#and a pretty interesting overarching story

[bluejaypirate]

Fucking DEVASTATED there's no Phineus Phibes fanfic on AO3. Not. A. One. I am so pissed off. I want to see people BABYGIRL-IFY HIM. And believe me, if anyone on this absolut hellhole of a webbed site knew who or what i was talking about? THIS SITE? You bitches would be all over him. I'm dead serious. He is a pathetic wet cat with zero morals and the stupidest haircut in the entire fucking universe. I want to study him. He fascinates me on so many levels. He's literally the worst, and i want o run him over with my car. I want to place him in an enclosure for study and spray him with a water bottle every time he dissapoints me. I think maybe, JUST MAYBE he should kiss his stupid fucked up little scientist second in command on the mouth. Their relationship is so complicated, and it get a MILLION TIMES WORSE in the final episode, and their chemistry is so fascinating, and the tension inherent to their positions in this narrative is so thick I want to BITE it with my TEETH. I am only halfway through season one, but i KNOW where their story is going and it's KILLING MEEEE.

Oh yeah also the show I'm talking about is shaggy and Scooby Doo get a clue. I decided to watch it after the Velma show ended up being. Y'know. Bad. I kind of went into this idea of "man. I wonder how bad the previous 'worst' Scooby Doo spin off compares to this, because like. Surely it's not anywhere near this atrocious? I wonder if there might be something there worth looking into." So first i did some background research (spoiling the entire plot in the process, because everyone kind of assumes you've already seen it or don't care), and then it was off to the races! And uhh. Holy shit guys. I. I love it. So much. I need people to brainrot with please.

[famewolf]

if im being honest and allowing myself to vent a bit about it ... another red flag was when the DM went 'wow i love the detail of your backstory but idk what i can do with it tho ):'

[hopeymchope]

No hardcore fandom has ever died so quickly and so completely as Veronica Mars. This is the story of its murder.

They should study Veronica Mars in Hollywood. I'm serious. It's an incredible story of how to go from "loud, passionate fanbase with its own fandom name that campaigns and advocates constantly for it" to "absolutely zero fucking interest" damn near OVERNIGHT with just ONE epically terri-bad decision.

If you weren't there, you don't understand: From 2007 to 2014, the fandom — the "Marshmallows," as they called themselves — were everywhere in the Internet's geek spaces, my friends. They routinely beat the drum about the series' three seasons and its excellence, lamented its cancellation, pushed others to give the show a try, and always - ALWAYS - proudly and loudly called for the series to be revived.

FULL DISCLOSURE/CONFESSION: I've not even watched that much Veronica Mars, frankly... ? Yeah, I'm sorry! it does seem pretty good from like the four-or-five hours I've experienced firsthand. I just never took the time to sit down with it. Regardless, I find fandoms and their dynamics — both how they operate internally and how they display to others externally — deeply fascinating. And I honestly find them easier to study from the outside than the inside. Like, if I'm IN a fandom, I'm more likely to stay in my corner and ignore places that seem negative. But being on the outside lets me just... absorb what's out there, looking into every forum without judgment. It's like studying pop-culture sociology or something? And it helps that I'm very close to some serious(-ly burnt) Marshmallows. It makes it so much easier to find and absorb the gamut of the fandom.

Besides: There is NO fandom story I've ever seen that's anything like what happened to Veronica Mars and the Marshmallows.

(Time to insert a brief explainer for the uninitiated: Veronica Mars was a TV series that aired from 2004-2007 on the now-deceased UPN network wherein Kristen Bell played the titular character, a high school girl whose single dad was a private detective in the fictional community of Neptune, California. She grew up working "unofficially" as his assistant, which meant that she herself was effectively a teenage private detective.

The three core elements of the series were: 1) Veronica investigating each week's big mystery with plenty of quips and snark, 2) Watching Veronica's various relationships develop and shift, with most of the focus given to a) her relationship to her father and b) Her romantic pursuits (which began as the Veronica/Duncan/Logan triangle before eventually becoming focused on the slow-burn, off-on Veronica/Logan love story), and 3) The gradual development of that season's "mytharc" — the overarching BIG MYSTERY that doesn't get resolved or wrapped until the season finale. So it went over the course of two seasons that took place in high school and the third, shorter season that was at the start of Veronica's collegiate career.)

Just how big and how passionate were the Marshmallows? WELL! When series creator Rob Thomas (not the Matchbox 20 guy) and star Kristen Bell announced the Kickstarter campaign for the Veronica Mars movie in March 2013, it achieved its heretofore-unprecedented goal of TWO MILLION GODDAMN DOLLARS within less than 12 hours. At that time, it was the biggest Kickstarter goal to ever succeed — and certainly the fastest to reach that kind of height. Fans fell OVER themselves to pay out for it. Hell, my own significant other was DEEP in the tank for VM at the time and invested enough to get multiple t-shirts as backer rewards as well as a disk copy of the movie when it eventually came home.

And AFTER the movie hit in 2014? It was thankfully beloved and embraced! The once-teenage characters were adults who were actually out living on their own and working for a living, but the fandom had grown up with them, so it wasn't like they were begging for them to stay young students. They embraced Adult Veronica and her new adventure. The fandom rejoiced loudly and continued to be all over the geek side of the Internet... where they, of course, still wanted more. Sure, there were new novels in the aftermath (which were written by the creator of the series), but most of the Marshmallows were calling for more movies or a streaming revival.

And then, at long last... season four was actually announced. And there was much (premature) rejoicing yet again.

Yes, Veronica Mars returned for a fourth season on Hulu in 2019. It was just eight episodes, and it was heavily centered on one season-long mystery instead of sprinkling that amongst a bunch of smaller ones, but it would still feature the same ol' Veronica. They promised a new, more "adult" mystery/investigation plus a strong focus on Veronica and Logan's love story.

New Hulu purchased the rights to the first three seasons and hyped up its presence on the platform while marketing the return for the new run. The marketing team played up the most popular quips from the show's history plus put out TONS of stuff centered on the Logan/Veronica ship to pump up the fans.

The season was dropped all at once using the classic Netflix "binge" model in July 2019. And then... afterwards?

There was a brief explosion of LOUD RAGE from the Marshmallows at what series creator Rob Thomas had to done to burn and spite the fandom and ruin his own goodwill.

SPOILERS FOR SEASON 4: See, at the end of the movie, Veronica and Logan finally entered into a long-term relationship. In season four, they've been dating for years, and Logan proposes marriage. But of course there has to be drama/obstacles: In this case, Veronica isn't sure she's ready to marry... or capable of being in a marriage. Ah, but of course she eventually realizes how much Logan means to her. The two are married, and, in the season finale... Logan is killed by a car bomb in the penultimate scene. The final scene is a flashfoward to a year later, where Veronica leaves Neptune alone.

For most fandoms, that'd be a memorable point of pain. A big ol' speed bump that ultimately throws some people off the bus, leaving only the die-hards. But the fact that fans had been invested in this relationship for literally 15 years and that Hulu (and creator Rob Thomas) had heavily marketed the new season as being a big romantic event for the ship... it was too much. Unlike the aftermath of the Star Wars sequels, there was no lingering group of die-hard fans who were open to whatever was next — at least no significant one. I did some Googling and could only find TWO people who still wanted another season.

Funnily enough? Critics LOVED this. Hell, Vanity Fair infamously penned an editorial about how Veronica Mars had "finally grown up" with this finale. I suppose all the other murders and deaths and drug overdoses and r*pe weren't "mature" enough before now for... some... reason. (The same editorial also featured the author openly hating on Veronica ever being in a relationship because it causes "arrested development" and declaring that the movie -- which was acclaimed by both critics AND fans alike, I remind you -- was a lame dud. So. The writer must be a reeeaaaal fun person.)

But a series doesn't live based on critical acclaim, as it turns out. The fandom was murdered overnight. "Marshmallows" stopped appearing in geek spaces online entirely. No one expressed interest in seeing the next season or the next movie. The constant flow of fan AMVs on YouTube and fanfics on AO3 dried up to nothing or damn nearly so.

Since 2019 ? Nothing. Chirping crickets. An intensely dedicated fandom of 12 years was just... vaporized.

I've never seen anything like it before OR since.

That's why it's so fucking fascinating.

So what went wrong?

Creator Rob Thomas was adamant about two things: ONE, the series was intended to be a noir show, which meant there couldn't be any happiness for its protagonist. And TWO, the death of Logan was necessary to evolve and grow the series.

Thomas thought that having Veronica in a relationship would be holding her back, and that a marriage would absolutely kill the series and leave her stagnant. It never even occurred to him that marriage isn't the end of a character's life and growth. It never occurred to him that plenty of drama can be had AFTER someone is married, or that development/growth could be that the characters mature enough to be capable of maintaining a committed relationship. Thomas' view of his own universe was so myopic that he couldn't conceive of any possible way that Veronica could still be a private detective involved in life-threatening investigations AND be married at the same time. Futhermore, he felt that fans just wanted Veronica to become a pregnant housewife, which is about as far from what Marshmallows were after as you can get without straight-up killing Veronica and/or Logan. He managed to do the only thing wronger than what he wrongly thought was their insistence.

On top of the above, Rob Thomas only viewed "noir" as a vehicle for total fatalism... despite the fact that many of the most famous noir stories are cynical and full of moral ambiguity, but they still feature a positive outcome. The Big Sleep still has the protagonist get the girl. The Set-Up arguably ends with the happiest possible ending in spite of the beating the hero receives.

Perhaps most importantly? Despite Thomas own insistence that Veronica Mars was always "noir," the majority of both TV critics and fans did not think that designation ever truly applied. I suspect that's the reason why Thomas decided to go as dark and fatalistic as possible: He wanted to be noir, and he was being told that he wasn't. So he went so far into noir that he killed his own most popular property.

He was adamant that it was the only way for the series to grow. But as it turns out, it was instead the only way for the series to permanently end. Without that season four finale, a passionate group of fans would still be begging for more. With it? It's over. Nobody fucking cares now.

That's kind of amazing.

[thefiresofpompeii]

the main mistake that people who dislike s8 and put it low in their series rankings make is the belief that, like any other series (apart from s9), it’s a collection of standalone stories tied together by some vague throughline i.e. missy’s ‘heaven’. “oh, this episode’s mid, that episode’s bad” meanwhile it’s not about individual episodes at all. i firmly believe that it should be viewed as a singular long serial.

so grateful that i was extremely late to the party and binged it all in a week instead of watching every episode as they were airing, because sometimes the plots barely matter at all. do you remember what the skovox blitzer actually looks like or what it wanted with coal hill in the first place? hardly. i had to google its name. but what you do remember from the caretaker is twelve acting like an antagonistic prick towards danny, and that’s what matters. almost every villainous entity is some kind of soldier, the contempt twelve shows to everybody but clara becomes the source of their toxicity… in the forest of the night is pretty obviously rubbish scifi, but it demonstrates danny’s fundamental incompatibility with clara, as well as the scene in which clara is ready to sacrifice herself and her students for the doctor’s sake, foreshadowing their reckless, almost suicidal codependency.

point is, but it really does work best as a tightly woven tapestry. sure, some episodes succeed individually, but most of the individual plots are mildly exciting only in a ‘this is fun to watch for kids’ way… UNLESS you approach them from the overarching perspective. i.e. mummy on the orient express has wonderful style, a thrilling mystery, creative concepts and interesting side characters, but its story appeal hinges on the twelveclara failed breakup. listen is frightening enough, but its entire story appeal hinges on just how much clara affects the doctor’s values past and present, and whether or not she has a future with danny (she doesn’t).

what i’m saying is, the narrative in s8 is a non-negotiable package deal. buy one, get them all. and it has no skips. i hate the idiotic pro-life message in kill the moon as much as the next sensible person, but what the episode does well is really hammer home how much of a sanctimonious asshole twelve initially is, which is crucial to his future character evolution.

tldr; the correct way to watch series 8 is all in one go. series 8 is great. more love for series 8

[rbbrbikerthorp]

Meeting Mick

In the centre of London, a 22-year-old junior office clerk named Gareth found himself trawling through his email inbox once again. For such a young lad, he was already fatigued with the tediousness of routine.

