#an arbitrary breakdown of things that make no sense

[disturbedreams]

Can I get a quick intro to gore and horror?

I’m so sorry it took me so long to respond to this one! I kind of wanted to have another short story out before I answered anymore asks, but oh well! ^^ (also for some reason I mostly used examples of movies and games in this answer?? For that I am so sorry, it is 3:00 am and my brain is short circuiting. I’ll probably update it later with more book recs!)

To kind of prepare you for everything I’m about to say; no, I cannot give a short intro to horror. I can try with gore, but I doubt it will be very short (I apologize in advance! ^^;). I say this all to you also with the warning that I am not like, A Horror Professional, I’m just someone who has spent an unreasonable amount of time silently observing and absorbing my favorite type of media.

So, anyways; gore by itself is, yes, technically probably a genre, but it’s also a great plot device in media that may not actually be considered gore. Pulling just from movies here as an example- the Final Destination series is creatively gorey, and are definitely considered gore films in their own right; however, I wouldn’t consider The VVitch gore. While getting pretty nasty with the gore & graphic imagery in the last third, it serves to kind of draw to themes in the story & to symbolize. Midsommar is a great example of both- a very gorey film in retrospect, BUT the deaths and bizzare body horror shown all served either some sort of symbolism, a parallel that could be drawn, or did it’s plot job of showing us how messed up and unsettling the cult was. I would say these 3 examples are kind of okay-ish benchmarks to how gore can be divided.

For gore (this goes for horror too, really!) I find it incredibly helpful to divide media I interact with not by its genre, but more by the themes within the story & effect it had on me, as a reader. Using ‘Fridge horror’ to describe a couple of books instead of looking at each one individually and being like, “ok, this is a sci-fi body horror, this is a splatterpunk, this is a supernatural slasher-” etc, really helps me out, because I’m someone who tends to read the same type of horror, rather than the same genre.

All the categories I use personally I’ll list below, but I warn you these are very specific to me because I read a lot of the same thing, & I like a good character before anything else. I think that shapes a lot of the media I interact with. I don’t know if everyone uses all of these, or if no one’s used these and I’m just a funky little loser, but this is my personal system;

Fridge Horror; A story that becomes terrifying after you’ve read it and let it sink in. For gore specifically, I find it’s less actual gore, and more “wow, you just compared a house to a human and now that thought will never leave my mind lol”, OR, gore used as weird obscure symbolism for the actual thing going on at hand- and once you’ve figured out what that thing is, it puts the piece of media into a whole new perspective. (ANATOMY by kittyhorrorshow is a wonderful game, and prime example of both!)

Obsessive Horror; Stories & Media that uses gore & body horror as a way to describe a character’s mental state (and usually obsession with a specific concept/idea) OR a set of characters' mental decline but obsession with each other. I would say the movie The Perfection (2019) does this well!

Sad/Vulnerable Horror; kind of self explanatory, but very similar to Obsessive Horror- the only usual distinction between the two is that instead of obsession being the overarching thing to tie it all together, it’s usually grief, or a character struggling with some sort of obstacle that has forced them to stop- a character being unable to move on from something and it getting gradually worse. Midsommar is a great movie for this!

Philosophical Horror; in a gore sense, I do find it funny that this one tends to be less like. Human oriented and usually has some sort of monster involved, but it’s usually something along the lines of like “what makes us human?” (insert violent gorey scene here) lol. Very entertaining. I’m gonna come back and edit this post to add specific media examples for this one, because none come to mind right now except for fanfic, but it’s also… 3AM please be patient with me haha ^^;

I don’t have any recs for ppl just dipping their toes in, because everyone is different and I don’t know what preferences work for everyone- but I would just say to engage with the media that’s kinda popular and seems to interest you in the horror genre- and work from there. It really helps to make accounts on sites like goodreads & letterboxed just to kind of stalk what other people are watching and reading! On goodreads I joined a couple of groups, and while I’m not the best at having a one on one convo with someone just yet, it really helps me to look through the forums and conversations available and to be like “Oh, shit, this person also likes B.R. Yeager? And is recommending another book in relation to Negative Space? I’ve gotta check it out!” You don’t even have to engage with people if you don’t want to in these kinds of settings- you can silently stalk forums discussing media they liked and why- its glorious and a good way to quickly add to your collection & get more into the swing of things without feeling bad because you’re never gonna read the book you got yourself 2 years ago & now sits untouched on your shelf lol.

(Definitely not a self call out.)

I don’t really know how to end this one, so I’ll end it with my favorite kind from the list I previously mentioned; Vulnerable Horror/Gore. (SPOILERS FOR KATHE KOJA'S THE NEGLECTED GARDEN INCOMING).

I personally love a good piece of media that has character specific body horror- things that frighten us, because, holy shit that sounds awful to experience- but also have an innate and personal terror to the character it’s happening to;

Kathe Koja’s short story, The Neglected Garden, is a perfect example of this. Throughout the entire story, we never learn the narrator’s name- only the name of his girlfriend, Anne, and the impact she makes on him after he attempts to break up with her- which she responds to by crucifying herself to his fence. You understand the narrator’s reaction to Anne’s crucifixion- and as it continues and gets worse- how she ended up there in the first place. Obvious parallels are drawn to their relationship before she went to such extreme measures; both too cruel and stubborn to be together- but too desperate and obsessed with each other to ever break up. The narrator is arguably, not at all sympathetic- but you still understand the horror of what he witnesses. Koja goes into graphic detail when describing Anne’s initial crucifixion, and then, the slow growing of grass and flowers as she stays still and unmoving. Her body slowly morphing into a disgusting infected carcass that’s somehow still alive is described with alarming depth. But it serves a purpose to the story, and the characters- or rather, it serves as a vehicle for understanding their relationship.

So… yeah! Lol, I’m sorry, this probably wasn’t as helpful or as informative as you were hoping, but I hope it’s still enough to kind of get a general idea of where to start. If you don’t want to spend a lot of money on specifically splatterpunk (general subgenre of gore) books, I highly recommend godless.com, as they have a lot of short story collections & stand alone pieces that you can buy for sometimes as little as 50 cents! I do warn you though, sometimes there’s a bit of odd fetish content on there? Lol so… have fun with that.

Sorry for the ramble, thank you for the ask! Bye lol

[familyabolisher]

that stupid fucking fanfiction discourse which posits that the presence of incest (& other "problematic" relationships) in a work of fiction is only ever intended to titillate and like, endorse

Can we do nerd talk? Other than something like "to depict a shitty experience" what else would it represent in a work? if that makes sense

any number of things. preservation of blood purity amongst the ruling class which in turn becomes a mechanism for exploring the logics of fascism, for a start. or like, incest is a pretty classic technique for making literal the violence that is already implicit in normative family structures; patriarchal incest which figures the daughter as sexually subject to her father draws on ideas around the daughter as bourgeois property (cf. Ruth Perry, Incest as the Meaning of the Gothic Novel), sibling incest can be both a refuge from abuse and a perpetuation of it wherein the trauma of abuse can be articulated through the subject's breakdown in ability to coherently differentiate one "type" of relationship from another; &c. &c. those are just some examples off the top of my head lmao.

like, incest is a v expansive metaphor into which you can pack a lot of ideas around familial abuse, socioeconomic relations bolstering said abuse, white supremacy & blood purity. as a metaphor, the idea is to say: "here is something we as an audience understand to be a violence; it is standing in for something else whose violence is more covert or socially passable; in comparing A to B we make this violence visible."

i swear to god i do NOT want to start sticking my feet into this discourse because i have seen the kind of harassment people will get over it, but my point was that people draw v arbitrary lines around what does and does not constitute a literature intellectually meaningful enough for its depictions of violence of this sort to be taken with more consideration than just "this has a direct 1:1 relationship to the real-life sexual ethics of the creator and is thus morally suspect" and fanfiction is firmly outside of those lines, whereas i think we should be able to hold space for a multiplicity of interpretations (good and bad, ethical and unethical, etc) in transformative writing as much as we can in like, the gothic canon, rather than deferring to socially invested intellectual literary value.

[styrofauxm]

On aroace flags...

I want to be very clear, I am not criticizing anyone specific, but rather the current ways of combining the asexual and aromantic flags into a cohesive flag.

But I've had this floating around my head for a while, and I saw a post similar to it today, so I thought I'd throw in my two cents.

Cut because it got long.

In the ace flag, black means asexuality, gray means gray/demi sexual, white is for allosexual allies of asexual people, and purple means community. (I lost the link to the AVEN post, but someone dedicated can find it. Otherwise you can just look up the meanings on the internet to verify).

In the aro flag, the green and light green stripes are for the aromantic spectrum, white is for non-romantic attraction, and black and grey are for the sexuality spectrum. (Post by the creator saying this here: https://www.tumblr.com/cameronwhimsy/102698477928/whoops-yeah-i-just-realised-i-never-actually-made?source=share).

So black, grey, and white all mean different things for each flag, yet in most combination flags, they only appear once. Do they mean what they mean on the aromantic flag or what they mean on the asexual flag?

The light green and green don't have any arbitrary separations for people who do and don't feel romantic attraction, and the grey and black of the aro flag don't have that for sexual attraction either, while the asexual flag does. Cutting out one of the green stripes or moving the black and grey away from each other don't make sense in the context of the aromantic flag.

I've also seen some that add an extra purple stripe. It doesn't mean anything, it's just aesthetic.

Whether or not you like the sunset aroace flag, it is a good example to look at when trying to create a flag to represent aroace people. It keeps the association with asexuality and aromanticism, without using the original colors in ways that don't quite fit. (Color meaning breakdown by the creator here: https://aroaesflags.tumblr.com/post/181034758671/revised-aroace-flag-after-some-conversation-among).

The whole point of having pride flags is to have a meaningful symbol to represent our communities. For aroace people, mashing two together keeps the association with asexuality and aromanticism, but loses the deeper meaning behind each flag.

Honestly, as an aroace person, I think the only way to really design an aroace flag is to depart from the imagery of either flag. That ensures the meanings are solid, and it ensures no one in accidentally excluded (which is, to my understanding, why the sunset flag was created originally - to have a community symbol that included the whole community inherently). But I understand not everyone shares the sentiment.

So, from one aroace person to another, if you are going to design an aroace flag that's based on the ace and aro flags, please keep in mind what those colors mean in the context of each flag, and don't put them in just to have them. And be sure that your design properly includes everyone you are trying to represent.

[thebreakfastgenie]

Wheelers and Dealers is one of BJ's least sympathetic breakdowns--not only to me, but to the other characters in-universe--but it's also probably the episode that most effectively explains his whole deal. That's because Wheelers and Dealers reveals a new piece of backstory: BJ had the chance to dodge the draft. Hawkeye jokes about being an unsuccessful draft dodger and Klinger talks about his various attempts, but BJ had what neither of them did: an actual, for real ticket out.

I could've gotten out of the draft, like Ned Gradinger. Big all American hero from Stanford. Medical deferment, signed by that eminent physician Ned Gradinger, Sr., who offered the same to me, but I was a good guy.

