a people-person in that I don’t like interacting with people much (in real life, anyway) but I like to examine and think about how people work, and it’s a strange thing but so it goes. But yeah - there’s no real “origin story” with me, just a long history of being a reclusive nerd. 

I guess this is a tagging meme but I wasn’t tagged, so if anyone out there wants to do it, feel free, I’d love to read other people’s responses if you feel like sharing them. :)