He had been conventional all his life, descending from a lineage of monotony. His father was an accountant who was coming up to retirement - a greyish man who wore greyish suits, his grandfather had been an accountant and he was pretty sure his great grandfather had also been in the profession. “It’s in our DNA, numbers run in our blood,” the words of his dad would echo around his head.

As a teenager, Gareth tried to rebel, well he put a bit of effort in to trying to rebel. First of all he let his hair grow, then he got a number 2 at the barbers. He bought a pair of DMs with some of his savings but never wore them for fear of what his mother and father might say. Once he came home ten minutes late for dinner, which was enough for his father to take him on one side and lecture him on the importance of timekeeping.

Anyway, let's get back to the present. Gareth got home early evening after another dull day in the office. He prepared a nice healthy meal of grilled salmon and steamed vegetables. After washing up, he decided to check his social media feeds, not that he was a prolific user of social networks, but at least they were a doorway to 'other worlds' that offered some escape.

As he was scrolling through Tumblr one profile in particular caught his attention. The profile belonged to someone calling himself 'Mick', an older man who proudly identified as a Skinhead Boss.

Gareth just stared at the profile picture; he studied it from top to bottom; his overarching thought was that this was an older guy who didn't give a f**k. He lost himself staring at the shiny black boots, which contrasted with the white laces and the arms covered in tattoos. Gareth then clicked on the profile and immediately pressed the 'follow' button.

He scrolled through Mick's blog and found himself getting more and more aroused at the pictures, which included from videos of lads getting their heads shaved, pictures of skinheads in full skinhead gear, groups of skinheads drinking and even photos of skins getting pierced and tattooed. The posts included many skinhead transformation stories as well as a few articles about skinhead culture, which Gareth read with interest.

Gareth really wanted to message Mick, and he pointed the cursor but kept hesitating because, to be honest, he felt a bit stupid. The voices in his head told him not to bother, Mick is a hard, tattooed skinhead and why would he want to chat with someone as boring and vanilla as you, Gareth?

After deliberating for many minutes whilst continuing to look over Mick's blog, he managed to silence the voices momentarily finding the resolve to send a message. He clicked on the icon and noticed the green dot, so Mick was probably online. After a lot of thought he decided to keep the first message short, "hey there, love the blog, love the gear," and pressed the send icon. No, he thought in a moment of regret and as the voices reasserted themselves, why did I type that? After a few minutes, and much to Gareth's surprise, the number 1 appeared on the messages side-menu. Expecting a "get lost" or "Eff off back to your boring, mundane life," he clicked to see what the reply was.

“Oi oi m8 thx. I didn’t think I’d be your type. Just seen your profile pic you look like just a conventional clean-cut lad." Reading this, Gareth was rock hard. He’d never spoken to a skinhead before and the thought of chatting with one was already driving him crazy. He thought very carefully about what to type next. “Ha ha, well yes, but skinheads - they're something else,” and he pressed send. Mick replied straight away “Thanks. I know you’d look good with your head shaved, wearing a nice tight pair of bleachers and all booted up lad.”

Gareth had often wondered what his life would be like if he had taken a different path maybe as a tradesman or a workie, even a punk or skinhead but it would never work, plus what would his parents and friends say. He quickly typed a reply, “Ah, I’d love to but I don’t think I could - I’d be a terrible skinhead,” and clicked on the send icon.

Gareth was starting to feel stupid again for initiating the conversation with Mick - but before he cold wallow in his foolishness he received another message, which had a much firmer tone to it “Listen lad, you WILL make a perfect skinhead. I CAN make it happen m8. I'll be in the White Hart pub on Grange Road at tonight 8 - be on time. If not, we won't chat again. It's a one time offer."

Having read the message, Gareth noticed the green light disappear - Mick must have signed out.

Gareth didn’t know what to do. This skinhead he’d spoken to for all of five minutes was willing to take him 'under his wing' and make all his dreams come true. Was this a set-up? Was it all one big joke? Was he being foolish turning up in a pub some stranger had mentioned

In that moment Gareth was 'paralysed' Should he carry on as Mr Conventional or take this opportunity to escape the monotony and drudgery of routine? Well there was only one way to find out.

After nearly an hour of procrastination he decided it was worth the risk and he would go and meet Mick. After all nothing was going to happen in pub full of customers? With a mix of excitement and apprehension, Gareth put on a pair of jeans, a plan blue t-shirt and a his coat. He opened Google Maps and searched for The White Hart and followed the directions.

After a twenty minute bus ride and ten minute walk he arrived at The White Hart. He paused for a moment. This looked like any other pub he'd seen in the city. Was he really going to enter a pub frequented by skinheads? Was he about to meet the man he'd been messaging on Tumblr? He was about to discover that this pub, adorned with memorabilia reflecting the skinhead subculture, would become the backdrop for his transformation.

He walked through the double doors and entered the tap room. He was immediately met by the sight of three skinheads standing at the bar. He checked them out; they all had shaved heads, some dressed in green or black bomber jackets, some just in t-shirts or Fred Perry polos and wearing skinhead boots; some black some red/brown.

Standing for a moment, just inside the doors (close enough to make a quick retreat should it be necessary), he took in the atmosphere. He looked around the room, trying not to catch anyone's attention. However, a few of the skins had noticed the new lad enter. Gareth was aware of several faces looking in his director, some seeming to sneer at him in contempt. He imagined they were thinking "what are you doing in our place?" After all he was a normal looking, average 22 year old in the middle of a pub occupied by tattooed, pierced, and booted skinheads.

Gareth got a sense that tension was building, but at the same time he was very aroused. He'd never been so close to one skinhead, let alone a pub full of pretty hot looking skins. He glanced at his watch - it was almost 8 o'clock - so finding Mick was his priority.

Gareth was feeling intimidated by the many eyes focussed on him. Believing Mick would be somewhere in the pub meant he was able to dig deep and find the courage not to run out through the door through which he entered. As he walked around, he noticed a skinhead standing at the bar smoking a cigarette. He always thought that smoking was banned indoors - and that included pubs - but this skinhead didn't seem to care. "You look out of place my lad - don't think you want to be in here!" he said taking the cig out of his mouth.

"Well, erm, I, I'm supposed to be meeting someone here." Gareth stuttered a reply taking in the sight in front of him.

"Oh, is that so?" The skinhead started to smile. "And who is this person you're supposed to be meeting or do you just like being in a room filled with skinheads?"

Gareth was getting even more aroused. "No, erm Mick," he initially replied meekly, then getting his confidence back, "he's called Mick".

Suddenly Gareth heard a booming voice to his right, which he knew was aimed at him. “Boy, I've been waiting."

Gareth headed over to where the voice originated, very aware that the skinhead he'd just been talking to was still staring at him as he walked away.

"Good job you turned up lad." Gareth was mesmerised at seeing Mick in person - as if in a trance, he walked towards the man that would permanently change his life. With each step forward, he took in Mick's weathered face, shaved head, tattooed arms and, holding a metal baseball bat in his left hand. "Boy, I thought you might chicken out." Finally standing next to Mick, he laughed nervously; he actually was scared-stiff but at the same time he was so turned on by this older skinhead. “You wanna be a proper skinhead - just like ALL the lads around you, don’t you?"

Gareth turned around and looked around the pub - no one was staring at him now. Everywhere he turned he saw skinheads laughing, chatting, getting the beers in and even playing pool - it was the camaraderie that caught his attention.

All his life he'd been a 'lost sheep'; he'd been desperate for the kind of kinship he was witnessing. Yes this is what he wanted, and he would do whatever it takes to be accepted. He turned back to Mick, and more certain than he'd been about anything in his life, "Yes, YES, I want to be a skinhead."

"Good lad," Mick cracked a smile for the first time since they'd met in person. "I can make it come true boy. First, I should warn you that once you say yes, there’s no going back. So, you're absolutely sure about this?”

Gareth had never been more certain in his life, oh and had never felt like this before (not to mention the forming bulge that was hard to miss). “Yes, I really want this”.

Mick was relieved, he made it a mission to bring new lads into the skinhead world “good choice, I’ll make a proper skinhead out of you boy. When I'm done with you, you'll be a proud skinhead, following the skinhead code.” Gareth nearly erupted in his trousers, he couldn’t believe this was happening. Right seat yourself down, I'll get the beers in an we'll talk about your skinhead transformation.

In a matter of minutes, Mick returned accompanied by two other skinheads who sat down alongside Gareth. "This is Charlie and this is his boi Chris. Chris once had a boring life - he was a going to be a lawyer but he hated his life. He met first Charlie on Grindr and now they're inseparable; Chris now works for the council in the cleansing department. Lads, this is Gareth," he said, nodding in Gareth's direction."

Gareth nervously picked up his glass that had been put in front of him and took a big gulp of the beer. One gulp turned into two, three, four and in no time, he'd almost finished his pint. In doing so he'd plucked up the courage to initiate a conversation about what life would be like as a skinhead.

Mick was about to start waxing lyrical about his life when Charlie jumped in, having just finished his pint, "tell the lad how long you've been a skinhead Mick," turning to Gareth, "Mick also knows what it means to be a skin and how we watch out for one another. C'mon Chris let's get the next round in."

As they chatted over three more pints Mick regaled his life experiences and the subculture he had embraced since he started secondary school. He shared stories of camaraderie, rebellion, and talked affectionately about the unique sense of identity that exists within the skinhead community. Despite the age gap, a connection had formed between the two. Mick decided it was time to begin Gareth's transformation. "Right lad, follow me."

Mick put on what Gareth would learn is his black Harrington, he picked up his baseball bat and headed through a set of double doors. Gareth followed a few paces behind Mick heading down a short dimly lit corridor.

They walked through the door and entered a room with black and white tiles on the floor, three sides of the room had walls covered in pictures of skinheads, the other wall was simply a floor to ceiling mirror. In the middle of the room was a barber's chair.

"Right lad, take your top off"

Without a second thought Gareth complied. "Get in the chair." It was an order, not a request, which had to be obeyed. Gareth was about to take the first step and most symbolic stage his transformation to a skinhead.

Sitting in the old barber's chair, Gaz could only watch as Mick walked over to the shelf and picked up a set of clippers. Mick removed the guard that was covering the cutting end and turned to Gareth, ""this is it lad; in a few minutes Gareth will be gone. I'm going to transform you into Gaz - my Skinhead boi."

With that Mick pressed the on button on the side of the clippers; immediately he heard the familiar 'clack' sound echo around the room. Mick pressed the clippers into the nape and worked his way up the lad's head. With a deliberate slowness, Gareth's hair was stripped away. With each stroke, inches of hair fell on his chest and on the floor around the chair until it was all gone.

Gareth was more turned on than he'd been; at any time in his life. Nothing he'd done in his 22 years to date had resulted in the mild sweating, butterflies and raised heart-rate that he was experiencing as he stared into the mirror watching this tattooed thug denuding his head.

Mick could tell Gaz was enjoying the experience as he heard a little pleasure moan escape from his mouth. He ran the clippers over Gaz's head at least three times, ensuring there was only stubble left. Mick noticed Gaz staring in the mirror - it wasn't all he noticed. "Like what you see boi?"

Gareth simply nodded - his brain simply couldn't process the combination of his feelings and the sight of his shaved head in the mirror. He was about to touch his head when Mick interrupted, "No you don't boi. I'll tell you when you can touch your head."

Mick then walked over to the sink and turned on the hot tap. When the water was steaming hot, he grabbed a towel and wet it thoroughly. He squeezed the towel removing the excess water and placed the very towel on Gaz's head; leaving it for a few minutes.