Within this episode, this new detail explains why BJ feels so intensely guilty about his family struggling in his absence. It also explains his anger that people like him because of his "good guy" personality. One level to that is the fear that if he does something selfish or less than good no one will like him anymore. But I think that's secondary to something else:

Everybody wants to play when it's lovable Doc Hunnicutt, gentleman loser. But let me win a few, it's like I committed a crime.

If BJ had "won one" by dodging the draft, he would have committed a crime. I think that's what he's speaking to, here, more than a fear of losing people by expressing human failings. After all, he does express human failings all the time, and he's hardly ever blamed for them. Now, the continuity on MASH is loose at best, so I don't for a moment imagine the writers planned this bit of lore from BJ's introduction, or that intended it to apply retroactively. But let's do that anyway.

What sets BJ apart from Hawkeye and Trapper and even to some extent from other characters is a certain respect for the rules and faith in the institutions of American life. It makes sense for someone from a more comfortable, middle class background to have that attitude. It's why Margaret and Frank set their sights on him initially. Of course, this aspect of BJ is deconstructed as he comes face to face with war and with rules that are transparently arbitrary or even morally wrong. But he really digs in his heels. Just look at Preventative Medicine, where he rigidly adheres to a code of medical ethics and a definition of "harm" that feels almost absurd in a war zone. (Can an army surgeon "do no harm?" Ask Hawkeye in Letters or BJ in Bombshells.)

Of course, this makes a lot more sense when you put it in the context of BJ being drafted because he strictly adhered to the rules, to a rigid idea of right and wrong. Of course BJ clings to the rules; he desperately needs to believe they mean something. If the rules don't matter, if right and wrong aren't so simple, he allowed himself to be drafted for nothing. He allowed himself to be taken from his family, to be made into a soldier, to witness some of the worst things a human being can witness, to get used to the horror, to do things he would never otherwise do, because he believed he was doing the right thing. If doing the right thing doesn't mean anything, he let all that happen for no reason at all. That's a hell of a thing to come to terms with.

Now, what's the big moral argument against draft dodging, if you don't believe in serving your country? If you don't go, someone else will have to go in your place. Now look at Period of Adjustment.

Radar's home, Hawk. I should be glad for him. But I'm not! I'm so torn up with envy, I almost hate him! And I feel the same way about Trapper, and I never even met him.

BJ hates them for being home when he's not. Invoking Trapper here is powerful, because on a meta level and to some extent in-universe, BJ is literally there because Trapper is not. If BJ had taken the draft dodge, someone else would be suffering over here. If he'd won one, he'd have condemned someone else to that fate. Is that some kind of crime, not legally, but morally? Here, BJ is on the other side. Trapper and Radar won a hand: they got to go home. BJ is trying to be lovable Doc Hunnicutt, happy for their good fortune, gracefully accepting that he has to stay. But for once he can't quite do it. This is also one of the only times in the series we see someone really, furiously envious about another character going home, which isn't really relevant here but I thought it was interesting enough to highlight. This fits with how I've described Period of Adjustment from BJ's perspective before, as a shattering of the illusion they all use to get through each day.

Essentially, BJ clings desperately to the rules because all the worst things that have happened to him are things he accepted as consequences of doing the right thing. He accepted them naively, the war is worse than he could have imagined, and the possibility that on top of that, his reason for accepting them was meaningless is kind of unbearable.

[nicklloydnow]

“Looking from East to West in the 90s, like Alice through the looking-glass, one could feel as confounded as the residents of Animal Farm. The Russian premier Boris Yeltsin spent the 90s spearheading "shock therapy" for the former Soviet Union. This process of economic liberalization, privatization and asset-stripping led to the concentration of wealth and power in the hands of an oligarchic elite, leaving the rest of the country to impoverishment, psychological shock, endemic organized crime and corruption. To the benefit of its leaders and the detriment of its people, the East became a mirror-image of the West's worst excesses. The Manics' critique of Western capitalism and its turbocharged adoption by the East, allied to their lack of faith in the practical application of communist ideology — though not the ideology itself — makes "Revol" an extension of the axiom of post-communist cynicism which states that Soviet leaders "were lying when they told us about communism, but were telling us the truth about capitalism."

The Manics' use of Soviet imagery in a post-Soviet world was not new, but The Holy Bible, with its lyrical preoccupations the band's adoption of military uniforms and the semi-logo of a Soviet war medal, saw it become something more definitive. How much of this was aesthetic opportunism, and how much politically earnest? Like the Manics, I grew up in impeccably Old Labour territory and, way before discussions on how to be a fan of problematic things, remember being starry-eyed about the Soviet Union. Any yearning for the USSR, though, had less to do with the reality of its final days and more to do with its symbolic opposition to a Conservative regime which was then laying siege to the industry, economy and community of my part of the country. I looked East in the way one might look to the stars in the hope of arbitrary rescue by occupants of interplanetary craft, with expectations about as realistic.

What had been a source of fear and fascination in the 1980s was, in the postmodern vacuum of the 90s, safely powerless and therefore kitsch. Fascination with the communist past — dubbed Ostalgie — tended to be denied any political dimension, allowed to manifest only in ironic or mocking forms, and very rarely linked with contemporary anti-capitalist critique (Pyzik, Poor). The Holy Bible's suffusion in Soviet chic, though, had more to it than ironic recuperation. Nicky Wire, when asked, "What do you think makes sense?", responded: "Certain kinds of socialism, where everyone is given a chance. A true egalitarian society where everyone is offered an education." As basic and uncontroversial as this is — and note the cautious "certain kinds" of socialism, pre-empting the conflation of socialism with Stalinism — it highlights the band's commitment to keeping the idea alive in politics and culture. The later Manics' Labourism appears almost uninterestingly mellow in comparison to The Holy Bible's morbid fascination with the extremes of Soviet communism, but neither approach denies the contemporary relevance of political history, or presents it merely as kitsch.” - Rhian E. Jones, ‘Unwritten Diaries: History, Politics and Experience through The Holy Bible’ [p. 76 - 78]

“Ballard, Saville, The Holy Bible all use shock tactics, aesthetics of gorgeous abjection to assault the viewer. Ballard does it with crashed bodies and psychologies smashed to shards; Saville with bloated bodies out of control, tragic flesh of saints, sanctified for their suffering with no meaning, of no purpose beyond the physical carrying-through of their existence. The Holy Bible does it with its ruptured squabbles, soul sores leaking pus of humanity's capitulation to the dark side, rotten missives, accusations, breakdowns and weaknesses, as if it can't stop shaking anymore.

All three want to make their mark on you, perceive their own mission as one of violence upon the spectator: a moral mission because amidst all the white noise and static of the information-entertainment world, the jeering is too loud, and the crying is all but drowned out. In the service of truth, the artist must lacerate, and the profound abjection of the body, the scarification of the self, the breaking of the taboo of the illusion of sanctity of the body as self-contained whole, is a perfectly acceptable way for encroaching on the complacency that allows us to live complicit lives. Aesthetic butchery is thus a moral enterprise. Obscenity, critically modulated, pulls you out of your comfort zone and makes you confront yourself, or at least the parts you hide daily in order to live in polite society and in good conscience with yourself.” - Daniel Lukes, ‘Fragments Against Ruin: The Books of Manic Street Preachers' The Holy Bible’ [p. 226, 227]

“The present absence of Richey endured even through the years immediately following his disappearance, when the band was most vociferously separating from their past. Speaking in 1996, Nicky stated, "We'll never fill that gap. We'll never get anoth er guitarist. James will never go over to that side of the stage" (qtd in Maconie, "We Shall Overcome" 88); the space of stage right became a sacred site of remembrance for the band, but also a heightened, present absence for fans. In the documentary for the tenth anniversary edition of The Holy Bible, James describes his discomfort whilst playing Reading Festival in 1994 as a three-piece (at this time, Richey was hospitalized), which included the fact that some of the fans "were staring at the space of the stage where Richey should be, refusing to look at me." This desire to look at the empty space usually occupied by an object perceived as valuable is arguably an expression of the connection between emptiness as an index of a sign that holds symbolic meaning; the absence ironically brings more meaning to the surface than was originally recognized in the object itself. In his discussion of the spectators who flocked to see the empty space in the Louvre from which the Mona Lisa had been stolen in 1911, Darian Leader posits that this incident makes manifest the split between art and the space it usually occupies, thereby prompting an interrogation of the usually unseen or hidden meaning in the artwork that typically isn't in question. In becoming a signifier of totemic mythologies of tortured genius and martyred rock stars, Richey's absence became an index for that signifier, whereby spectators intuit meaning even by staring into the void of the lost signifier. These mythologies then perpetuate a kind of lovely knowledge because they fit into an already established perspective and narrative of popular culture. Within the last twenty years, the proliferation of music magazine covers featuring Richey have played into this lovely knowledge, rather than confront the difficult knowledge his disappearance evokes.” - Larissa Wodtke, ‘Architecture of Memory: The Holy Bible and the Archive’ [p. 302, 303]

All passages from Triptych: An Examination of the Manic Street Preachers’ Holy Bible (2017)

[andymakesgames]

Balatro-Inspired Spinning Card Tweetcart Breakdown

I recently made a tweetcart of a spinning playing card inspired by finally playing Balatro, the poker roguelike everybody is talking about.

If you don't know what a tweetcart is, it's a type of size-coding where people write programs for the Pico-8 fantasy console where the source code is 280 characters of less, the length of a tweet.

I'm actually not on twitter any more, but I still like 280 characters as a limitation. I posted it on my mastodon and my tumblr.

Here's the tweetcart I'm writing about today:

And here is the full 279 byte source code for this animation:

a=abs::_::cls()e=t()for r=0,46do for p=0,1,.025do j=sin(e)*20k=cos(e)*5f=1-p h=a(17-p*34)v=a(23-r)c=1+min(23-v,17-h)%5/3\1*6u=(r-1)/80z=a(p-.2)if(e%1<.5)c=a(r-5)<5and z<u+.03and(r==5or z>u)and 8or 8-sgn(h+v-9)/2 g=r+39pset((64+j)*p+(64-j)*f,(g+k)*p+(g-k)*f,c)end end flip()goto _

This post is available with much nicer formatting on the EMMA blog. You can read it here.

You can copy/paste that code into a blank Pico-8 file to try it yourself. I wrote it on Pico-8 version 0.2.6b.

I'm very pleased with this cart! From a strictly technical perspective I think it's my favorite that I've ever made. There is quite a bit going on to make the fake 3D as well as the design on the front and back of the card. In this post I'll be making the source code more readable as well as explaining some tools that are useful if you are making your own tweetcarts or just want some tricks for game dev and algorithmic art.

Expanding the Code

Tweetcarts tend to look completely impenetrable, but they are often less complex than they seem. The first thing to do when breaking down a tweetcart (which I highly recommend doing!) is to just add carriage returns after each command.

Removing these line breaks is a classic tweetcart method to save characters. Lua, the language used in Pico-8, often does not need a new line if a command does not end in a letter, so we can just remove them. Great for saving space, bad for readability. Here's that same code with some line breaks, spaces and indentation added:

a=abs ::_:: cls() e=t() for r=0,46 do for p=0,1,.025 do j=sin(e)*20 k=cos(e)*5 f=1-p h=a(17-p*34) v=a(23-r) c=1+min(23-v,17-h)%5/3\1*6 u=(r-1)/80 z=a(p-.2) if(e%1<.5) c= a(r-5) < 5 and z < u+.03 and (r==5 or z>u) and 8 or 8-sgn(h+v-9)/2 g=r+39 pset((64+j)*p+(64-j)*f,(g+k)*p+(g-k)*f,c) end end flip()goto _

Note: the card is 40 pixels wide and 46 pixels tall. Those number will come up a lot. As will 20 (half of 40) and 23 (half of 46).

Full Code with Variables and Comments

Finally, before I get into what each section is doing, here is an annotated version of the same code. In this code, variables have real names and I added comments:

[editor's note. this one came out terribly on tumblr. Please read the post on my other blog to see it]

This may be all you need to get a sense of how I made this animation, but the rest of this post will be looking at how each section of the code contributes to the final effect. Part of why I wanted to write this post is because I was happy with how many different tools I managed to use in such a small space.

flip() goto_

This pattern shows up in nearly every tweetcart:

::_:: MOST OF THE CODE flip()goto _

This has been written about in Pixienop's Tweetcart Basics which I highly recommend for anybody curious about the medium! The quick version is that using goto is shorter than declaring the full draw function that Pico-8 carts usually use.

Two Spinning Points

The card is drawn in rows starting from the top and going to the bottom. Each of these lines is defined by two points that move around a center point in an elliptical orbit.

The center of the top of the card is x=64 (dead center) and y=39 (a sort of arbitrary number that looked nice).

Then I get the distance away from that center that my two points will be using trigonometry.

x_dist = sin(time)*20 y_dist = cos(time)*5

Here are those points:

P1 adds x_dist and y_dist to the center point and P2 subtracts those same values.

Those are just the points for the very top row. The outer for loop is the vertical rows. The center x position will be the same each time, but the y position increases with each row like this: y_pos = row+39

Here's how it looks when I draw every 3rd row going down:

It is worth noting that Pico-8 handles sin() and cos() differently than most languages. Usually the input values for these functions are in radians (0 to two pi), but in Pico-8 it goes from 0 to 1. More info on that here. It takes a little getting used to but it is actually very handy. More info in a minute on why I like values between 0 and 1.

Time

In the shorter code, e is my time variable. I tend to use e for this. In my mind it stands for "elapsed time". In Pico-8 time() returns the current elapsed time in seconds. However, there is a shorter version, t(), which obviously is better for tweetcarts. But because I use the time value a lot, even the 3 characters for t() is often too much, so I store it in the single-letter variable e.

Because it is being used in sine and cosine for this tweetcart, every time e reaches 1, we've reached the end of a cycle. I would have liked to use t()/2 to slow this cart down to be a 2 second animation, but after a lot of fiddling I wound up being one character short. So it goes.

e is used in several places in the code, both to control the angle of the points and to determine which side of the card is facing the camera.

Here you can see how the sine value of e controls the rotation and how we go from showing the front of the card to showing the back when e%1 crosses the threshold of 0.5.

Drawing and Distorting the Lines

Near the top and bottom of the loop we'll find the code that determines the shape of the card and draws the horizontal lines that make up the card. Here is the loop for drawing a single individual line using the code with expanded variable names:

for prc = 0,1,.025 do x_dist = sin(time)*20 y_dist = cos(time)*5 ... y_pos = row+39 pset( (64+x_dist)*prc + (64-x_dist)*(1-prc), (y_pos+y_dist)*prc + (y_pos-y_dist)*(1-prc), color) end

You might notice that I don't use Pico-8's line function! That's because each line is drawn pixel by pixel.

This tweetcart simulates a 3D object by treating each vertical row of the card as a line of pixels. I generate the points on either side of the card(p1 and p2 in this gif), and then interpolate between those two points. That's why the inner for loop creates a percentage from 0 to 1 instead of pixel positions. The entire card is drawn as individual pixels. I draw them in a line, but the color may change with each one, so they each get their own pset() call.

Here's a gif where I slow down this process to give you a peek at how these lines are being drawn every frame. For each row, I draw many pixels moving across the card between the two endpoints in the row.

Here's the loop condition again: for prc = 0,1,.025 do

A step of 0.025 means there are 40 steps (0.025 * 40 = 1.0). That's the exact width of the card! When the card is completely facing the camera head-on, I will need 40 steps to make it across without leaving a gap in the pixels. When the card is skinnier, I'm still drawing all 40 pixels, but many of them will be in the same place. That's fine. The most recently drawn one will take priority.

Getting the actual X and Y position

I said that the position of each pixel is interpolated between the two points, but this line of code may be confusing:

y_pos = row+39 pset( (64+x_dist)*prc + (64-x_dist)*(1-prc), (y_pos+y_dist)*prc + (y_pos-y_dist)*(1-prc), color)

So let's unpack it a little bit. If you've ever used a Lerp() function in something like Unity you've used this sort of math. The idea is that we get two values (P1 and P2 in the above example), and we move between them such that a value of 0.0 gives us P1 and 1.0 gives us P2.

Here's a full cart that breaks down exactly what this math is doing:

::_:: cls() time = t()/8 for row = 0,46 do for prc = 0,1,.025 do x_dist = sin(time)*20 y_dist = cos(time)*5 color = 9 + row % 3 p1x = 64 + x_dist p1y = row+39 + y_dist p2x = 64 - x_dist p2y = row+39 - y_dist x = p2x*prc + p1x*(1-prc) y = p2y*prc + p1y*(1-prc) pset( x, y, color) end end flip()goto _

I'm defining P1 and P2 very explicitly (getting an x and y for both), then I get the actual x and y position that I use by multiplying P2 by prc and P1 by (1-prc) and adding the results together.

This is easiest to understand when prc is 0.5, because then we're just taking an average. In school we learn that to average a set of numbers you add them up and then divide by how many you had. We can think of that as (p1+p2) / 2. This is the same as saying p1*0.5 + p2*0.5.

But the second way of writing it lets us take a weighted average if we want. We could say p1*0.75 + p2*0.25. Now the resulting value will be 75% of p1 and 25% of p2. If you laid the two values out on a number line, the result would be just 25% of the way to p2. As long as the two values being multiplied add up to exactly 1.0 you will get a weighted average between P1 and P2.

I can count on prc being a value between 0 and 1, so the inverse is 1.0 - prc. If prc is 0.8 then 1.0-prc is 0.2. Together they add up to 1!

I use this math everywhere in my work. It's a really easy way to move smoothly between values that might otherwise be tricky to work with.

Compressing

I'm using a little over 400 characters in the above example. But in the real cart, the relevant code inside the loops is this:

j=sin(e)*20 k=cos(e)*5 g=r+39 pset((64+j)*p+(64-j)*f,(g+k)*p+(g-k)*f,c)

which can be further condensed by removing the line breaks:

j=sin(e)*20k=cos(e)*5g=r+39pset((64+j)*p+(64-j)*f,(g+k)*p+(g-k)*f,c)

Because P1, P2 and the resulting interpolated positions x and y are never used again, there is no reason to waste chars by storing them in variables. So all of the interpolation is done in the call to pset().

There are a few parts of the calculation that are used more than once and are four characters or more. Those are stored as variables (j, k & g in this code). These variables tend to have the least helpful names because I usually do them right at the end to save a few chars so they wind up with whatever letters I have not used elsewhere.

Spinning & Drawing

Here's that same example, but with a checker pattern and the card spinning. (Keep in mind, in the real tweetcart the card is fully draw every frame and would not spin mid-draw)

This technique allows me to distort the lines because I can specify two points and draw my lines between them. Great for fake 3D! Kind of annoying for actually drawing shapes, because now instead of using the normal Pico-8 drawing tools, I have to calculate the color I want based on the row (a whole number between0 and 46) and the x-prc (a float between 0 and 1).

Drawing the Back

Here's the code that handles drawing the back of the card:

h=a(17-p*34) v=a(23-r) c=1+min(23-v,17-h)%5/3\1*6

This is inside the nested for loops, so r is the row and p is a percentage of the way across the horizontal line.

c is the color that we will eventually draw in pset().

h and v are the approximate distance from the center of the card. a was previously assigned as a shorthand for abs() so you can think of those lines like this:

h=abs(17-p*34) v=abs(23-r)

v is the vertical distance. The card is 46 pixels tall so taking the absolute value of 23-r will give us the distance from the vertical center of the card. (ex: if r is 25, abs(23-r) = 2. and if r is 21, abs(23-r) still equals 2 )

As you can probably guess, h is the horizontal distance from the center. The card is 40 pixels wide, but I opted to shrink it a bit by multiplying p by 34 and subtracting that from half of 34 (17). The cardback just looks better with these lower values, and the diamond looks fine.

The next line, where I define c, is where things get confusing. It's a long line doing some clunky math. The critical thing is that when this line is done, I need c to equal 1 (dark blue) or 7 (white) on the Pico-8 color pallette.

Here's the whole thing: c=1+min(23-v,17-h)%5/3\1*6

Here is that line broken down into much more discrete steps.

c = 1 --start with a color of 1 low_dist = min(23-v,17-h) --get the lower inverted distance from center val = low_dist % 5 --mod 5 to bring it to a repeating range of 0 to 5 val = val / 3 --divide by 3. value is now 0 to 1.66 val = flr(val) --round it down. value is now 0 or 1 val = val * 6 --multiply by 6. value is now 0 or 6 c += val --add value to c, making it 1 or 7

The first thing I do is c=1. That means the entire rest of the line will either add 0 or 6 (bumping the value up to 7). No other outcome is acceptable. min(23-v,17-h)%5/3\1*6 will always evaluate to 0 or 6.

I only want the lower value of h and v. This is what will give it the nice box shape. If you color the points inside a rectangle so that ones that are closer to the center on their X are one color and ones that are closer to the center on their Y are a different color you'll get a pattern with clean diagonal lines running from the center towards the corners like this:

You might think I would just use min(v,h) instead of the longer min(23-v,17-h) in the actual code. I would love to do that, but it results in a pattern that is cool, but doesn't really look like a card back.

I take the inverted value. Instead of having a v that runs from 0 to 23, I flip it so it runs from 23 to 0. I do the same for h. I take the lower of those two values using min().

Then I use modulo (%) to bring the value to a repeating range of 0 to 5. Then I divide that result by 3 so it is 0 to ~1.66. The exact value doens't matter too much because I am going round it down anyway. What is critical is that it will become 0 or 1 after rounding because then I can multiply it by a specific number without getting any values in between.

Wait? If I'm rounding down, where is flr() in this line: c=1+min(23-v,17-h)%5/3\1*6?