This gave him time to grab a can of shaving foam. He completely covered his boi's head in foam. He grabbed a new Mach III razor and started the next stage of the transformation. It took a few minutes to shave away the stubble from his boi's head and make him as smooth and shiny as a baby.

Gaz sat there frozen in disbelief as each stroke of the razor revealed another patch of scalp completely void of hair. As Mick finished up, he produced a handheld mirror to show the back and sides: “what do you think boi?”

Gaz didn’t recognise the person staring back at him - he was starting to look like a dumb thug who’d grown up on a council estate and spent years getting in trouble with the law. Not some twenty-something who had grown up the perfect, but very boring, nuclear family. “Yeah, this is perfect, just how I wanted to look”.

"It's only the beginning of your transformation lad. Now we need to get you dressed. Stay there." Mick ordered and walked over to a cupboard ar the back of the room.

Gaz didn't want to move. He was transfixed by the skinhead he saw in the mirror - so much so that he didn't hear Mick calling to him.

"Get over here boi!"

Gaz came back to reality and jumped out of the chair. He walked over to where Mick was standing. It was a cupboard full of boots, jeans with bleach splashes, t-shirts, polo shirts and bomber jackets.

For the second time in as many hours, Gaz was enthralled by the content in the cupboard - as he stared at the many pairs boots on the shelf he was almost drooling. "Right lad," Mick said jerking Gaz out of his boot gazing, "we can get you started with what's in here. You'll need to get more in time but that can wait till you start yer new job."

With that Mick began to outfit his boi in classic skinhead attire. He started by handing Gaz a t-shirt wich the boy slipped over his head, then came a pair of very tight fitting jeans with bleach splashes - bleachers as they are generally known. As he put them on he could sense blood rushing towards his groin area. Seeing this Mick smiled; Gaz smiled back sensing he was blushing. As he finished buttoning his bleachers, he saw the jeans had been cut off just below the knee - he would soon find out why. Next, Gaz was handed a pair of white(ish) football socks. "Get them on your feet."

As Gaz was putting his socks, he looked up when another skinhead entered the room. He was a bit younger than Mick but older than Gaz; his arms covered in tattoos and a huge ring in his nose and both ears pierced, "is he ready Mick?"

"Not quite Al, he's got his boots to put on an lace properly." He turned to Gaz, "for now you need to pull your socks over your knees." When Gaz had done as instructed, Mick put a pair of black 20 hole boots with white laces in front of him. He sat down and began talking him through tightly ladder-lacing his boots, first the right foot then the left.

In no time at all Gaz had ladder-laced his boots.

"Stand up lad - look in the mirror!" Mick instructed, "how does that feel?" He didn't need to ask - the lump in the boi's bleachers was there for all to see.

"i...," Gaz was stuck for words. After a few moments he spurted, "I can't believe what I'm looking at," as Gaz found himself feeling a sense of belonging he had never experienced before.

Mick was pleased with the transformation so far. He offered Gaz a cigarette. “Sorry, I don’t smoke”. Mick threw Gaz against the wall “lesson one, you don’t get the choose what you do and don’t do anymore. Skinheads smoke and now you're a skinhead so that means you're a smoker too. I want you to smoke a pack a day boi”.

For the first time since he walked into the pub Gaz was intimidated - especially knowing there was another skinhead in the room watching. Gaz gingerly took the smoke from Mick and lit up. It tasted awful and he was trying his best not to cough after every inhale.

“You’ll get use to it boi. Give it a few weeks you won’t be able to get out of bed without sparking up” Mick laughed. This is Al by the way. He's a tattooist - he's going to make your transformation more permanent.

"Right Al, he's ready for the next stage."

Al smiled, "come slong me boi."

Gaz followed Mick and Al out of the room, and out of a side door in the pub. Even though he'd worn his Doc Martens on a number of occasions, walking in 20-hole boots felt so different. To start with the leather was new and the soles of were solid and heavy. Mick and Al were heading off and Gaz had trouble keeping up. Eventually the two older skinheads arrived at a tattoo studio, with Gaz arriving a few seconds later.

"Right here we are. It's time to finish the job. Al's gonna give you your ink and we'll get some metal into you too,"

"Yes boi," interjected Al, "in the chair, take your shirt off and we can get started."

Gaz took off his shirt and sat in the chair.

"I think you should light up boi," Mick instructed, holding out a pack of cigs. Gaz took one and lit up. Even though it was only his second cigarette, he was doing better at not coughing every time he inhale.

"Right Mick, so just as we talked about earlier?" Al asked.

"Yes, just the ones he can't hide - the ones on his knuckles, hands, neck for today, then over the next few visits he can get his sleeves done and then you can work on his back.

Gaz's heartbeat was rising rapidly as he was listening to what was about to happen. The transformation so-far was reversible, but the moment the tattooing started there would be no turning back. Then all of a sudden he felt a wave of calm as he realised he wasn't forcibly being transformed. His lifetime wish was become a reality and Mick and Al were facilitating his deep desires.

Al set up his equipment and began. As the needle buzzed, skinhead symbols etched themselves onto Gaz's skin – a commitment to a lifestyle that was rapidly becoming his own. The letters S-K-I-N and H-E-A-D were tattooed onto his knuckles. Next, a swallow was tattooed on the back of his left hand, followed by his right hand. Then Al began the more painful and time consuming work of tattooing a spiderweb onto the left side of Gaz's neck and a pair of red DMs on the right hand side. Both would be positioned too high for Gaz to cover them up - even if that's what he wanted to do - and he didn't, ever!

Piercings followed suit, adding a further edge to Gaz's appearance. His ears were adorned with small gold hoops, then his nipples were pierced - wincing at the pain as the needle went through the sensitive skin.

"One more for today boi and then we are done. If you thought your nipple piercings hurt, then you'll really feel it when we get your septum done."

Mick wasn't wrong. However, compared to the continuous, vibrating pain of being tattooed, Gaz would describe the septum piercing as a quick, sharp pain. In no time at all he had a 14 gauge septum piercing with a gold ring though it.

"Your nose is going to be tender to touch and will probably take a couple of week to heal." Al told Gaz. We'll look at changing to a slightly bigger ring as Mick wants in a couple of months, that's provided it has healed well."

Mick walked over to Gaz and grabbed him roughly. Mick pressed his body up against Gaz and kissed him lightly on the lips. Then he thrust his tongue harshly into Gaz's mouth. Gaz had never kissed a man before, in fact he hadn't kissed many girls before. So he just let Mick take charge. Gaz found he loved the smokey taste of Mick's mouth too - imagining that his would taste the same as he become a 20-a-day smoker.

In that single moment Gaz felt a sense of liberation that transcended his previous life. There would be no return for once ordinary office worker. Instead, with Mick's guidance, Gaz secured his first manual job. Being a workie on a building site was a fitting occupation for his newfound identity.

In the end, Gareth's (now Gaz's) transformation went beyond skin-deep. He found a sense of purpose and community that resonated with him on a profound level. Mick, the seasoned skinhead mentor, had unwittingly become Gaz's Alpha guiding the 22 year old through a journey of self-discovery that led him to embrace a life that, just weeks before, had been unimaginable.

[crushedsweets]

I'm the sweetest girl in town; so why are you so mean? Nina 'the Killer' Hopkins in Creeped PT 1: K-12

PT. 2: PURPOSE — PT. 3 NEW MESSAGE

General disclaimer: This AU is an amalgamation of headcanons, fanon, canon, and the occasional rewrite. There is an overarching story that HEAVILY strays from their canon stories. TW for toxic relationships, grooming, eating disorders, and self-harm. ED content is restricted to the 'middle school' section. Nina is a very personal character to me, but with a LOT of changes. Please take care of yourself and only engage in content you can handle.

BACKGROUND

❥Nina Hopkins was born on February 13, 1998, in California. She was the older sister of 1 brother, Christopher Hopkins.

❥Nina grew up with workaholics. Her father was a carpenter and her mother was a hairdresser, running her very own salon. They'd work 12 hour shifts, coming home to little Nina fast asleep on the couch, waiting for her parents. Especially her dad.

❥Nina was a daddy's girl through and through, and his guilt for never being there was evident. So he chose to shower her in gifts when he could, tutus and little pink mary-janes. Something girly and flashy.

❥Nina's favorite gift was a cheap, princess-themed makeup palette. Little Rapunzel's and Tiana's littered about her glittery pink and purple eyeshadows, set alongside cherry-flavored lip balms. She'd use the tiny sponge brush to delicately put on bright eyeshadow before school every goddamn morning.

❥It became obsessive. She'd come home and reapply. Cry when her mom makes her wipe it off before bed. Kick and scream when they threatened to take it away from her. When her mother asked why, Nina cried that it made her pretty. She didn’t want to look in the mirror without it. 

❥Now, Nina wanted attention. From a young age, you could see it in her. The way she dressed, the messily applied makeup, the loud voice, fake cries. She didn't get it much from her parents, and it only worsened when she became a big sister.

❥She was about 7 when Christopher was born. Her mom may have taken maternity leave, but that still left no time for Nina. She learned how to make bottles, change diapers, and bathe newborns. No attention aside from Christopher’s tiny hands holding onto her pajamas.

❥This opened a new routine for Nina and her mom, though. Each night, her mom dozed off on the couch, rocking Christopher’s little crib. Nina curled up beside her, purple eyelids half shut, watching whatever show her mom had on. 

❥Nina’s mom’s favorite show was Forensics Files. A little odd to her husband, but it immediately hooked Nina’s attention. It wasn’t age-appropriate, sure, but her mom was far too exhausted to change it. Besides, what’s the worst that could happen? If Nina could wear eyeshadow, she could watch her mama’s favorite show. 

❥Just like Nina’s cheap makeup set, her interest in true crime grew obsessive. She’d get in trouble at school, spending her time in the school’s library, typing away at the school’s computer. She didn’t get far with many of her searches considering the Wi-Fi restrictions, but teachers and students quickly caught on. Eventually, she got banned from the library.

❥But Nina couldn’t get those stories out of her head. Every little bit she had memorized, she scribbled away in her diary. Obsessively. She kept track of every single detail. Memorized the victims’ names, the dates, and even the times they were declared dead. Whatever information was available to the public, Nina wrote down.

❥When Nina was about 9, she got her very own laptop. A gift from her dad, and an apology for so many late nights at work. He had no idea what it would unlock for Nina. All of the forums and chat rooms and videos she’d have access to. He didn’t even know there was a fucking ‘true crime community’ online, how could he expect his little girl to get sucked into that?

GRADE SCHOOL

❥When Nina was 10, she became a bit of a recluse. Girls at school avoided her for a few years now. She spent day after day curled up by the playground all on her own, flipping through her diary and brushing everyone off in favor of it. At home, she’d retreat to her bedroom and scroll online forums. 

❥She began making friends online, choosing to lie about her age. She’d befriend adults interested in the same morbidity as her. They introduced her to new content. It began with anime, usually psychological horror. Eventually, it evolved into dark manga, then gorey horror movies. Nina didn’t think much when they introduced her to liveleak. 

❥Nina left her diary behind one day, a fatal mistake that she was always so careful about. A girl from her class, Claudia, picked it up. Nina didn’t see that diary for a week. She spent days sobbing over it, crying to the people she met online and refusing to leave her room in fear of it being found.

❥She was called into her elementary school’s office the following Monday. Little Nina, dressed in hot pink twinkle-toe converse and glittery lip-balm, sat uncomfortably in the stiff office chair. Her father sat besides her, a look of disappointment on his overworked face. Her diary was on the desk.

❥Nina screamed. She screamed and kicked the chair as she snatched the diary. Without a second thought, she snapped the tension in that room, resulting in her father having to hold her down. She panicked violently, and when she eventually settled down into a whimpering sobbing mess, they scolded her. 