It's not there! That's because there is a sneaky tool in Pico-8. You can use \1 to do the same thing as flr(). This is integer division and it generally saves a 3 characters.

Finally, I multiply the result by 6. If it is 0, we get 0. If it is 1 we get 6. Add it to 1 and we get the color we want!

Here's how it looks with each step in that process turned on or off:

A Note About Parentheses

When I write tweetcarts I would typically start by writing this type of line like this: c=1+ (((min(23-v,17-h)%5)/3) \1) *6

This way I can figure out if my math makes sense by using parentheses to ensure that my order of operations works. But then I just start deleting them willy nilly to see what I can get away with. Sometimes I'm surprised and I'm able to shave off 2 characters by removing a set of parentheses.

The Face Side

The face side with the diamond and the "A" is a little more complex, but basically works the same way as the back. Each pixel needs to either be white (7) or red (8). When the card is on this side, I'll be overwriting the c value that got defined earlier.

Here's the code that does it (with added white space). This uses the h and v values defined earlier as well as the r and p values from the nested loops.

u=(r-1)/80 z=a(p-.2) if(e%1<.5) c= a(r-5) < 5 and z < u+.03 and (r==5 or z>u) and 8 or 8-sgn(h+v-9)/2

Before we piece out what this is doing, we need to talk about the structure for conditional logic in tweetcarts.

The Problem with If Statements

The lone line with the if statement is doing a lot of conditional logic in a very cumbersome way designed to avoid writing out a full if statement.

One of the tricky things with Pico-8 tweetcarts is that the loop and conditional logic of Lua is very character intensive. While most programming language might write an if statement like this:

if (SOMETHING){ CODE }

Lua does it like this:

if SOMETHING then CODE end

Using "then" and "end" instead of brackets means we often want to bend over backwards to avoid them when we're trying to save characters.

Luckily, Lua lets you drop "then" and "end" if there is a single command being executed inside the if.

This means we can write

if(e%1 < 0.5) c=5

instead of

if e%1 < 0.5 then c=5 end

This is a huge savings! To take advantage of this, it is often worth doing something in a slightly (or massively) convoluted way if it means we can reduce it to a single line inside the if. This brings us to:

Lua's Weird Ternary Operator

In most programming language there is an inline syntax to return one of two values based on a conditional. It's called the Ternary Operator and in most languages I use it looks like this:

myVar = a>b ? 5 : 10

The value of myVar will be 5 if a is greater than b. Otherwise is will be 10.

Lua has a ternary operator... sort of. You can read more about it here but it looks something like this:

myVar = a>b and 5 or 10

Frankly, I don't understand why this works, but I can confirm that it does.

In this specific instance, I am essentially using it to put another conditional inside my if statement, but by doing it as a single line ternary operation, I'm keeping the whole thing to a single line and saving precious chars.

The Face Broken Out

The conditional for the diamond and the A is a mess to look at. The weird syntax for the ternary operator doesn't help. Neither does the fact that I took out any parentheses that could make sense of it.

Here is the same code rewritten with a cleaner logic flow.

--check time to see if we're on the front half if e%1 < .5 then --this if checks if we're in the A u=(r-1)/80 z=a(p-.2) if a(r-5) < 5 and z < u+.03 and (r==5 or z>u) then c = 8 --if we're not in the A, set c based on if we're in the diamond else c = 8-sgn(h+v-9)/2 end end

The first thing being checked is the time. As I explained further up, because the input value for sin() in Pico-8 goes from 0 to 1, the midpoint is 0.5. We only draw the front of the card if e%1 is less than 0.5.

After that, we check if this pixel is inside the A on the corner of the card or the diamond. Either way, our color value c gets set to either 7 (white) or 8 (red).

Let's start with diamond because it is easier.

The Diamond

This uses the same h and v values from the back of the card. The reason I chose diamonds for my suit is that they are very easy to calculate if you know the vertical and horizontal distance from a point! In fact, I sometimes use this diamond shape instead of proper circular hit detection in size-coded games.

Let's look at the line: c = 8-sgn(h+v-9)/2

This starts with 8, the red color. Since the only other acceptable color is 7 (white), tha means that sgn(h+v-9)/2 has to evaluate to either 1 or 0.

sgn() returns the sign of a number, meaning -1 if the number is negative or 1 if the number is positive. This is often a convenient way to cut large values down to easy-to-work-with values based on a threshold. That's exactly what I'm doing here!

h+v-9 takes the height from the center plus the horizontal distance from the center and checks if the sum is greater than 9. If it is, sgn(h+v-9) will return 1, otherwise -1. In this formula, 9 is the size of the diamond. A smaller number would result in a smaller diamond since that's the threshold for the distance being used. (note: h+v is NOT the actual distance. It's an approximation that happens to make a nice diamond shape.)

OK, but adding -1 or 1 to 8 gives us 7 or 9 and I need 7 or 8.

That's where /2 comes in. Pico-8 defaults to floating point math, so dividing by 2 will turn my -1 or 1 into -0.5 or 0.5. So this line c = 8-sgn(h+v-9)/2 actually sets c to 7.5 or 8.5. Pico-8 always rounds down when setting colors so a value of 7.5 becomes 7 and 8.5 becomes 8. And now we have white for most of the card, and red in the space inside the diamond!

The A

The A on the top corner of the card was the last thing I added. I finished the spinning card with the card back and the diamond and realized that when I condensed the whole thing, I actually had about 50 characters to spare. Putting a letter on the ace seemed like an obvious choice. I struggled for an evening trying to make it happen before deciding that I just couldn't do it. The next day I took another crack at it and managed to get it in, although a lot of it is pretty ugly! Luckily, in the final version the card is spinning pretty fast and it is harder to notice how lopsided it is.

I mentioned earlier that my method of placing pixels in a line between points is great for deforming planes, but makes a lot of drawing harder. Here's a great example. Instead of just being able to call print("a") or even using 3 calls to line() I had to make a convoluted conditional to check if each pixel is "inside" the A and set it to red if it is.

I'll do my best to explain this code, but it was hammered together with a lot of trial and error. I kept messing with it until I found an acceptable balance between how it looked and how many character it ate up.

Here are the relevant bits again:

u=(r-1)/80 z=a(p-.2) if a(r-5) < 5 and z < u+.03 and (r==5 or z>u) then c = 8

The two variables above the if are just values that get used multiple times. Let's give them slightly better names. While I'm making edits, I'll expand a too since that was just a replacement for abs().

slope = (r-1)/80 dist_from_center = abs(p-.2) if abs(r-5) < 5 and dist_from_center < slope+.03 and (r==5 or dist_from_center>slope) then c = 8

Remember that r is the current row and p is the percentage of the way between the two sides where this pixel falls.

u/slope here is basically how far from the center line of the A the legs are at this row. As r increases, so does slope (but at a much smaller rate). The top of the A is very close to the center, the bottom is further out. I'm subtracting 1 so that when r is 0, slope is negative and will not be drawn. Without this, the A starts on the very topmost line of the card and looks bad.

z/dist_from_center is how far this particular p value is from the center of the A (not the center of the card), measured in percentage (not pixels). The center of the A is 20% of the way across the card. This side of the card starts on the right (0% is all the way right, 100% is all the way left), which is why you see the A 20% away from the right side of the card.

These values are important because the two legs of the A are basically tiny distance checks where the slope for a given r is compared against the dist_from_center. There are 3 checks used to determine if the pixel is part of the A.

if a(r-5) < 5 and z < u+.03 and (r==5 or z>u) then

The first is abs(r-5) < 5. This checks if r is between 1 and 9, the height of my A.

The second is dist_from_center < slope+.03. This is checking if this pixel's x distance from the center of the A is no more than .03 bigger than the current slope value. This is the maximum distance that will be considered "inside" the A. All of this is a percentage, so the center of the A is 0.20 and the slope value will be larger the further down the A we get.

Because I am checking the distance from the center point (the grey line in the image above), this works on either leg of the A. On either side, the pixel can be less than slope+.03 away.

Finally, it checks (r==5 or dist_from_center>slope). If the row is exactly 5, that is the crossbar across the A and should be red. Otherwise, the distance value must be greater than slope (this is the minimum value it can have to be "inside" the A). This also works on both sides thanks to using distance.

Although I am trying to capture 1-pixel-wide lines to draw the shape of the A, I could not think of a cleaner way than doing this bounding check. Ignoring the crossbar on row 5, you can think about the 2nd and 3rd parts of the if statement essentially making sure that dist_from_center fits between slope and a number slightly larger than slope. Something like this:

slope < dist_from_center < slope+0.03

Putting it Together

All of this logic needed to be on a single line to get away with using the short form of the if statement so it got slammed into a single ternary operator. Then I tried removing parentheses one at a time to see what was structurally significant. I wish I could say I was more thoughtful than that but I wasn't. The end result is this beefy line of code:

if(e%1<.5)c=a(r-5)<5and z<u+.03and(r==5or z>u)and 8or 8-sgn(h+v-9)/2

Once we've checked that e (our time value) is in the phase where we show the face, the ternary operator checks if the pixel is inside the A. If it is, c is set to 8 (red). If it isn't, then we set c = 8-sgn(h+v-9)/2, which is the diamond shape described above.

That's It!

Once we've set c the tweetcart uses pset to draw the pixel as described in the section on drawing the lines.

Here's the full code and what it looks like when it runs again. Hopefully now you can pick out more of what's going on!

a=abs::_::cls()e=t()for r=0,46do for p=0,1,.025do j=sin(e)*20k=cos(e)*5f=1-p h=a(17-p*34)v=a(23-r)c=1+min(23-v,17-h)%5/3\1*6u=(r-1)/80z=a(p-.2)if(e%1<.5)c=a(r-5)<5and z<u+.03and(r==5or z>u)and 8or 8-sgn(h+v-9)/2 g=r+39pset((64+j)*p+(64-j)*f,(g+k)*p+(g-k)*f,c)end end flip()goto _

I hope this was helpful! I had a lot of fun writing this cart and it was fun to break it down. Maybe you can shave off the one additional character needed to slow it down by using e=t()/2 a bit. If you do, please drop me a line on my mastodon or tumblr!

And if you want to try your hand at something like this, consider submitting something to TweetTweetJam which just started! You'll get a luxurious 500 characters to work with!

Links and Resources

There are some very useful posts of tools and tricks for getting into tweetcarts. I'm sure I'm missing many but here are a few that I refer to regularly.

Pixienop's tweetcart basics and tweetcart studies are probably the single best thing to read if you want to learn more.

Trasevol_Dog's Doodle Insights are fascinating, and some of them demonstrate very cool tweetcart techniques.

Optimizing Character Count for Tweetcarts by Eli Piilonen / @2DArray

Guide for Making Tweetcarts by PrincessChooChoo

The official documentation for the hidden P8SCII Control Codes is worth a read. It will let you do wild things like play sound using the print() command.

I have released several size-coded Pico-8 games that have links to heavily annotated code:

Pico-Mace

Cold Sun Surf

1k Jump

Hand Cram

And if you want to read more Pico-8 weirdness from me, I wrote a whole post on creating a networked Pico-8 tribute to Frog Chorus.