❥They began putting Nina into therapy. Weekly sessions at first, trying to dissect what was wrong with her. It made her feel worse. She didn’t think there was anything wrong with her. She wore ‘weird’ like a badge, something that all her online communities praised her for. Why was everyone acting so awful? It didn’t matter that much, though. Her parents still couldn’t carve time out of their work days for her. Weekly appointments turned monthly, turned every three months, turned never.

❥The girl who found her diary didn’t help. She read through it long before she turned it in to the teachers, snapping photos on her older sister's phone. Claudia began to keep track of Nina, similar to Nina’s habits. When the two turned 11 and entered 6th grade, Nina began experiencing relentless bullying and harassment. 

❥It started with name-calling. Deeming Nina a freak show, calling her a future serial killer, or pretending to squeal and run off when Nina walked by. It snowballed into jabs at her appearance, laughing at her messily applied blush and colorful clothes. Saying she was the ugliest girl in their grade, making comments on her body and how all the boys found her gross. She very frequently fell for boys saying they had a crush on her, only to laugh at her the second she believed it. Her self-esteem was already in shambles, but the relentless harassment only worsened it.

MIDDLE SCHOOL

❥Nina found solace online. Her friends were older, more mature. They understood her. Sure, some of them made her a bit uncomfortable, but it was nothing she couldn't handle. When she turned 12, she confessed her age to them. It broke her heart when a few blocked her, but not everyone did. She clung to those who stayed. Curiously, the adults interested in staying friends with little Nina were the same ones introducing her to new disgusting content. They’d ask to video call her and stream their favorite movies. Nina didn’t realize they were snuff films at first.

❥The harassment at school didn’t stop, of course. Nina was too young to start dieting, too young to be buying expensive makeup, too young to be worrying about her appearance. Regardless, she was convinced it would solve her problems. Alongside the fixation on horror, Nina stressed about her looks. She’d sob in front of mirrors, calling her adult friends and begging them for advice. They’d ask for photos. You know, to help her. She shattered every mirror in her room, weeping over her bloody hands and sending shards along her body. Nina's new diary obsessively kept track of new numbers.

❥Nina spent every night grabbing at her face and body, desperately morphing it to look the way she wanted. She didn’t even stop to think about Christopher in the other room, listening to her wretch into the toilet after every meal. Nina was so unbelievably lost in her own world, that nobody good ever came to mind.

❥She thought about Claudia a lot. So thin, tall, and confident. Claudia had a lot of friends, too. Nina was well aware, considering how often Claudia geared their attacks at Nina. She watched Claudia daily. In 8th grade, she noticed Claudia began wearing crop tops. Nina did too. She’d tie up her shirts and untie them around her parents. Claudia wore her hair in a high ponytail every damn day, so Nina started doing it too. Nina began applying mascara and highlight the same way Claudia did. Both girls were arguably too young for makeup, but there they were, egging each other on to apply more and more. Claudia’s wardrobe was pretty simple, nothing too flashy. So Nina opted out of her rhinestones and bright pink sneakers, instead reaching for simple Converse and plain jeans. 

❥By this point, a good number of them had phones. Claudia had long blocked Nina on Instagram, but Nina just made another account. A few, actually. One was an empty account with a fake profile picture and name, only used to follow Claudia without being blocked. A few more were made, used to follow Claudia and bombard her comments and messages with hateful content. Jabs at her appearance, her body, her clothes. Anything Nina could use as ammunition, she shot down Claudia’s self-esteem as harshly as her own. Nina would tell her adult friends online about it, bringing them to Claudia’s pages to attack her. It was cruel, and Nina knew that.

❥But it just felt so good when Claudia began to change. Before the end of 8th grade, she swapped to hoodies and pajama pants. No longer wore her hair up, instead used it to hide her face the best she could. She spoke quieter and didn't laugh so loud anymore. Nina felt like she won, and the freaks online cheered her on. Finally, Nina was able to drop her fixation on Claudia. 

HIGH SCHOOL

❥There was an odd shift in high school. Nina had completely turned her appearance around. She obsessively posted selfies and was quite careful about her online interests. Nobody could know. She wouldn’t even share the fact that she watched anime, far too fearful of the backlash. 

❥She had caught the eye of a senior at her school. His friend group had practically circled Nina, quickly offering her rides home and inviting her out. She bathed in the attention.

❥Christopher watched his big sister sneak out every other night. He’d ask softly where she was going. Gently, she’d smooth down his hair, press a kiss to his forehead, and ask him not to tell. He listened. Nina didn’t realize how much Christopher knew, and how much he kept to himself. How much of her grief he carried with him, worrying for his big sister.

❥14 year old Nina found herself at quite a few parties. Sometimes they’d be cities away, and she’d be seated on a couch at a random college party, shakily sipping away at a drink that made her nose scrunch. Eventually, the boy that brought her to these parties asked her to be his girlfriend. Nina couldn’t believe it.

❥He was the first boy of many to break her heart. It was a short month with him, till she went to the next guy. Then the next, and the next. Nina started drinking quite a bit, occasionally smoking weed and embarrassing herself on several occasions. She said it made it easier to socialize, but she really just thought it made her look cooler.

❥It grew difficult to balance both social lives. Her adult friends online continued to demand her attention at all times. Not much changed from when she was in middle school, including the way her anxiety would skyrocket when they got upset with her. She always folded to everyone in her life. She just wanted them to stay, to praise her, to tell her how kind and beautiful and sweet and funny she was. But it just felt so much better when someone in real life gave her that.

❥Yet another boy broke Nina’s heart. She thought he was the one, she really did. She spent months with him, from the end of her sophomore year to the start of her junior year. He bathed her in everything she asked for at first. She even got comfortable sharing some of her interests with him. He thought a girl liking anime was badass, but when she began to ramble about cold cases, he started to withdraw. Shortly after he broke up with her, old rumors began to resurface. Photos of an old diary slipped back into her school, shedding light on Nina’s elementary school habits. Nothing seemed to change, huh? Still talking about the same shit she was tormented for years back, but this time, they were attached to screenshots and voice memos that Nina sent to her boyfriend that year.

❥Nina knew who leaked them. Claudia, that stupid fucking bitch. Nina was never confrontational. Nobody ever taught her how to be. But this was a new low for her, dragging her right back to her middle school horrors. It’s like all of her misery, all of her insecurities, all of her rage and frustration and low self esteem accumulated into a string of stupid decisions. 

❥Nina followed Claudia home that following Monday. It was long after school, with Nina patiently waiting for Claudia to finish her group project. Neither of them exactly expected this, but when Nina snatched Claudia’s hair and began bashing her head into the ground, there was a deep sense of relief.

❥Regret followed. It didn’t feel so good watching Claudia sob as she curled up on the floor, clutching her face and begging Nina to stop. A pathetically small puddle of blood pooled beneath Claudia, and the sight made Nina’s stomach churn. She threw up. 

❥But Claudia was fine. Only her nose was broken and her face was bruised. Nina was expelled, now being shoved into an alternate school to complete high school. It was tearing Nina up inside to be so alone again.

❥What else was she supposed to do?

PT. 2: PURPOSE

[cleolinda]

The Scariest Movie I Ever Saw in a Theater: The Ring

I'll tell you up front that the story I'm going to tell you is about "The Ring (2002)," in the sense that it is about The Ring in the year 2002.

See, I don't know what The Scariest Movie Ever is. A quick google says that the consensus is The Exorcist (I haven't seen it, because I never felt like scheduling a day to freak myself the entire fuck out). But horror is specific, and not just to a person, but to a time and place, even. When I saw The Shining as a teenager in a well-lit living room with other people, I didn't even really flinch, but I bet it would play very differently to me now. I don’t think The Ring is at the top of anyone’s list, but twenty years ago, I had a personal interest in it—at the time, I was running a dinky little Geocities site devoted to movie news. Links curated and compiled from all the other, bigger sites I followed—basically, it was the linkspam format I have used on multiple platforms, including here on Sundays. And so, as someone who followed theatrical releases pretty closely for two or three years, I saw the trailer for The Ring, and I immediately knew it was going to be huge.

To locate you in time, this was just after three self-satirizing Scream movies and the Overcomplicated Serial Killer films of the '90s. The Ring was something completely different: chill aqua-blue color grading a good 5-6 years before Twilight; a mournful Hans Zimmer score; no jokes, no quips; and a slow, inexorable sense of doom. Grief, even, given that the movie begins with the death of the main character's niece. What immediately struck me about the first trailer was 1) the melancholy of it, and 2) how much it doesn't explain. Onscreen, you get the title cards,

THERE IS A VIDEOTAPE IF YOU WATCH IT SEVEN DAYS LATER YOU DIE

Concise! Understandable! A woman (Naomi Watts) is freaking out upon discovering that her young son has just watched it! Admirable job setting up the premise and the stakes of this entire movie in thirty seconds flat, without even any dialogue. That's all you need to know, and thus, the remaining minute of the trailer can do whatever it wants, and what it wants to do is be fucking weird. Echoing voices, TV static, a closeup of a horse's eye, ladders, a girl with dark hair, people reacting to things we don't see, drippy doorknobs, rain. Characters don't give us the whole plot in convenient soundbites of dialogue (like they do in a later trailer); we just hear lines, overlapping, murmured out of context—

did you see it in your head? she talks to you... leading you somewhere... showing you the horses... you saw it. did you see it in your head? she shows me things. Everyone suffers.

That you saw it has lived in my head ever since, and not once have I charged it rent. But the "best" part is Naomi Watts screaming at the end, because you don't hear her voice; you only hear this heartless telephonic beeeeeeep. It's 2002 and I'm watching this trailer, thinking, I have no idea what the fuck I just saw. This is going to be huge.

And it was, to the tune of $249 million on a $48M budget.

At risk of recapping what you might already know, Ringu, aka Ring, is a media franchise that spiraled out from a trio of Koji Suzuki novels into Hideo Nakata's film Ringu (1998), a landmark of Japanese horror, plus several other movies, some TV series, many comics, and even a couple of video games. The overarching story is about a murdered girl/vengeful ghost named Sadako Yamamura whose rage and pain have created a cursed video tape, you watch it and you die unless you pass the tape around like a virus, seven daaaaays, etc.

The "ring" in question is the rim of a well. Keep that well in mind.

The movie I saw is the U.S. remake, which itself had two sequels. (The iconic Sadako is now named Samara Morgan. Keep her in mind, too.) Director Gore Verbinski moved from The Ring to Pirates of the the Caribbean (!), and so Hideo Nakata himself would direct The Ring Two. I... honestly have only seen the first one. And I was right, it was huge, and it kicked off the American J-Horror Remake genre, for better or worse. But what gets forgotten about The Ring is its marketing campaign, which I followed pretty closely for my doofy little news site.

It was inspired.

The story of The Ring is partly the story of the sea change in the media landscape—how we watch movies. And the story of its marketing is a picture of the very last years before social media changed the wilderness of the internet into something that feels so big, like a billion people could see anything we say, and yet so small—only a tame handful of places to say it, owned by three or four companies, and corraled by algorithms.

Back around 1997-1998 or so, I worked at a video store (Movie Gallery, where the hits were there then, guaranteed) for about a year and a half. By the time I left, we had started adding DVDs to the VHS tapes on the shelves, but we hadn't replaced the entire stock. Video stores might have transitioned fully to DVD by 2002, I'm not sure, but people still commonly had both VCRs and DVD players in their homes. And I remember that The Ring was sold in both formats when it eventually hit home video. Which is to say—you know the analog horror genre today? Marble Hornets, Local 58, The Mandela Catalogue?

Analog horror is commonly characterized by low-fidelity graphics, cryptic messages, and visual styles reminiscent of late 20th-century television and analog recordings. This is done to match the setting, as analog horror works are typically set between the 1960s and 1990s. The name "analog horror" comes from the genre's aesthetic incorporation of elements related to analog electronics, such as analog television and VHS, the latter being an analog method of recording video.