[heterophobicdyke]

Do you also find the state of lesbian dating sad, lonely and isolating? I spend years hyping myself up to get out there and now that I’m finally ready, our spaces are being taken over, the main lesbian dating app is banning people for being lesbians and I’m scared I’m gonna get hate crimed if I try to assert that boundary in a “queer” space / try and make my own.

I know I’m a bit lucky since I live in the suburbs with easy access to the main city, but man the state of everything just bums me out. I watched this shift happen with my own eyes and it’s just disheartening. I don’t even feel like I can fully come out cos the absolute state of the community right now and the parasites that latched onto it. The only real thing I can do is just tell myself that it gets better.

Do you have any advice on how to deal with this ?

The two women I’ve been in love with I met IRL (uni and work) so got a sense of their politics before I fell fully (not that they agree with absolutely everything I think but that they’d not break up with me for having a difference of opinion). It’s incredibly important to me that the women I date/marry encourages debate with no holds barred. I couldn’t fall for a woman without that and I’d fall out of love it it went missing and I was supposed to conform to what she thought or whatever arbitrary social rules say is okay to think. So I’m lucky I haven’t needed to use dating apps.

I’m not surprised that lesbian spaces have been seized and bashed beyond recognition. Women are socialised to turn to men for what’s next. Women aren’t able to be understood without men being the point of reference, either. We’re socialised to be scared of saying no to men. Male violence reveals the consequence. We avoid it at all costs.

How does this affect lesbian spaces?

Males have convinced us that they can be women and therefore lesbians. So they’re around the women they oppress, who otherwise would potentially be chatting about their oppressors in a safe space. Communication breakdown. They prey on the patriarchally convenient socialised accomodation in women.

Bisexual women lay claim to the term lesbian, and lesbian spaces, because they truly do not believe that women who aren’t attracted men exist. They think we just choose to only date women for feminism, and they can too. Because a woman without a sexual/romantic purpose related to men does not compute under heteropatriarchy. Lesbians prove that women don’t inherently exist for male pleasure because we were born without a drive towards them.

The only answer is female and homosexual liberation. End to male power and heteronormative power. Women have to be willing to live without men though and that’s the hard part lmao. It’s such a death drive to think that men have an inevitable place in any woman’s life.

[lonesplashy]

Ok I see ppl on Tumblr talking Abt how much they liked the final episodes but honestly I was severely underwhelmed by the fionna and cake ending. If you don't want to see me just list out everything I like and dislike and why according to my arbitrary personal preferences scroll now.

The second half of the fight with scabby was meh and repetitive. At least the gumlee was cute. Fionna is still the bestest even if her final fight kinda sucked. I love her dearly and I hope she is living her best life.

The lack of Ooo Marceline in the end was literally so disappointing too I wish we could've seen her again at SOME point.

And just in general the ending felt really rushed, I feel like if they had some more episodes to work with it would've been a lot smoother.

Simons pov was just so severely underwhelming, it just felt like filler to me.

I literally didn't care if it was going to be happy or sad ending for Simon as long as it made me feel things like the last couple of episodes did but it just felt totally flat. It didn't really feel like an ending at all. I wouldn't even mind the breakup angle they took under normal circumstances if it wasn't for the fact he like. Literally spent 12 years basically being in a constant mental breakdown, and a thousand years before that subconsciously searching for her, and her literally driving herself to insanity and becoming golb to keep him safe, but wow suddenly everything's chill cuz he played a video game. Ok. Simon just realized that whoops he didn't always take Betty's feelings into account and they parted ways.

And I will repeat: I DO NOT MIND THE BREAK UP ANGLE. IT MAKES SENSE OBJECTIVELY. HOWEVER. IT FEELS LIKE THERE WAS LIKE. TWO MINUTES OF THOUGHT PUT INTO IT. DEFINITELY NOT SUPER HEARTSTRINGS PULLING TO ME. DO NOT GET IN MY COMMENTS BEING WELL ACTKULLY THIS IS JUST ME COMPLAINING ABOUT CARTOONS.

I liked the golbetty in the bus and the golbetty statue. I could bs something about them going their separate ways on a journey the other can't go on and insert trigun quote here about how the ticket to the future is always blank but I just really like golbetty. She's great shes monsterous she's perfect.

Just in general Simon and Betty felt off to me during the final episodes, I can't really put my finger on it but they just felt weird. I'm sure Betty's been doing a lot of thinking in the void and all but it still fell to the left of them I think. The whole time I was watching I was just like. Hm.

Edit: got it. Betty has always been wanting to keep Simon thinking about her. Always. With AI Betty head she flat out said "I knew it would drive you crazy but at least you'd always be thinking about me" and it's like a core thing she does stuff for the Dramatics. While you can argue she's been doing a lot of thinking in the void and matured because of it she's also been a goddess of CHAOS. If anything she's gonna go more loony rather than more mature.

Not to sound like a doomed crazy yuri enthusiast but there are literally no normal or healthy actions you can take after literally becoming a god for someone.

Maybe I'm just too committed to the bit but I'm a solid believer that if you start a weird fucked up path you gotta end on a weird fucked up note. Although the severe disappointment of nothing happening is probably the most fucked up thing they could do to me.

Ik it's supposed to be some sometimes life doesn't give you a tidy ending stuff but also this is fiction I get enough fuck yous like this from reality and ignored job applications I want my fuck yous from fiction to be not sadly vague. Or at least better written.

At least Simon's in therapy. About time.

And the little emoticons he's using in his phone. :)

Do feel free to put your own opinions in on whether you liked or disliked the ending just play nice 🤙

[terra-drone]

My gripes with Rift Apart

Consider this a review of Rift Apart (PC ver). After playing this game twice on Renegade Legend, I have... opinions. Being a fan of the franchise since Going Command/Locked & Loaded, I admittedly have some strong biases for both the PS2 saga and the Future Trilogy for various reasons. But before I go lambasting this entry into the franchise, a TLDR summary;

Pros:

The game is pretty and well executed on a technical level (for the most part).

The platforming and movement is refined and a step up from previous titles.

Cons:

Quite literally almost everything else.

Also has a propensity for crashing (both freezing and blue screen of death).

Movement & Platforming

One of the core aspects of RaC that I am happy RA got right. The movement is buttery smooth and chain daisying from one platform to the next using wall runs, dashes and rift pulls is excellently designed. The addition of the dash function adds an extra dodge ability that was absent in previous entries although granted we can still use the age-old side jumping while aiming/shooting.

I do wish however that the hoverboots were more integrated into the platforming since most of the time you only ever need it for super long leaps or the timed step puzzles. Something like the jump pads from ACIT would be nice to see paired with the new wall run and dash mechanic. You hardly need to use it outside of Savali and Torren IV and the last part of the Nef Mech fight.

What I wished they truncated however was the glide mechanic the hoverboots had. Given that the hoverboots could both glide and make you go fast, it makes this better than whatever Clank could possibly offer. @erablisme has done a wonderful breakdown on this matter (see here), but essentially having the hoverboots be an upgrade of both the charge boots and fulfilling Clank’s contribution to Ratchet’s mobility (gliding) renders Clank, from a gameplay standpoint, moot. It renders Clank into nothing more than a glorified backpack/exposition device, which beats the entire purpose of the franchise’s own title.

Gameplay

Weapons

The arsenal, while fun to use, is too bloated. A lot of the guns overlap in functionality:

Shotguns: Enforcer, Pixelizer, Void Repulser

Seeker/Turret weapons: Agents of Doom, Bombardier, Mr Fungi

Crowd Control: Topiary Sprinkler, Cold Snap

Grenades: Shatterbomb, Bouncer

Rapid fire: Burst Pistol, Blackhole Storm

Lock-on weapons: Drillhound, Richochet, Buzzsaw, Lightning Rod

Heavy hitter: RYNO, Negatron Collider, Warmonger

Do we really need multiple weapons that do the same thing just with different particle effects?

The level up mechanic, while a staple of RaC games, is frankly outdated by this point and actively hinders the game. If anything, it punishes players for sticking to guns they enjoy once they hit max level. It makes the motivator for using weapons not be its function but rather to chase that arbitrary level cap. Plus, there’s no telling what the level up actually did for a weapon aside from damage buffs.

It’s not like they couldn’t do away with this feature, Deadlocked made the guns increase so many levels it frankly deemphasises them in favour of choosing the best weapon for any given scenario, ItN decreased the max level to 3 (6 on challenge) in favour of more meaningful weapon upgrades, and ACiT had the Constructo weapons and mods (which Deadlocked also had called Omega Mods) that incentivises experimentation on what combos worked best while allowing you to spice things up post max level. Why not tie weapon upgrades to collectibles? They already had the Raritanium collection, sprinkling effect mods for weapons throughout the locations shouldn’t be too difficult. They already did this for the armour system, so why not do it for the weapons too? Heck, why not make all the weapons customisable like the Constructo weapons? It would solve the bloated arsenal problem.

Enemy Design

The enemy design in this game just isn’t great. While it makes sense considering you’re fighting an army so it’s obvious they’re gonna have standardised units, you would think they would spice up their combat stratagem when they know they couldn’t beat our protagonists by throwing the same old shtick over and over. Instead, we keep having to fight the same miniboss Juggernaut over and over and over again. Sometimes there’s two of them! Make it three during the Juice fight!

It’s not a problem with just the Nefarious troopers, it’s an issue across multiple factions too. Across all three factions (Space Pirates, Goons & Nef’s army), they all follow the same formula; 

the one with the gun: Pirate Corsair, Goon, Nef Lasertrooper

the one that does melee: Space Pirate & Shield Pirate, Goon Rusher & Undead Goon, Nef Slugger

the tiny short range/melee swarmer: Cutlassies, Robomutt, Nef Trooper

the vehicle one: Goon Dropship, Nef Dropship

the flying one: Zoom Goon, Nef Sniperbot & Blitztrooper & Sniperbot

the heavy flying one: Vroom Goon, Nef Peacekeeper

the rinse repeat miniboss: Pirate Marauder, Nef Juggernaut

While stylistically different, they don’t differ much from how they shoot/do damage at you. It would have been great if they did some things different from one another. Some really simple fixes;

While I think giving shields to pirates makes little sense, it is some variety at least. Expand on that. Maybe make the Goon Rusher actually rush towards you faster than the others, or make the Nefarious Slugger can do 360 attacks or have more range since it’s a) a robot, and b) basically has the Scorpion Flail for arms. 

Make the Vroom Goons try to ram you instead of just having to avoid the taser things it shoots cuz that’s the exact same thing that the Nefarious Sniperbot does since all you need to do to avoid both attacks is sidestepping it.

Make the Pirate Corsair shoot high damage while the standard Goon does horizontal strafing rapid fire compared to the Nef Trooper’s vertical one

Make the Zoom Goons dodge your attacks, maybe give it a ground pound that opens it up to attack so it's at least somewhat different from the Nef Peacekeeper other than being a slightly squishier variant.

For a game so pretty it is bizarre they couldn’t put more effort into gameplay itself. The repeating minibosses get stale very quickly since once you’ve figured out a tactic that worked, it is rinse and repeat across the whole game.

Two Protagonists, Same Shtick

The gameplay doesn’t differentiate itself between Ratchet and Rivet. They play the exact same way, with the exact same arsenal, and the exact same progression. What is the point of having separate playable protagonists if they’re just gonna end up the same? You could replace Rivet with Ratchet and vice versa for 90% of the game and nothing would change. It would be something if they had separate weapons or separate movement gimmicks that make them distinct, but we didn’t get that for some reason.

Character Issues

The character writing is just abysmal, even when compared to the Future trilogy. While the Future trilogy (and by extension A4O, FFA and ItN) had plenty, and I mean plenty, of plotholes from a worldbuilding standpoint, the character writing was solid and fairly consistent. I cannot say the same for RA. Some examples;

Ratchet(?) & Clank(?)

I can hardly recognise Ratchet as the same character we had over the PS2 and PS3 instalments. He feels more like the 2016 reboot version just haphazardly retconned as the ItN version that RA was supposedly a continuation of. Being afraid of being a washed-up hero was Qwark’s thing, not Ratchet’s. Why would he even care? The man was downright tired of being a hero come ItN. And why is he even worried about meeting the Lombaxes? He saved Polaris multiple times and beat Tachyon, y’know, the reason why they left in the first place? The reason he gave up searching for the Lombaxes was because he had more going on with Talwyn and was assured the Lombaxes would do just fine without him. Why the sudden change of reason? What, is acknowledging Talwyn one too many female characters for Insomniac?

And why would Clank, despite knowing Ratchet not wanting to pursue the Lombaxes, go out of his way to make a whole ass parade about the Dimensionator? If he was just trying to cheer Ratchet up from his fear of being a washed-up hero (which, again, made no sense for his character) he would have just done the parade and given him the Dimensionator in private. The entire premise of Rift Apart hinges on the fact that Clank decides to give Ratchet what can be considered as a WMD since the Lombaxes used the Dimensionator to get rid of the Cragmites in an open public setting. Had he not done this, had he not told Qwark he wanted to surprise Ratchet, Nefarious probably wouldn’t have found out about the new Dimensionator, and the entire game wouldn’t have happened.

Another gripe I have with how Clank was handled was that his Zoni heritage was conveniently forgotten about. They could have tied the Zoni more deeply into the mysticism of the RaC universe and be the reason why he was able to fix the dimensional anomalies, but instead it was tied to Gary and... the Lombaxes. Huh.

Rivet, or as I like to call her, “Furbait”

There is so much missed potential with Rivet. Where to start? Instead of a grizzled, closed-off survivor of a robot dystopia, we just get miss middle-of-the-road, clearly made for pandering, furbait. Design wise, she would have been perfectly serviceable had this NOT been a robot dystopia. The only physical giveaway to show that she was a survivor/rebel fighter was her arm. It is the only thing that shows she’s a rebel fighter survivor. Her suit is well made, her eyelashes are on fleek, her hair is silky smooth, her tail is all fluffy and clean. Nothing about her says she was a survivor. No scars, no dirt, nothing other than the obvious robot arm. It is lazy. Lazy and stupid.

Her personality doesn’t make sense for the universe she supposedly inhabits either. Heck, no one in this franchise fits well in this robot dystopia, tbh. She distrusts robots due to past experience, yet  is chummy with both Clank and Kit (and by some extension, the Zurkons & Pierre) relatively quickly. For someone who should have gone through a lot of adversity, she hardly acts like it. She’s confident, has a lot of friends, and whatever negative aspect she does have (which is just distrust instead of the obvious robot racist she should have been) that would have given her an opportunity to grow as a character is watered down and conveniently forgotten, so she hardly grows as a character, if any.

Ultimately, Rivet boils down to being “What if Ratchet, but a girl?”. There’s work put into trying to make her her own thing, but there’s also the narrative yanking her by the collar to be Ratchet’s other self. She’s the last Lombax in her dimension, she also wonders where the Lombaxes went, and she’s trying to be a hero. At that point, how is she any different than Ratchet? They don’t even differ much personality wise for a version of Ratchet who never met her Clank, so to speak. One would think she would be the spunky RaC1 Ratchet since it was meeting Clank that got Ratchet to grow as a person. Instead she’s just your lovely neighbourhood Rivet, friend to all except robots except the ones she meets I guess. What is the point of having two main characters if they are just gonna end up the same?

Kit

While arguably the better other of the new duo, she has issues as well in the writing department. She had the most growth out of our titular cast, however how she got there is ramshackled at best. 

In comparison to Clank, he was a defective warbot, which made sense why he was small. Kit on the other hand was tailor made by the supposedly competent Emperor Nefarious, so why does she have a cutesy mode? Why does she even have a character crisis from hurting Rivet, for that matter? Stopping rebels was what she was designed to do, and she suddenly gained a conscience from doing her job? If Kit is so effective at what she did, why did Emp Nef stop at making just one of her? Shouldn’t there be multiple Kit models roaming about? She could mow down hordes of newer Nefarious Troopers and Juggernauts, so why didn’t Emp Nef expand on that?

These inconsistencies make Kit as a character start falling apart as soon as you give it more scrutiny than a surface level glance. The writers could have easily solved these issues by just alluding that she might have been an outdated model, or was damaged and abandoned on Savali where Gary and the monks fixed her up and gave her a new purpose — protecting the Archives. Instead of an exterminator, she became a guardian. They could have taught her how to be more “human” as it were, too,  which would tie up nicely to why she regrets her actions in her previous line of work. Instead, they went with the “Oh no, what have I done, I did my job and injured a trespasser, now I’m gonna be a recluse on Savali” route.

She doesn’t gel well with Rivet either because the only one actively having something to overcome was Kit. Had Rivet been written better (having to overcome her prejudices, letting go of her past trauma, solving her trust issues) it could work with Kit growing out of her self doubt and regrets, but it just isn’t there. Plus, there weren't enough scenes of them together to build towards that conflict resolution that would make their friendship more believable. She has more of a relationship with Ratchet than Rivet.

“EmPeRoR” Nefarious

He is boring. Simple as. There is no driving motivation to him other than “conquer everything”. We could have gotten an Ultron (which would make a perfectly sensible callback to the Biobliterator shtick our Nef pulled from UYA) but we just end up with a sassy English bastard with the personality of wet bread. There was no fun interplay between him and our Neffy, anything to make both their personalities shine as they work together or grind against each other, it just sucks.

The Plot(holes)

Imma just list it down.

How does a helmet clearly designed to fit a Lombax head is supposedly “one size fits all”?

How did the fish kid Rivet saved in the intro made it around Nef City in the first place if this was supposedly a robot dystopia that eradicated all squishies? What, was he just having a stroll, taking some fresh dystopian air? Could have made it that this was a fellow rebel she was tasked to save cuz he had some intel that he swiped and Rivet decided to use herself as bait to draw attention away from him so he could get the intel out of there, but no.

On that matter, why do planets like Savali and Torren IV still have organic inhabitants?

What was Skidd trying to achieve by hacking the propaganda blimp? This served no purpose at all narratively since it didn't even turn any robots against the Neffies.

Why was Skidd even in Nef City, for that matter? What was his original mission that he was going undercover for? Busting Rivet out of prison? Couldn’t be, since he made no mention of it.

Why did none of Emp Nef's cronies question our Nef just popping in despite looking clearly different? He’s a whole head shorter and the wrong colour. What, do they not have colour vision?

How did Emp Nef know about the existence of the dimensional map? He barely knew about the Dimensionator so how does that make sense?

If Ratchet already has hoverboots, why couldn’t he dash/sprint with it until he gets to Savali?

Where and when did Rivet get a rift tether?

Where and when did Rivet get a pair of hoverboots?

Wasn’t the Space Pirates/Decadroids designed by Tachyon? Why do they exist in this dimension? Why aren’t they allied with Emp Nef since they too are robots? None of this is explained.

Where did the Lombaxes of Rivet’s dimension disappear to? Did they have a Tachyon-like threat in this dimension too? Did Emp Nef wipe them out? Don’t know, and the game doesn’t bother explaining it cuz Rivet is supposed to be girl Ratchet and nothing beyond that.

Why would Emperor Nefarious announce for the whole galaxy to see where he was going during the finale? Did he lose that much intelligence in the short timeframe we’ve known him? This is the guy who conquered the galaxy?

Why would he leave a portal for our protagonists to conveniently follow him through? 

Where did that telekinetic abilities of him suddenly disappear to?

Where was this dimension’s Lawrence counterpart? That stupid little secretary is so dumb as to not recognise her own boss she couldn’t possibly be the Lawrence replacement.

Environmental Storytelling & Worldbuilding

Environmental storytelling & worldbuilding has never really been Insomniac’s strong suit. RA is pretty and all, but aside from Blizar Prime, none of the other locales did anything different from Ratchet’s dimension. If this was supposed to be a galaxy where Emp Nef has conquered it all, you would think that there’d be more neon, more cyberpunk, more Emp Nef aesthetic, more robots flying about. Instead, we just got the same thing we had from Ratchet’s dimension, just in prettier graphics. It is set dressing with no story to tell. It's a puddle pretending it was an ocean. While I appreciate seeing the graphical glow up the locations got, it’s a missed opportunity to actually show the impact Emp Nef had. 

Take Nefarious City for example;

How was Ratchet able to move around Nef City without raising alarms? This negates the entire point of Rivet needing a robot disguise in the first place.

Why does a static statue in the middle of a city have a terminal that activates a platform that leads to Emp Nef's office in the first place?

On that note, why is an EMPEROR working from an office? Where’s the throne? The grand palace and palisades? The royal guards? If he’s an authoritarian that likes to take control, where’s the giant screen with a hundred monitors that watch every inch of Nef City?

Why does Emp Nef have a tiny four seater shuttle? If he needed to commute planet-side, wouldn’t he have something more posh? More grand? A Rolls Royce of shuttles instead of what can be considered a slightly pricier but still shitty Tesla model? They could have made Ratchet or Rivet have to steal a fighter jet and that would make infinitely more sense than what we got.

The same can be said with the inhabitants of this universe. They only exist to serve as plot devices or to point the protagonists to the next goal rather than actual people. There is no culture, no differing beliefs, nothing to tell you about what they are about or what they do. If all they exist to do is to be exposition devices/mission pointers, what was the point of even making distinct characters? Then again, the Future trilogy suffered the same problem with environmental characters being practically stand-in cardboards so points for consistency, I guess.

Verdict

Essentially, Rift Apart is a creatively bankrupt, designed-by-committee tech demo for Sony Playstation. What used to be a franchise that does satirical commentary on capitalism that later tried to delve into narrative/character driven sci-fi story, has ended up being the most capitalistic-designed entry imaginable. Which is unfortunate because I want to like this game. God, do I want to like it.

Did I enjoy playing it? When it works and doesn't crash on me, sure.