Okay, but this is just what home media was like, and 2002 was at the very tail end of that—boxy black VHS tapes that degraded with time and reuse were just how we lived. At the same time, I'd been using CDs for music since about 1991, and all our software installs came on CD-ROM discs; a "mixtape" by that time had shifted to mean a rewriteable CD rather than a cassette tape. In college, I—well, I'll plead the Fifth as to whether I downloaded mp3s via Napster, but I was also taping Mystery Science Theater 3000 on VHS over the weekends. It was Every Format Everywhere, All At Once, and we kept half a dozen kinds of players around for them. Here in 2023, we stream and download everything invisibly, unless we choose to engage in format nostalgia. (I've already run into the problem of Apple Music deleting songs I really liked, due to this or that licensing issue, because I was really only renting them.) The year The Ring hit theaters was the edge of a last shimmering gasp of physical media where iTunes had only come into being the year before, and iridescent discs were still mostly what we used, but cassettes, both video and audio, were still viable. And so, people did not think it was terribly weird when they started finding unlabeled VHS tapes on their windshields.

Movieweb, quoting TikTok user astro_nina:

"Their marketing strategy was essentially 'let's get this tape viewed by as many people as possible without these people being aware of what this is, sort of raising intrigue," she says. One way they achieved this was by airing the tape, which allegedly marks its viewers for death within seven days, as a commercial with no context. The video would air between late-night programming "with no words, no mention of a movie, for like a month...so people would run into it and it would just go on to the next thing, and people would be like, 'what the f--k is this?'"

I remember seeing the Cursed Video as an unexplained ad at least twice, by the way. That TikTok also indicates that DreamWorks straight-up sent copies of the tape to Hot Topic stores, as well as planting them under actual movie theater seats. While running my movie site, I heard at least one story of someone finding a tape on the sink counter of a restroom at a club. Did the marketing department actually plant tapes in bathrooms—or did a freaked-out recipient leave it there, hoping to dodge the "curse"?

(I haven't embedded the Cursed Video here, by the way—but I could have. If you'd like to see the American take on it, you can watch both the full version and the shorter variant that appeared in the movie itself. A text description of what the fuck you're even looking at is here [content note for both: blood, insects, animal death, body horror, and suicide by falling]. The original version from the Japanese film is shorter, and it's eerie rather than gruesome.)

BUT WAIT, THERE WAS MORE: DreamWorks had something of an alternate-reality campaign going with a handful of in-character websites. This was only a year after Warner Bros. ran the groundbreaking "The Beast" ARG for A.I.: Artificial Intelligence: "Ultimately, fifty websites with a total of about one thousand pages were created for the [A.I.] game." (I lurked in the Cloudmakers Yahoo group.) Marketing for The Ring did not go anywhere that in depth, nor did it need to; it was both a smaller film and a smaller story. I saw at least two “personal” websites (seemingly amateur and a little tacky, like my own), but the one I particularly remember was about someone who owned/trained horses? I'm not sure if it was meant to be the actual Anna Morgan character—Samara's mother—or maybe someone who had noticed that the Morgans' horses were disturbed? I'm not even sure anyone even remembers this but me. Reddit users dug up a few other archived websites, but they're about Sadako, the curse and/or videotape; they aren't as subtle or character-oriented as the site I remember. (Honestly, I wonder if weird shit like "What Scares Me" or "SEVEN DAYS TO LIVE" were made by fans rather than a marketing department, but who knows.)

[The “About” page from Seven Days to Live on the Internet Archive.]

[The entirety of An Open Letter on the Internet Archive. “UPDATE” is a now-blank pop-up. I would bet $5 that it was originally a pop-up of the cursed video.]

I need to point out here that Facebook did not exist in 2002. It would not exist for another two years, and Twitter wouldn't exist until 2006. Even MySpace was not a thing until the next year. I didn't start my Livejournal until October of 2003. What we had, for the most part, were independent forums and blogs. We also had Creepy Internet Fiction like "The Dionaea House" and "Ted the Caver"; their use of the blog format, of people out there seemingly living their lives until something fucked up went down, gave the stories the shape of reality. And it helped that these blogs had comment sections, sure—sometimes more story unfolded there—but for the most part, an author could "abandon" a blog, and you'd just find the story there via word of mouth. Like the Ring blogs I remember, it wouldn't seem strange if no one replied to you, whereas today, you'd have to hire a writer to sit on Twitter, or Reddit, or even Tumblr, and interact with people in character. Could you do something like The Ring's mysterious, weird-ass blogs today? Would anyone even notice?

So: It's 2002, my head is full of Alternate Reality and eerie images and you saw it, and I'm hype as hell to go out and see The Ring. I'm perfectly happy to go see movies by myself, so I went in the early afternoon (best time to get a good seat). The movie ended up being a sleeper hit, and the first weekend, the public was still sleeping on it, so there were only 7-8 other people in that theater, grouped in maybe two clusters. I was off in my own little pool of darkness in the upper right quadrant. Functionally, once the lights went down, I was alone.

Despite some middling reviews at the time, The Ring is something of a horror classic nowadays. If you want a scary movie this Spooky Season, check out The Ring. Or don't, because it nearly killed me.

We're at the last, I don't know, third of the movie? And Our Heroine has tracked down the origin of the Cursed Videotape to some creepy mountain motel or whatever. SPOILER, it turns out that it was built over the Cursed Well (everything in this movie is cursed) that Our Villain was thrown into—that's why Sadako/Samara is a vengeful wet murder ghost crawling out of TVs now. While investigating this decrepit hotel room, intrepid journalist Rachel and her, who is it, her ex-husband? her kid's dad, idk, discover the well under the creaky old floorboards. And then, wouldn't you know it,

NAOMI WATTS FALLS INTO THE WELL

NAOMI WATTS FALLS INTO THE FUCKING WELL

THAT'S WHERE SAMARA'S BODY IS

[The rather slapstick moment when Rachel falls into the well. Does not include what actually happens next.]

I go absolutely rigid in my seat. Naomi Watts is splashing around this dark-ass death swamp of a well and I know, with as much certainty as I have ever known anything in my life, that Samara is about to pop up in all her pasty, waterlogged glory. All the sad creepy dread, all the desperation to figure out what the fuck all that shit on the tape was and stop Samara from killing Rachel's son, all the horrible contorted victim faces, all the alternate reality I’ve been soaking in, it has all come to this. I have to leave the theater. I cannot be having with this. I have to be gone from this place. My legs do not work. I cannot feel them. I am frozen. I want nothing more in this life or any other to get up and leave this cavernous pitch-black room, and I cannot. I start praying for death. I want you to understand that I am not trying to be flippant or humorous. This is genuinely what went through my head. I was too scared to even think, "You know, you could just pray to pass out or for motion to return to your limbs or something." No, I sat there in The Ring thinking, Please for the love of all mercy just let me cease being.

You know that scene in Mulholland Drive (also starring Naomi Watts)? Winkie's diner and the EXCRUCIATING tension? It was a little like that, except I wasn't watching it, I was experiencing it, and Samara was my dirt monster out behind the diner.

Except that the jump scare didn't actually happen. I mean, yes, Rachel finds Samara's body down there, but—I don't remember exactly, please don't make me go watch it again to tell you what actually happens. It's played more sympathetically on Rachel's part, as I recall, and she and her ex get Samara's body out so that she (Samara) can have a proper burial.

And then it turns out that this is not the end of the movie. It turns out that Rachel has Fucked Up.

I think I was relatively okay through the rest of it, although the climax is Samara emerging from a TV in her full glitching swampy glory to scare [SPOILER] to death. I don't recall praying for death twice. There's a point when you're so exhausted from fear chemicals that you're like, yeah, this might as well happen. Bring it, Soggy. I did have a hard time prying myself out of that seat afterwards, though, and my mom says that when I got home, I had the classic thousand-yard stare. How was the movie?

"It was great," I said, and I meant it.

I've seen things that were objectively scarier (I watched much of The Haunting of Hill House from behind a pillow, to be honest), and it's not like I've never experienced fear in real life. But I respect when a movie that can make me feel so intensely, and there's something weirdly precious about the way horror is a safe roller coaster, as it's often been said. So I love telling the story about The Time The Ring Nearly Killed Me—a movie that actually made my body stop working—and I love thinking of how embedded in a specific time and place that movie was for me. The last gasp of VHS when the Cursed Videotape still seemed plausible; the way the internet was still wild and weird and free; where I was in my life, keeping up so avidly with all the movie news, and finding myself in such a little pool of darkness early one afternoon. It's the scariest movie I saw in a theater; that's the alchemy of circumstance.

[anthurak]

Something I absolutely love about the alternate-timeline aspect of Scott Pilgrim Takes Off is that it really feels like a logical extrapolation and ‘next-step’ to the genre/trope-subversion and exploration of the original comic.

Remember how the whole idea of Scott Pilgrim the comic is taking a very basic, generic and ‘tropey’ premise; ‘Boy likes girl, boy must defeat girl’s seven evil exes in order to date her’, and uses it as the backdrop and framework to explore, deconstruct and develop its characters.

Like how the biggest conflict at any given point of the comic is never the actual battles with any of the Seven Evil Exes, but rather Scott being forced to confront some major problem with himself or his relationship with Ramona (usually the former). How the true ultimate ‘antagonist’ for both Scott and Ramona isn’t any of the Evil Exes, but rather themselves. Their own long-festering hang-ups and insecurities that they’ve been refusing to confront or acknowledge that have in turn led to them being pretty shitty people over the course of their lives. For as bad as Gideon is, he’s still only a mirror showing all the bad that SCOTT could become.

So with that in mind, it really feels like the anime simply took this idea a step further: What if we took the basic, generic and tropey premise that nonetheless served as the framework for the story and held it together… and broke it.

When the narrative guide and scaffolding that held the original story on a certain course is shattered when the story is just getting started, where does the story go?

It’s actually one of the ways I think Scott Pilgrim Takes Off can be appreciated even if you haven’t read the comic or watched the movie. Even if you aren’t familiar with the story, the first episode makes it pretty easy to guess how this story should play out: Scott meets Ramona, they have their first date, they really hit it off and seem set to become a couple. We’re introduced to what clearly seems to be our ‘Big Bad’ in Gideon and our ‘Starter Villain’ in Matthew. Again, even if you don’t know one thing about Scott Pilgrim, by the time Matthew Patel crashes the party you probably have a pretty good idea how this whole story SHOULD go.

And then Matthew (seemingly) KILLS SCOTT in their first fight!

THEN the second episode ratchets things up even further when all signs point to Scott, our title character, being ACTUALLY DEAD for real. And then Matthew, again the guy who should be the starter villain, goes and beats Gideon Graves, the guy who clearly SHOULD have been the FINAL BOSS of this story!

And then the third episode sees Ramona, the girl previously set-up as the designated love-interest, firmly established as the new PROTAGONIST of the story. With Ramona given both an overarching goal in finding what really happened to Scott, and an ongoing character-arc of meeting and reconciling with each of her ‘evil exes’.

Basically, even if you aren’t familiar with the full specifics of the source material, I feel like Scott Pilgrim Takes Off can still be enjoyed as essentially a show that at first sets up what seems to be a fairly wrote and predictable story before flying COMPLETELY off the rails at the end of its first episode into something quite a bit more unique.

[lazuliquetzal]

I keep on telling people you're the only one who knows how to plot. Can you teach all of us how to plot, please? I love you.

I AM SUMMONED? PLOT BRAIN SUMMONED?

I love plotting. It's my favorite part of the writing process. Plot is "things that happen" and the best part of writing is imagining things that happen. I'm going to assume that whoever may be reading this knows how to imagine The Happenings, so I'm gonna be talking more about structure, but in like, a kinda abstract sense.

A good plot is a little bit more than a string of events. Plot is like music: there's variation in rhythm and sound and melody, but ultimately there's cohesion, because it's all one song. You can have a bunch of wild things happening, but no matter how strange, there should be something that links them all together, because you're telling one story.

Plot structures are patterns in stories. I'm pretty sure most of them were developed as analysis tools (as in, story already exists > look! it follows this pattern) rather than as writing tools, but people use them as writing tools because it's a neat little way to organize the chaos that is "shit happens." Stories follow patterns for the same reasons music follows patterns: we enjoy the certainty of hitting certain beats. But we also like being surprised. A good pop song doesn't sound like a random collection of sounds, but it also doesn't sound like the middle slider of other songs.

There is this shared concept in both music and writing: the idea of tension and release. Basically, you're playing with reader expectation: there's an imbalance in the experience (tension), and we want to see that imbalance resolved (release). All the common plot structures deal with this basic pattern:

You set an expectation

There are complications to the expectation

You meet the expectation

And this rhythm is happening on multiple levels in writing. Scenes follow this structure (we're gonna get past that door, we're gonna find the murder weapon, we're gonna collaborate and come up with a plan) and all those scenes feed into the overarching expectation (we're gonna solve this murder!). I usually think of chapters as their own mini-story, part of the larger whole. And I think of scenes as their own mini-story, part of the larger chapter. I have engineer brain. I see the gears spinning in the clock. That's why all my chapters have at least One Important Thing happening, because that's that particular chapter's Step #3.

And One Last Important Thing:

In music, a delayed resolution is almost always more interesting than the standard resolution. In writing, that means you wanna drag out Step #2 for as long as you can. That's where the bulk of the story is happening, that's how you build tension, that's how you get people to turn the page.

So when you write a fake dating fic, those bitches better not get together until the very end. I came here for fake dating, not for real dating, damn it. If you resolve that expectation early on, you better replace it with a different expectation that's just as engaging.

But also don't drag it out for too long. Sorry. The hard part of writing is learning the difference between too short and too long. Writing is unfortunately a nuanced skill which is why my advice is like "do this but not too much teehee." But tension and resolution is just rhythm, you can build a sense for it if you engage with enough stories.

[wszczebrzyszynie]

hello! i've seen you've mentioned the sibling relationship between przemek and lena in your last post and the topic seems really interesting. would you have some time to get into it more? or are there any already published posts of yours talking about them?

truth be told i dont remember what i talked about already on here exactly but im pretty sure this will be the first Przemek-Lena relationship mini essay to post. well either way as always its under the cut and thank you for being interested in my ocs 💐😊 if dns was real (a real piece of media not a real story) and for some reason started doing huge numbers i firmly believe Lena discourse would be the most divisive

Lena is at the beginning the only person in Przemeks life he gets to somewhat depend on; despite her being younger (Przemek is 17/18, and Lena is around 15), in his eyes she was an anchor to him of sorts, someone to hang out with, and, once he gets hired, someone to come back to. While both of them are very family-oriented in general, the relationship they have with one another was for the longest time most important to them, and went back to back with both their ages (theyre the closest in age compared to the rest of the family) and their closely shared experiences, compared again to their other siblings - after Przemeks accident, it was Lena who took care of him the most (their father has already passed away at that point, their mother wasnt exacty capable of doing that at that point in time (after which Przemek became her favourite of sorts; she latched onto caring for him after the worst has already passed, not out of malice, but more as a hm, compensation, and out of guilt). This post accident time is the most meaningful moment that formed their relationship going onwards, establishing Lena as a sort of... caretaker figure in his mind, someone who didnt leave him and who he could depend on. For Lena this wasnt exactly the case - while she wants her family to be able to depend on her, in her mind it was a more equal relationship, she saw Przemek as the same as her; they both had to navigate their family falling apart as young children, had to take care of themselves and of each other, having to mature too fast, lived through Przemeks accident together, and now got to go into life with all that baggage. They were never fully honest with each other, and never talked anything through, but they didnt have to, as the idea of their relationship they had in their heads was enough for them. This disonance is what sets the stage for Przemeks overarching arc

Him leaving to work in the palace was different for both of them. For Lena it was loosing a part of herself, the only person she thought could understand her, but she was willing to go through it knowing its for greater good. For Przemek it was a lot of regret and fear of other people, lacking the person he depended on. And while Lena, who now is deemed the dependable one for good, the most stable pillar in their family, stays the same at their family home, Przemek gets to change and grow after meeting new, often outcasted and strange people. They both start as tools to be used and be useful, but where Lena stays that way even in her brothers eyes to some extent, Przemek doesnt. In some way, the role he made Lena fit into in his head, was instead taken by Ryba, in a much clearer and reciprocated way. Przemeks unability to see Lenas struggles, him putting her on the pedestal, someone to save him, despite her still being a child, is mirroring the way their mother sees Przemek; something he recognizes she does, something that makes him into such a mess in the first place, but doesnt do so in himself and his treatment of Lena. With Ryba on his side this issue doesnt reappear - they start as strangers, in a vastly different enviroment, and even when they end up codependent on each other, its more similar to the way Lena saw Przemek, than the way Przemek depended on her. And, under Rybas influence (and Mikitas unbearable behaviour), Przemek gets to start mentally leaving his depressing family home

Its Przemeks slow change that starts triggering the rift between them; it esentially questions the before unquestioned status quo of the siblings relationship. Przemek leaves his home for a month, comes back for two days, and leaves again. And in those two days every time it feels like he comes back a different person. Hes not afraid anymore, or at least, not of the palace, but starts being anxious over his home. Hes more open about it, too, at least to Lena. He grows less reserved, more content and, generally, more happy. While in the beginning she is able to ignore it, after each visit she slowly realizes shes being left behind. To her, this is losing a part of her life that was constant, that she too could depend on; something that made everything less dull, someone she loved and who loved her, as cold and tough as that love often was. Shes becomes disgusted by her brother - to her, hes getting weak, hes selfish, and even if hes now happier, she wasnt allowed the same chance. Instead of now sharing their pain together, she is now completly alone, being abandoned by the only person she thought understood her. And this resentment is something that carries on even after he apologizes; she cannot fully forgiving him now that she knows they are not and were never the same. While it never was Przemeks full responsibility, he made her feel completly alone in a house she already was a ghost in, and all he can do now is work to become someone she could trust again; and all she can do is try to move on. She never sees him off when hes about to go back to work after that, always leaving first on her own terms

[edwinspaynes]

I think I've figured out how to articulate something fandom related that I've been thinking for a while, so I'm going to try.

For context, I've been a TSC fan for over a decade, primarily into TLH (even when we had nothing but portraits and Nothing But Shadows). I've seen the tides of the fandom change more than a lot of people can fathom. And I consistently find that the space we're in now, the "between series" space, is my favourite time period for fandom.

Part of this is that the fandom gets smaller and less insane when we're in this in-between - while the books are being published, tons of people come in, argue, start drama for no reason. It's unmanageable. 2020 was a fucking nightmare, probably the worst one, but there have always been nutty masses when the series are actively being published and at their prime time.

But that isn't all.

It's that the people who stick around during these in-between gray areas are those of us who actually love the books, the world, the canon. We're by and large the people who want to stick with it and feel positively about the series, the creator, the world building, and the characters. Sure, we have criticisms - naturally! But they're made with love and respect, and we don't attack Cassie or other fans about it. We're excited rather than angry, and that overarching energy makes the fandom a much more wholesome space instead of the toxic cesspool that it is when people are sticking around to hate-read it and dump on all aspects of the series.

I'm thinking about this now because TWP coming in 2026 (not surprising to me and actually 100% reasonable given how publishing works) gives us more time to live in this space. To enjoy the fandom without the unnecessary drama of weird antis who want to hate read every release and attack people who actually like the books and world for what they are.

I'm in a pretty unique place now with the book canon where "my" series is done (with the exception of a novella and 3 short stories). That's brought me both a weird amount of peace and a pretty new, interesting perspective even if it's Sad. I feel like I'm on the other end of things. And I really hope the TWP peeps enjoy this time, because some of my best memories and connections were made at 3 AM chatting with the other 3 people who liked TLH best in 2017. It's in hope, it's in theorizing, it's in anticipation, and it's here that we can truly connect and thrive and love.

[cerastes]

I've seen people before saying that, in terms of presentation, NIKKE delivers it better than Arknights in telling what they want to tell. And I still see this occasionally whenever people start comparing stories in gacha games. Looking at your post, seems like that wasn't a lie at all.

Right, this is an interesting topic for me, so let me give my two cents on this.

I would say that statement is generally true. Nikke's main strengths are its presentation and knowing how to leverage its strengths in general, but let's focus on presentation: It's story is nothing to write home to (note that I am up to Chapter 18), neither are its events (on this regard, take me lightly, I've only read three), but what Nikke wants to say, you will very clearly understand. It's good at telling its story. Sometimes the localization will have Localization Moments (Chatterbox is described as female in the first cutscene he is mentioned, male every time afterwards; there's a lot of clearly literally translated little expressions that make no sense in the flow of the conversations), but overall, even though you're looking at a story that in a lot of ways you've seen a lot of times, its particularities stand out because Nikke tells them properly, concisely, and clearly. Characterization is consistent, and there's a good amount of care clearly put into both consistency and overarching important parts of the narrative; a favorite example of mine is how, in the tutorial, if you pay close attention, you can actually see Marian's eyes glow red during her reload animation, foreshadowing something pretty important that happens with her later.

So even if the story beats are not particularly good or intriguing -- and sometimes, outright terrible, like in Chapter 18 oh god I hate Chapter 18 -- you at least can tell with clarity what's going on and why it's going on.

Arknights has the yang to the yin here, somewhat: The stories on Arknights tend to range from okay to great, and AK events have a habit of going pretty damn hard, either as a whole or at least parts of them. Sometimes, however, they have a weakness, and this weakness is that the actual story telling can be dense. Density is often attributed to good writing, but the truth is, sometimes, the text isn't advanced, it's simply clumsy, and the prose in Arknights is decidedly clumsy. But when you actually untangle the spaghetti of clumsy prose, you find some strong story telling, strong characterization, and topics you don't often find discussed in video games, less so in gacha. You kinda have to work for it, basically.

Something Nikke does good is also that it keeps its relevant cast at any given story beat low, giving it more cohesion, or rather, making it easy to stay cohesive, because Arknights can handle larger casts pretty well sometimes, but I'll be frank, the current main story has so many literal whos to keep track of that I'm supposed to be invested in that I don't really bother. I'm sorry, but I can't really feel a damn thing about Outcast when she showed up for a few scenes and then got nuked off by a contrivance while fighting some faceless nobodies we are told we should fear.

But on the other hand, Nikke narrative, again, despite its strong delivery, is still built on a feeble base for the most part. I only think of a few characters I care about in Nikke, because a lot of the cast is just fluff and Obligatory Archetypes (bunny girls, school girls, maids, etc), whereas in Arknights, I care about a whole damn lot of them, even those without events, because their files and modules paint a very integral and intriguing picture of them. Even smaller scenes in Arknights sometimes can have a big emotional impact, due to its extensive and well crafted worldbuilding and its clever use of its elements in every event, something Nikke cannot claim, because worldbuilding in Nikke is almost non existent.

They both have their strengths, basically, and it's fascinating to me, a writer, to take a deeper look at them.

[medakakurokami]

I finished over 100 visual novels, here’s a long post with some recommendations

Last month I hit 100 Finished VN’s over on the VNDB and I thought I’d shoot out some recommendations while the Steam Summer Sale is going on (even though some of these aren’t going to be on Steam)

I already have finished up some stragglers and caught some shorter titles so it’s up to 104 Finished, but all the better. I have been reading some VN’s since 2015, but it really became a hobby and a genre I was invested in during Covid lockdown in 2020. I had trouble getting into some of the popular titles, but a couple of games that were lesser known at that time really blew me away that year and I started digging more into the medium. I still have a lot to try out and other classics I’m still interested in trying, but here’s a top 10 I’m confident in recommending to most people, at least the kinda people that would follow this blog. A few of these recommendations are actually multi-part series, but hopefully accessible all around.