Do I like it enough as an entry to the franchise though? No, no I don't. The gameplay hardly expanded on the RaC formula, and the narrative just killed it for me.

But of course, that's just me. If you enjoyed RA, more power to ya. If you told me to play it again, I'll probably do it. It's just not for me for the long run.

[asteria7fics]

i would love to hear a full breakdown of the correlation to the original text!! (*＾ワ＾*）

-still stalking man ˙˚ଘo(∗  ❛ั ᵕ ❛ั )੭່˙

Now THIS is what I'm talkin' about!!

I LOVE TALKING ABOUT THIS AHAHA °˖✧◝(⁰▿⁰)◜✧˖°

MAJOR spoilers for TSOB under the cut, so if you haven't read it yet, read it here first and come back!

So I think it's kinda obvious who of the kids correlates with which Trojan War character, but I'll list the important ones here:

Cartman: Agamemnon

Kenny: Menelaus

Kyle: Achilles

Stan: Patroclus

Wendy: Hector

Heidi: Paris

Butters: Helen

Craig: Odysseus

Bebe: Priam

Ike: Neoptolemus (adding him was such a goofy move lmao)

All other correlations I made were pretty arbitrary and I didn't really follow them outside of using them when deciding who would be in the horse at the end.

But I know what you're really here for. Here's a breakdown of the events of the war, and how I South Park-ified them!

Paris steals Helen - Obviously, this was Heidi going to Kenny's house and stealing Butters.

Odysseus tries to avoid being drafted - In the original text, Odysseus acts insane and nearly murders his infant son in an effort to 'commit to the bit'. I struggled with this chapter the most and rewrote it a couple of times to make Craig nearly killing Stripe almost make sense, though idk how successful I was truthfully. Easily the weakest part of the story.

Achilles tries to avoid being recruited - Again in the original text, Achilles hides out by disguising himself and living among women away from his home. Having the enemy be the girls made this challenging, so I settled on having Stan and Kyle dress as girls together to try and get Wendy out of the war.

Agamemnon sacrifices Iphigenia, his first born daughter - RIP Mr. Kitty (ಥ﹏ಥ)

Greeks camp on beach & capture many small settlements around Troy - Had the boys camp across the street from Bebe's and raid the surrounding houses to bleed them of supplies.

Agamemnon takes Chryseis - I knew early on I wasn't going to have the boys take women as prisoners like they did in the source text, so I settled on having them take the next most valuable thing; video games. This is Cartman taking the first Switch he gets!

Chryseis’ father prays to Apollo; plague hits camp until she’s returned - The inspiration of The Crappening. I made the decision to not have the Gods be a real factor in the war, so the girls had to take things into their own hands with this one. It was convenient too, considering how dirty Cartman did poor Jenny in Bass to Mouth. Made for great motivation for the girls to give them those laxative-laced cookies, though!

Agamemnon takes Briseis from Achilles - Cartman taking the Switch from Kyle. That bastard! -`д´-

Achilles refuses to fight - Kyle's subsequent hissy fit. He's so Achilles coded it's wild.

Menelaus battles Paris solo - Kenny and Heidi's fight! Didn't have to do much with this one, honestly.

Patroclus wears Achilles’ armor and is killed by Hector - You guys know what happens. Stan dresses in Kyle's armor and gets his leg broken by Wendy. By this point I was able to follow the source material pretty closely.

Achilles kills Hector to avenge Patroclus - Kyle gives Wendy the big chop (ง •̀_•́)ง

Achilles is killed by Paris (bow lead by Apollo) - Heidi takes Kyle out with a lucky shot to the nuts. I never really explored if she was assisted by anyone on this, but I like to think she believed the Gods were on her side, guiding that condom!

The Trojan Horse - I mean, kinda explains itself doesn't it? Though I have to say, using the condom boxes to construct the horse may have been my single greatest idea in the whole fic.

The Greek’s emerge from the horse and torch Troy - There was really no way the story could end without the boys committing arson, was there? I mean, what was Cartman supposed to do? We all know how the story's supposed to end!

This was so fun to FINALLY share with you all! I worked through a lot of these ideas with my irl friends, and the laughter I got out of them really kept me invested in finishing this story. I hope I was able to make some of you chuckle, too!

Thank you so so much for this ask!! ♡＼(￣▽￣)／♡

[katieschnooze]

Bdgs new video really hit me today, and just made me think about my relationship with other people as someone with adhd i think???

The way the neighbor talked about “i thought youd want a bigger part in it” and the seemingly arbitrary rules and snipes at my behavior (im talking about the POV character as myself because i really related to le feeling) while also showing concern for health at the same time hit me so close to home.

like it constantly feels like my adhd and depression makes it harder to follow exact instructions and upkeep certain things like dishes and washing and just completing necessary tasks, and when i try to explain this to neurotypical people they make remarks that feel like a disregard to my real inability to do these seemingly easy tasks but still show concern cause its clear that im in at least some distress

and the video just hits that dread of feeling like a burden while also being disregarded really strongly for me, like the annoyance in his voice when saying “wednesday MORNING ok??” like PLEASE i wish i could know for a fact i have the motivation to get up let alone do a more menial task like moving bins in the morning.

the axe part really felt cathartic like an outburst of feeling when ive been forced to bottle things and not live in a way that works for me but, the realisation and breakdown that it ensues that no ones ever working with malice makes me sob, like theyre saying they just wanted me to be apart of the neighborly family but i just couldnt live up to the standards. ive had situations where i become more rude and mean because of all those little things building up to me not dealing with it in a proper way, and maybe causing hurt where i didnt mean to.

idk if any of this makes sense but yeah this video just really made me feel seen and i cant stop replaying it

[jambeast]

What do you think gay men are attracted to in men that they can’t be attracted to in women?

It can’t be anything about femininity or masculinity obviously. That’s both sexist, and cultural so can’t be what drives men-only attraction.

It can’t be anything about stated identity because someone could lie just as easily as they could tell the truth in such a statement, and it makes no sense because homosexuality and heterosexuality exists in other species with no stated identities. It’s not like other animals without gender are all pan.

Saying idk it’s the vibes or some indescribable trait men have that women can’t but “I can’t explain” is a nonanswer.

Soooooooo what is it? Or do you think any sexuality but bi/pan is just cultural performance or an identity rather than an inborn orientation?

- [ ]

I'm not sure if there was a post I reblogged that prompted this or if you just had it on the mind and thought I'd be the best person to ask for some reason.

Though anyway, if we use a definition of 'man' or 'woman' closer to the actual unspoken working definition that a person will use when not consciously trying to adhere to an ideology (which would be a certain cluster in a broad web of traits and tendencies) and not, like, a simple yes/no binary on their chromosomes (as per the transphobic line) or their self-identification (as per the anti-transphobic line), then the answers get a lot less... arbitrary.

They do get a lot more *fuzzy*, but *fuzzy* is, I think, a lot better than 'wrong'.

Feels like there's a lot of groundwork about, like... what Concepts Are and how Ideas work and Language and the difference between Things and the human-made Categories for Things and strict Prerequisite based definitions vs 'Clusters in Thingspace' and stuff. That you really need to cover before you have conversations about this stuff, and nobody does that groundwork, so the conversations are always a mess of presumptions and vibes.

Y'know, when people argue over whether Traps are Gay, it's evidence of them not knowing how to ask the right question and breakdown what each part of the question means rather than, like, whether they can get the right answer (which they can't, with such a deficient question).

Also I think people's sexual preferences are genuine, authentic feelings they actually have, it's just that a lot of people's authentic actual feelings are, indeed, caused at least partially from the culture and environment they grow up in and the expectations they internalise from being around other people. Being caused by the culture and environment isn't the same as it being, like, "fake". There's some distance between "Performance" and "Inborn".

When someone expresses revulsion at homosexuality, it's not that they were born homophobic, and it's not like they're only pretending to be homophobic either - they acquired those feelings over time through living in a society. And they really did acquire them. They feel those feelings. Part of it is, like, social-pressure fuelled to fit in, or whatever, but in doing so that has a tendency to, y'know, make you actually believe it.

...Also I realised I wrote a lot of words without actually answering the actual question, which is unfortunately a vague 'There are lots of reasons' - the same way there are lots of reasons for every other behaviour or preference. Maybe Hormones have something to do with it. There's gotta be something behind the lisp.

[irlkisukeurahara]

Just some writing practice using my Pokémon AU -- Most of the context is explained. Hop is Irish and his accent is typed out. Might be difficult for dyslexics or screen readers.

The laughter settled down from Leon's mouth, his expression growing even more saddened as tears streamed further down his face. Whirring magical sounds began to die down as the pink color faded from his eyes. His energy went down as he wiped tears from his eyes. "Wow… I really am a fraud." The ex champion spoke with a weak voice. "They always praised me over you for not having dad's substance problems, being so successful and important, and not having his psychic powers like you do." Leon avoided eye contact with his little brother, looking down at the ground with a sense of shame and burden. "And, well…" His voice was meek and unconfident, something unbefitting of the man. Hop stared at him blankly. The professor had been using his brother as an outlet to vent his struggles, to a degree you would certainly describe as toxic. But Hop's eyes were slowly opening, learning more about his brother that was previously blinded by his obsessions. He realizes just how malicious he was towards his older brother, despite all he did for him. Hop's lip tightened, processing everything thrown at him before in Leon's sudden breakdown. The professor leaned into his brother's face for a moment, thinking for a second before suddenly raising his voice.

"So what?!" Leon looked back up at Hop again after this, tears still streaming down his face, unsure where Hop was going with this yet. "Yeah, a Pokémon master is somet'in ultimately kinda arbitrary to be and makes ye feel like ye wasted years of yer life on it when you lose your title…" Hop leaned away for a moment, glancing his older brother up and down, seeing the crumbled mess he had become. And for the first time in so long, Hop felt bad for him. Hop realized that was actually a good thing. He suddenly shot back forward into Leon's face again, "But so what?!" He shouted again. Leon leaned away, the brothers both just sitting there on the ground beside each other. "Are ya just gonna… Give up on life? Over Pokémon battling?" Hop spread his arms out suddenly, almost hitting Leon in the face. Hop had an angry look on his face, but it was different. When he'd yelled at Leon before, he was just looking for something to yell at after years of abuse. But for once it seems, he came from a genuine place of concern, after so long of falling down his dark path. "After, you know, all you've said to me? After you told me not to give up on life over Pokémon battling?" He suddenly grabbed Leon's face, squeezing his cheeks in between his thumb and pointer finger, forcefully tilting his head and digging his sharp talon-like nails into his face. "What kind of role model are you?"

"I–" Leon was fully caught off guard by Hop's change of heart. He wondered when Hop started caring about him again. He sighed, rubbing his tears away again. "You're right. I've been too depressed ever since… Well, I suppose the day Rose released Eternatus." He lightly put his hand on Hop's wrist, "That's not the type of person I am." He tugged on Hop's wrist slightly, and Hop let go and set his hand down beside him. "I haven't been like myself. I've been faking it out of some hope of fixing you…" he chuckled a little, "You could tell, couldn't you?"