Planetarian ($10 on Steam and Switch, ~$5 on sale)

This is a very late entry onto this list but I think it’s an easy recommendation. This is a very short 2-4 hour visual novel that got a well received 2 hour movie adaptation in 2016, but it was strong enough that even while knowing the plot everything still hit hard. It is a story set 30 years after an apocalyptic event destroys most of the world, as a human junk-trader comes across a planetarium with a somehow-still-functional robot named Hoshino still performing her daily duties after 30 years without customers or coworkers. It can come across as a bit saccharine, but it is a quick, well made, and effective tearjerker.

Narcissu 1st & 2nd (Free on Steam)

Narcissu’s first two parts are pretty compelling stories to do with suicidal ideation within the scope of the terminally ill. Which is to say they’re also real tear jerkers, and pretty open about some harsh self-reflective emotions. They both have stellar endings, and can be quite immersive despite the very limited artwork (if the screencap looks weird, the game’s art exists within a narrow strip on the screen, with a sentence or two reading out the story underneath it). Maybe the least accessible on this list, but a $0 price tag makes it easier in some sense to get into.

Umineko no Naku Koro ni / When The Seagulls Cry (~$50 on Steam, $30 on sale)

Umineko you’ve probably already heard of, and here’s me recommending it. Umineko comes in two parts, on Steam referred to as the Questions Arc and the Answers Arc. Despite the split, the overall story follows the events of a certain day on Rokkenjima Island in 1986 as a family meets to discuss their inheritance and their family’s mysteries. Unbeknownst to them they are soon haunted, over and over again, by the revenant of the Golden Witch said to live in the woods of their family’s island.

I’m in the minority of preferring the Questions Arc, where well written and deeply human characters find themselves in deeply inhumane and nonsensical scenarios. The Answers Arc back seats some of that to start delving into an esoteric explosion of clues and backstories, and was still very entertaining even if I was more invested in the episodic stories than the overarching mystery. This may also be seen as inaccessible, $30-50 for a slightly older title and over 140 hours long on average playthroughs, but it is deeply absorbing.

Witch on the Holy Night a.k.a. Mahoyo ($40 on PS4 and Switch)

Mahoyo is me and Nasu’s marriage counselor, it really made me see the good in him. It follows a young witch co-habitating with her magic colleague and the puppy-like boy that unwittingly steps into their world at risk to his own life, just as unexplained apparent murders are witnessed in their town.

This could possibly be a higher level recommendation, though it was apparently intended to have sequels and you can somewhat feel that in the isolated feeling of its main conflict. Despite this, the game is definitely worth experiencing for its classy charm and extremely well made action sequences that at times make you forget you’re not watching a full anime film. It’s also a showcase of Nasu’s strengths in writing character interactions and comedy, and he finally lets Show take over and stops Telling you piles of mage society worldbuilding quite so often. It is also has some of the highest quality production value I’ve ever seen, second maybe to...

Marco and the Galaxy Dragon ($20 on Steam/Switch, less than $10 on sale)

Marco and the Galaxy Dragon is an explosive opera of art, energy, color, and of course music. It follows the orphaned Marco and her dragon compatriot Arco as they hunt for treasure across the cosmos, finding their way to Earth on the hunt for Marco’s mother.

If Umineko’s 140 hours seems steep, Marco has you covered with a quick 6 hour rundown of a rebellious orphan fighting back against her space alien menace to find her own sense of place and identity in the universe, along with ALL the friends she made along the way. If Mahoyo feels like an anime film sometimes, Marco actually just has fully animated FMV cutscenes that are fun as hell and have their own unique artstyle to the VN itself. Thousands of pieces of artwork and a 52-track OST fill the game’s short runtime with no cut corners and and overflow of passion from the devs. Honestly even if you don’t want to read it go buy it, it’s cheap and they earned it.

White Album 2 (You’ll have to be creative to find this one)

This is the only recommendation that’s currently only available in an adults only 18+ Rating for the English translation. That being said, it’s one of the few erotic VN’s that felt justified in its pornographic scenes. The story is split into two releases: Opening Chapter and Closing Chapter.

Opening is a short and powerfully delivered love triangle narrative following Haruki, Setsuna, and Touma as their hastily formed 3-man light music band falls into itself with feelings. It’s charming but gut wrenching and sweeps you into its drama very effectively before kicking you on your ass in the end.

Closing Chapter is a long and drawn out disassembling of their lives as they fail to heal from the wounds of the relationships seen in Opening. It, to great effect, takes the readers own experience with how fun and passionate the Opening Chapter was, and shows how trying to cling to halcyon days can make us so dispassionate about our present lives. Painful stuff! Good music, too.

The Princess, The Stray Cat, and Matters of the Heart 1 & 2

a.k.a. Noratoto ($40 on Steam for both, ~$15 for both on sale)

This is a very personal recommendation, and maybe one more easy to make on this blog where many of my followers might be receptive to sincere but slapstick ecchi comedy as art. Every route is highly different however and to me, some are pretty average for galge, while others stand out as amazing. The comedy writing as well feels like it was written by someone with actual comic writing experience, and not just regurgitating the usual ecchi manga jokes.

The general premise of Noratoto is the protagonist Nora, being transformed into a cat by Patricia the princess of the Netherworld, and he must reverse this curse via a kiss before it becomes permanent. A benign fairy tale premise, but one that somehow gives way to underlying stories about existence and finding purpose in families and where that leaves those without families or with abusive or divided families (it is from the same developers as Marco and the Galaxy Dragon, and the themes of finding identity without family match up very closely). Uniquely it is a visual novel written somewhat in 3rd person, narrated by a motherly voice as if the VN was being read to you as a bedtime story.

Like I said, it is dependent on route and some come across as your usual ecchi gal-game schtick, but some stick out, and if every route was as high quality as Nobuchina’s in the 2nd game, it would probably be my favorite visual novel.

The Original Ace Attorney Trilogy ($30 on most platforms, $10 on sale)

You’ve almost certainly heard of Ace Attorney already and have most likely played it. This is me telling any Ace Attorney fans reading that the original trilogy still reigns supreme (regardless of Turnabout Big Top). This is also me telling anyone who has held out on trying Ace Attorney to try it, and to start with the original trilogy.

Obviously this trilogy follows the Meme Man Himself, Phoenix Wright, as he defends the innocent and brings the guilty to justice acting as both lawyer and his own main investigator. While each case presents a unique mystery, the original trilogy has an underlying arc that reaches from beginning to end with a massive conspiracy that Phoenix has to breach to bring justice to the perpetrators and resolve the memory and regrets of his beloved mentor.

These games have some speedbumps as you may be banging your head against the wall trying to find the right evidence, but the experience that breaks through does so with gusto, succeeding on what it sets out to be: games that make you feel like you’ve brought justice to the world.

Utawarerumono Trilogy ($40/60 each on Steam, trilogy bundle $62 on sale)

Utawarerumono was my first proper visual novel, and it set the standards pretty high. I’ve posted about it several times in the last few years, and it remains one of my favorites. It is a labor of love on the part of the developers (the same developers as White Album 2), who developed the latter two games over the course of several years and have made this the spearhead of their company for the time being. Which makes sense, since it is about war.

The first game follows a masked man who is given the name Hakuoro waking up in a rural village with amnesia, confused about the strange population of beast-men living there. Despite not understanding his situation, his ingenuity brings the village prosperity. When the local lords try to put the village under their thumb, Hakuoro and the villagers are able to turn the tides against them. Their village grows into a kingdom as Hakuoro seeks the mysteries of himself and the world around him.

The latter two games pick up some twenty years after the conclusion of the first, and follow a man who is given the name Haku, waking up in the woods with amnesia confused about the... you get it. He is met by Kuon, a young girl on her way traveling to the capital of their nation of Yamato. Haku graciously accepts her help getting out of the cold woods, and decides to join her to the capital. As events play out, Haku finds himself under the direct command of the nation’s leader the Mikado, and carries out missions on his behalf as the nation continues to drag itself into war and conflict and Haku also seeks the truth of his identity.

These games are expansive in scope while still putting a large focus on the day-to-day lives of its characters. Around 100 hours across all three games it is impressive how much story it manages to fit in, but the pacing does bounce around between sweeping conflict and sleepy conversations. It is also in part, a strategy RPG game with the battles in the war being controlled by the player. These are decently made, especially well in the third game, but don’t ask too much of the player and the story remains the main focus and biggest portion of the runtime.

The House In Fata Morgana a.k.a. Fatamoru

($40 complete version on PS4/Switch, ~$40 main game + expansion on Steam)

I’ve gushed about this enough on this tumblr, I’ll keep it brief.

You are a formless soul who is led by the hand of a mysterious maid through the doors of a mansion on an unknown plane of existence. Through each door lies a story of the house in a different era, all following people bound together in ways that leave them cruelly and violently undone by the end of their stories. The connection between these stories, the mystery of the house and the supposed witch that resides within, and the mystery of You the wandering soul all slowly unravel in a bloody show of catharsis and soul. The game is dripping with traumatic poetic text, grating beautiful music, and all of its atmosphere geared toward being oppressive yet enticing. One of the best things I’ve read.

Honorable mentions:

Va-11 Hall-A and Endless Mondays get shout outs as some of the best Original English Language VN’s I’ve read, with cool artstyles and a mature cast they manage to be fun and relatable. Va-11 Hall-A delivers a great arc for its protagonist and Endless Mondays has great dialogue on the threat of automation of creative industries.

Grisaia Trilogy and Hatsumira are both absolutely raucous trilogies that are a lot of fun. Not wholly recommendable to all, Grisaia has some strong moments and a hilarious unique cast but is a mess overall (but we love Michiru). Hatsumira is a bit more consistent, a more stable and fantasy-oriented Grisaia.

A.I. The Somnium Files duology are detective games with highly divisive endings, but great comedy and characters that make them very easy to get through and enjoy the whole way to the end. It’s just a toss-up whether you’ll like that ending.

Sakura Wars games are finally being translated, and they are a great showing for anyone who wants to try some classic dating sim stuff but with some pizazz thrown in with the setting and mecha combat.

The Tears to Tiara duology by the same developers of Utawarerumono and White Album is also one to keep an eye out for. The first game's definitive version isn't available in English and the second game is stuck on the PS3 and no longer available digitally, but if they ever come out on Steam they are worth your time.

Nanairo Reincarnation and Kinkoi: Golden Loveriche are also two solid ecchi comedy galge. Both have surprisingly deep and genuinely heartbreaking underlying mysteries and conclusions.

I still have a lot I wanna read, Planetarian is the only Key novel I’ve read. On the docket are Labyrinth of Galleria, Little Busters, the 9 -nine- series, and Kara no Shoujo and White Album 1 releasing on Steam this year. Some classics I didn’t mention are Fate/Stay Night, Muv Luv, Steins Gate. Muv Luv I read Extra and enjoyed it, but never pulled the trigger on reading the rest, I may at some point on a whim. Steins;Gate I played through half of on PS3 and now my PS3 is in the closet, the VN is really good and has a unique atmosphere to the anime, buuuuuuut knowing the plot has made it hard to want to restart on PC or another console. Steins;Gate is good, if anyone is reading this far and hasn’t seen the anime or read the VN, do it.

[swordfright]

Tell me about how the structure of the medium impacts the story 🔫

My brother in Christ, prepare yourself for the most boring essay you could possibly imagine. I'm going to over-simplify a few things here for the sake of Getting To The Point, so bear with me.

I think a good starting place is that DSMP is an example of New Media. The go-to definition most folks use is this one: that New Media are stories told via "communication technologies that enable or enhance interaction between users as well as interaction between users and content." In other words, NM is basically this category of stories made up of convergent elements, which satisfy a multimedia requirement, and are heavily reliant on both participatory fan culture and recent advances in technology that allow creators/audiences to communicate with one another instantly.