"Of course I could, Lee." Hop crossed his arms, "I'm an expert of faking t'in's wit' a smile. You should know t'at." Hop tilted his head slightly, glancing up at the sky in thought. His ponytail twitched as he thought, a passive effect of the psychic powers mentioned by Leon that they both possessed. His expression then became almost sad, sighing as he looked down at the ground. He then looked back up at Leon, his expression still serious, but a different kind of serious. You could call it sincere. "Look, Lee. You kept sayin' t'at ye want t'e real me back. T'at ye miss yer brot'r." His voice now reflected that sincerity, "Well, the kid ye knew was never t'e real me. In… multiple ways…" Hop looked away. He didn't plan to clarify on what that meant, but Leon did make a mental note of it. He leaned back into Leon's face again, "But! I've been actin' so cruel to avoid t'is!" He grabbed Leon by his shoulders, tears starting to well up in his eyes too. "I want my dad back. I didn't want to admit it." Leon's eyes lit up, practically glowing with stars as he heard Hop say that. Admittedly, their relationship had always been father-son rather than brotherly, just due to their awful upbringing.

"I want my son back too." After a second of hesitation, Hop let go of Leon, then proceeded to hug him. Leon held onto Hop gently, as to not hurt his fragile back. It's been so long since he gave Hop affection like this as Hop pushed him away, so he still wasn't sure of his own strength compared to Hop's extremely low constitution.

"I'm sorry, Lee." Hop paused. "No. I'm sorry…" he nuzzled his face into Leon's shoulder, "Dad." Leon started tearing up again, he couldn't help but hold Hop firmly. "I'll try to be better. I–" Hop was about to continue onwards, but Leon let out a quiet 'shh' noise.

"I will too, bud." He spoke quietly, a sincere smile on his face as Hop held onto him. He didn't audibly cry, but he was teary eyed as everything came to a head. For once, he'd face his problems in a healthy way. With the help of his real dad.

[absolutebl]

Hey! Not sure if I missed it(apologies for this ask if I did, or if you're not doing it anymore) but did you do your BL Trope awards for 2022?

I love your lists, the trope execution awards are always fun, and your breakdowns of who best deployed the tropes and archetypes for the year slap, every time - also, all your top tier analyses that I am just incredibly grateful for from a media analysis(and media accessibility) standpoint and breaking down sub genres of queer romance media, which has delightfully been morphing and growing with every passing year, and with it, the tropes too (R.I.P. sharing corded headphones as the jacks get phased out - but I did clock recently The Eighth Sense doing its little retro nods, so they clearly didn't get the memo/it was an intentional inclusion, and we love that for them either way)

Anyhow

Please do not feel pressure if this is not the vibe rn

I know this ain't your job, and you're choosing to be out here blessing us with stats and breakdowns, and wonderful, wonderful lists, so thank you for everything you put out, mad appreciation, human

Your shoulder blades remain the prettiest

I sort of did it. I didn't think many were reading the trope wan but I did pass out some awards (and thank you for saying such nice things!)

All my 2022 stuff is here:

But this is as close as I go:

I might do it again this year with a few of the more popular tropes since there are so many BLs I've taken to doing image lists of tropes by year rather then as massive round ups "of all time". If that makes sense.

[thesorcerersapprentice]

1, 2, 3 and 5 for the ask game?

Thank you @malloen8c for this ask! Everyone, please check out their amazing Writeblr @kingkendrick7! Click 💜here💜 for the full list of questions included in this ask game and don't forget to interact with 💜this💜  post if you want to be tagged in this or future tag (a/o ask) games! 

1. Do you listen to music when you write?

Unless it's extremely repetitive music, like some kind of very chill electronica (or cat music? Does anyone listen to those hypnotic cat tv playlists?), I find music distracting. However, I don't like working in silent environments (like libraries). I've found that my ideal background noise is actually the low hum of conversation, so cafes, pubs, and bars are my go-to workplaces (plus, I can get a coffee or a cocktail while writing??? What more could you ask for???)

2. Are you a pantser or plotter?

I'm a plantser, I'm a bit of both. For 🌿 Gorgona 🌿, I have a mindmap containing worldbuilding facts, snippets of dialogue, fragments of scenes I've thought of in the shower, and misc ideas. It looks like a very busy nest of multicoloured (because, of course, it's all colour-coded) spiders. I've been building it up in a completely arbitrary, unchronological manner on Freeform. I guess you could say I'm pantsing the plot?

3. Computer or pen and paper?

Computer (my laptop), always. I don't really like my laptop's screen size (it feels claustrophobic), but since I don't work chronologically through the story and constantly review things, a laptop makes much more sense than a writing pad (which would end up having pages glued to the margins and various colour coded strings connecting edits on different ends of the pad, etc. In short, a total disaster). The only time I've ever written with pen and paper was when I was having a breakdown trying to write my undergrad thesis and desperately needed to get away from the blank Word document (part of the breakdown was due to the fact that I didn't have the time to use the disorganised, unchronological, all-over-the-place method that works with the way my mind works and was being asked instead to write in an "A then B then C" form from the get-go. While I can produce a highly polished, finished piece that reads that way, I can't for the life of me write it in that order, which makes it very difficult to work with a tutor who wants to read your weekly updates. In short, if I'm writing with pen and paper, please ask me if I'm ok).

5. How much writing do you get done on an average day?

500 words a day is a good average for me. Of course, I can write double or triple that some days, but I've established a general rule that if I write 500 words a day, that counts as success. I've deliberately set a low, easily achievable daily word goal because it helps me feel accomplished and motivated to keep working on the project. It's a win-win.

[amratsu]

after reading @ryo-maybe 's recs, compiling my own rider recommendations/breakdowns, in chronological order of release, with the general approach of 'here's what you may enjoy' and 'here's what people love/remember it for'. den-o onwards to zi-o cause I need to rewatch the older ones tbh. I've watched all of these myself once, and (barring ghost) with @stuffman-main and @icedfairy so you can poke them for opinions too probably.

>den-o the first 'comedy' rider that really leaned into its mascots, so much so that said mascots are kind of still around to this day like 15 years later. this tends to give the wrong impression though, because den-o still takes a surprisingly deep and melancholic look at its themes of existential dread and being remembered. it's a generally fun time that'll also pull at your heartstrings at surprising times, and takeru satoh (of current ruroken live action fame) really does portray the growth of the protagonist from a complete non-person into a still-nervous-but-will-throw-down hero nicely.

>kiva oh I absolutely agree with the general consensus of crazy aesthetic (fucking STAINED GLASS VAMPIRES?) but whack-ass writing, but as my first rider I have a big soft spot for it. it was also the first rider I watched together with stuffman-main and iced-fairy as an introduction to deeper weeb enjoyment. make no mistake, kiva is deep in the late 2000s sauce of plot via lack of communication, but at the same time it's still kind of charming how earnest it is about it? it's just 100% vampire melodrama inside a kamen rider. and also the time period gimmick is, in retrospect, one of the weirdest and most ambitious plot threads toei's ever tried. I can't even straight say I recommend kiva, but if you can stick around after they only really get better. (fun fact with kiva: the default suit was so fucking heavy BECAUSE IT HAD ACTUAL METAL CAUSE THEY WANTED NATURAL CHAIN JINGLING that they had to introduce the super mode like a dozen episodes early or else the suit actor was literally going to be crushed)

>decade anniversary series. meme origin point.

>w I think if any series really leans into its subgenre the most, it's a toss-up between W and Exaid, but W is way more universally loved. it's a tight noir experience, the duos done so well that it'd fuck with rider writing for multiple series to come (for better or worse). the way it plays with its supporting cast really makes the city feel alive in a way that makes it as easy to love Fuuto as much as shotaro does. the rider tropes themselves are also handled very well, with little arbitrary power ups or alt forms, and an absolutely unheard of total of two riders, period, until you go into side materials. and the writing very much benefits from its ability to focus on them to the exclusion of anyone else. extremely easy recommendation, and its 2 episode format also makes it very easy to watch in short sessions.

>ooo where W lives and dies by its two-episoders, OOOs uses it to support the developing relationship between protag and 'mascot' while also pursuing a much more ambitious overarching metaplot. the nonlinear nature of the belt/suit 'upgrades' leads to an pretty exciting shuffle of transformation trinkets between the protagonist and villains; you never quite know who has what, and in that sense it's almost closer to a rider royale with how the characters jockey for the macguffins. eiji's also a generally very refreshing protagonist who will still do Dumb things, but not Stupid things, and that's a fine line to walk/write I appreciate a lot.

>fourze anything I could say ryo(?)'s already said. it's just fun. it's very different from a lot of other riders though in that you won't see the same emotional ups and downs in the plot you would elsewhere. gentaro's just immune to that shit.

>wizard oof. I'm going to be bold here and say I find haruto, the protag, fine. lots of people say he's boring and one note, which I disagree with; he shows a fair amount of subtle growth as a person over the course of the series. nito, the side rider, is also great. aesthetics are also great fun. but wizard is absolutely STRANGLED by its one note supporting cast, a peanut gallery full of drag-you-to-the-lake-bed cement that's just impossible to care about. if you can deal with the generic kid's show level of eyeroll carry-on cast, you'll probably have an okay time here.

>gaim gaim gaim gaim. oh gaim. I love you so much. and this is contingent on spoilers, but, I think urobuchi plots honestly fine if there's a happy ending. and there is, because SPOILERS that facilitate post-series xovers. like of all the ways we've seen urobuchi wank about the cruelty of the system, the futility of struggling against it, and the tragedy of life, gaim's protagonists arguably end up doing a lot more to win despite it. and also I find the thought of urobuchi simmering in his dark little corner because toei forced him to write a happy ending really, REALLY funny. can't recommend unless you're in the mood for urobuchi though.

>drive honestly? drive is one of the most inoffensive riders. nothing really wrong about it. it leans into its subgenre a lot in the vein of W, so if you're in the mood for a cop show with androids and robots it'll do you good. the protag is also a tall drink of water. definitely a fine starting point.

>ghost oh god. no. by this point in the time line, the 'cool rider=sucky show' meme is really in full force. there's really not a lot I can write on ghost that hasn't been said by other people, but in short it's just very one note with very shallow characters, and a lot of shoehorned merchandising that messes with what little coherence there is (the super form is a seperate belt all on its own, never used by anything else. why???).

>exaid again, ryo(?) has me covered here. worth pointing out though, ex-aid is a perfect otome game cast: clumsy good boy with some spice to him, tragic serious elite genius, jokey lovable trickster, abrasive jerk with heart of gold. so that's fun.

>build build's AMBITIOUS. the conspiracy/amnesia plot goes deep, and it almost forsakes a monster of the week and all the tropes attached to that entirely. whether it lands the plot is up to debate but at the very least the characters are all very well realized and live. they all struggle with 'who am I' in their personal ways, and the way they clash up against each other (ESPECIALLY the villains) is exciting.

>zi-o another anniversary series.