There's a couple ways you can understand DSMP as a New Media, but as far as I'm concerned, one of the most interesting is prosumption. The term "prosumption" describes a creative situation where a piece of art is being produced (at least in part) by the same people that consume it; they're both audience and creator. DSMP is a really great example of this phenomenon, because A) it's serial and therefore the CCs had ample opportunity to respond to and engage with the audience's reception of their story; and B) because the chat feature allows CCs to interact directly with their audience during roleplay rather than after the fact. These features, among others, kinda set the stage for DSMP to function as a highly prosumptive piece of media.

In particular, the stuff that interests me is the stuff to do with storytelling convention (genre, perspective, etc) and how prosumption turns all that on its head. There are a number of altercations in DSMP canon where the course of the story is altered because of real-time interactions between the CCs and their chat - particularly times when a CC's chat warns them about events happening at the same time elsewhere in the server. In this kind of scenario, the CCs are static, they can't really leave their own stream. Their viewers, on the other hand, are able to jump between streams and talk to each other to figure out what's happening in the overarching story. When this happens, viewers have choices to make: are they going to tell a CC what's going down on the other side of the server? If so, how are viewers going to communicate those events? Viewers are biased, they directly inform CCs, and the information they divulge (as well as how they divulge that info) goes on to influence CCs' actions and thus the events of the story, to some degree. In my opinion, this is a pretty new and exciting way to prosumptively construct a narrative! Media has always been interactive to some extent (especially serial works), but the interaction being live and in real-time is pretty significant in my view because it can exert unique pressures on a narrative.

Speaking of audience choice, that brings me to the next thing I want to yap about: ergodic storytelling, a term that refers to stories “negotiated by processes of choice, discernment, and decision-making.” For reference, a good non-MCYT example of this would be hypertext fiction, because it's generally characterized by the ability of the interactant (that's the reader, in this hypothetical example) to explore material provided by someone else, either as a kind of conceptual landscape (think setting in a video game), or as puzzle pieces that must be put together in order to give the interaction the "big picture" of the story. Basically, with hypertext fiction, there is a core text (the main document that forms the skeleton of the story) and there are multiple hypertexts branching off of the core text - and whether the reader ends up reading those branches, and in what order, inevitably shapes that reader's perception of the whole story.

So here's where it gets tricky. In the case of DSMP, where is the core text located? Is there any one identifiable core text at all? Or is it more appropriate to consider each individual stream or VOD as its own singular core text, with the related Twitch channels and Youtube recommended in the sidebar being "branches"? Alternatively, if the streams and recordings distributed on the server members’ official channels are the central text in the grand hypertext fiction that is DSMP, then can adjacent spaces where audiences do the work of creating and archiving lore be considered their own story branches? I don't have answers to these questions. No one does. That's part of what makes DSMP exciting.

To translate the above quote out of Academia Hellspeak: in an ergodic story, the audience has agency, but the agency enabled and allowed by the text varies in its intensity and mode. Yes, stories told ergodically necessitate choice — and therefore enable agency, turning the reader or viewer into interactant — but that element of choice doesn't always look the same. Some hypertexts are more choice-reliant than others, or are choice-reliant in different ways. So, rather than being a choose-your-own-adventure story, DSMP is more closely analogous to a story where the audience chooses the perspective through which they view plot developments, in addition to having some influence over how plot developments unfold.

(☝️From a 2021 Polygon article, if you think I sound crazy☝️)

The web of choices DSMP presents to viewers is very complex, even compared to other forms of choose-your-own-adventure game. Because each CC approaches the task of story-creation from their own angle (bringing their own narrative baggage to the writers’ room, so to speak), those shifts in perspective this Polygon article describes often also constitute shifts in genre. For instance, cc!Wilbur brought his music production experience and interest in musical theater to the server, cited operas and stage musicals as some of his main inspirations; and accordingly, much of c!Wilbur's most crucial arcs observably draw from those sources. When you watch a c!Wilbur stream, you’re watching a story about statecraft, about revolution, about the triumphs and tragedies of ego that play out during the process of nation-building. On the other hand, cc!Quackity has repeatedly identified Breaking Bad and Better Call Saul as his primary influences; accordingly, his RP character’s story is closer to a piece of gritty prestige television in some places (especially LN series). Unlike with c!Wilbur, a lot of c!Quackity's tension does not revolve around a romanticized fantasy of revolution but around more personal conflicts: securing your place in a new regime, navigating exploitation as both exploited and exploiter, etc. In terms of both plot beats and character arcs, Wilbur and Quackity’s respective storylines embody many of the genre conventions the content creators are working within.

Moreover, a shift in genre often entails a shift in style or mode. Because cc!Wilbur was heavily inspired by musical theater, the presentation style of his character’s storyline is correspondingly both theatrical (i.e. only loosely scripted, nearly always televised live, and improv-heavy) and musical (featuring multiple instances of Wilbur singing in-character ballads and anthems.) On the flipside, Quackity’s streams (especially the later ones, since I'm mostly focusing on Las Nevadas era here) demonstrably mimic the prestige TV shows the CC draws his inspiration from, with lore sessions being pre-recorded rather than televised live, featuring distinctive sonic and visual aesthetics popularized by neo-Western thriller dramas. So, where a piece of media like DSMP is concerned, shifts in perspective entail shifts in genre, which in turn entail pronounced shifts in style. I don't think it's an exaggeration to say it's an entirely new story depending on which character the viewer decides to follow. In that regard, what initially appears to be a single choice (whose perspective to watch a plot event through) has the power to determine a wide array of other elements, as viewers’ responses to the options presented to them will decide the overall tone of the section of the story they're about to watch.

While I think the genre-switching is genuinely super cool, lately I'm a lot more interested in perspective-switching and how it's related to viewer empathy. One side-effect of DSMP being televised live is that yes, you can watch a plot event from 30+ different POVs, but you can't watch every POV live. Typically, you either have to switch between multiple streams, or you need to pick one streamer to watch live and maybe later you'll watch other characters' POVs as you see fit. This has an impact on your perception of how that plot point went down because watching something live feels very different from watching something after-the-fact. I haven't done study on this, so what I'm about to say is mostly conjecture, but I wouldn't be surprised if viewers felt greater empathy for (and greater degrees of kinship with) characters whose POVs they watched live.

The choice of which character to follow also has observable impacts on other kinds of narrative conventions (who is the main character of DSMP? the boring answer is c!Dream because the server's named after him, but the real answer is the protagonist is whoever's POV you watched most of the major plot events through) but to be honest, those questions don't interest me as much.

So, going back to perspective and empathy. I think viewers' reactions to Exile are a really solid way of exemplifying the thing I'm trying to say, so this is the part of the yapping where we gotta bring up the dreaded Exile discourse.

Even though the Exile VODs are available and new viewers can go back and watch them, those viewers experience the Exile arc in a way that is fundamentally different from the experience had by viewers who had to wait in between updates as the videos were being streamed serially in real-time. I would argue that viewers who were “present” during the whole arc noticeably felt the brutality of c!Tommy’s treatment to a greater degree, because the audience was effectively forced to sit in exile alongside Tommy’s character - stewing in anxiety, looking forward to the possibility of appearances from other characters, and living in fear of Dream’s next visit, etc etc. Obviously you could also make this point using c!Dream's time in Pandora as an example, but I'm using Exile here because I've actually seen a lot of fans bring this up when discussing the arc: "people who didn't watch live Don't Get It," "the reason newer fans don't see Exile as scary is because they didn't have to watch it live," that sort of thing. And while I have certain qualms with some of the implications here, I do think these are really fascinating responses! These sorts of responses show that viewers consciously perceive their viewing experience as having been fundamentally different from others' based on a temporal element that's unique to serial fiction!

This instance of a divergence in collective fan experience is an example of choice being rendered unavailable to viewers by virtue of the story’s structure and means of distribution; audience members who happen to accidentally miss streams or who begin following the story after major events have occurred will never be able to engage with and witness those events as LIVE viewers, merely as retrospective ones. They don’t get to make that choice, but they do get to make choices about which perspective (and therefore genre) they get to experience the story through. So it follows that each aspect of DSMP, a semi-ergodic story, can be categorized as either ergodic or non-ergodic, and whether a particular storytelling element is ergodic can change depending on WHEN the viewer began tuning in to the story.

I have a lot more shit to say (shocker) but I'm gonna cap it here for now. Though I do want to add that this is kinda why I have a lot of patience for the crazy diversity of interpretation you tend to get in DSMP fandom. If you took a random sample of fans and asked them what they think of various arcs, characters, and plot events, chances are they would all have fairly different things to say. To me, that's a feature, not a bug. Obviously I have my own opinions, and obviously I do think it's possible for a given interpretation to be "bad," i.e. not grounded in the text - but I have a lot more patience for it here, in a fandom where agreeing on what "the text" EVEN IS presents a challenge. We can't all agree on who the main character is, so I don't ever expect us to agree on more nuanced questions of theme and conflict resolution in the narrative. Again, that's a feature, not a bug. I don't think it was ever possible to reach a consensus with a piece of media like DSMP because of how inextricable the audience is from the story.

[orionsangel86]

I was once again flicking through the Sandman comics and thinking about the changes made to the show (as I am pretty much always doing) and something that struck me as interesting is why they chose to swap out Tales in the Sand for Men of Good Fortune.

In the comics, The Sound of Her Wings is the last story in Preludes and Nocturns. Dream’s meeting with his sister Death closes out the first of the overarching storylines within the Sandman saga, and it ends with Dream finding some measure of peace after speaking with her, and finding joy in hearing the sound of wings.

This can be interpreted as the first bit of real foreshadowing of Dream’s desire to die. Anyone who has read the Kindly Ones knows how important The Sound Of Her Wings is as it is called back to heavily at the end.

In the comics, the next issue can be seen as a one off, but is included in The Doll’s House book. This issue is Tales in the Sand - the tragic love story of Dream and Nada.

Right after Tales in the Sand, we get to the Doll’s House, which begins the exact same way that episode 6 of The Sandman Netflix show ends - with Desire calling on Despair to begin their scheming over the existance of the vortex.

I found it very interesting how the show swapped out Tales in the Sand for Men of Good Fortune - a story which in the comics comes much later within The Doll’s House storyline.

On the one hand, it makes sense to move Men of Good Fortune outside of the Doll’s House story for pacing reasons. But by putting it where they did they have drastically changed the tone of the story in a few ways.

1. It changes the end of The Sound of Her Wings. Show!Dream doesn’t leave his sister to sit and find peace in the thought of death, instead he does the opposite, he immediately goes and seeks out the one person he knows who is quite literally the antithesis of death - someone who finds joy in living. It still ends the Preludes and Nocturns story with Dream finding some manner of peace and happiness, but not in the sound of wings. Instead, it’s in the reunion with his friend who loves life so much he refuses to die.

2. It takes the place of the only love story we are given for Dream at that point in the comics. The Sandman comics have a tendency to avoid revealling too much information about Dream too soon and up until this point in the comics, all we know about his love life is that he condemned a lover to hell 10,000 years ago, based on a very brief conversation in A Hope In Hell. Tales in the Sand is the expansion of that brief conversation, giving us at least one perspective of how the tragedy played out.

I am really curious about why they decided to leave it out of the show completely. Partly I think its because it isn’t exactly a flattering look at Dream as a character. Probably didn’t seem like good business sense to the people who wanted The Sandman to perform well to basically destroy your main characters likeability half way through the first season (imagine all the Twitter puriteens and anti types who would get on their high horses attacking Sandman fans and Neil Gaiman alike for daring to like a main character who comes across a little bit rapey in this particular story - among other horrific character flaws).

Also, Tales in the Sand generally fits better with the Season of Mists story arc overall, and I think we will get a much kinder and more forgiving version of this story in the show.

So instead of being introduced to the first of Dream’s lovers, we are introduced to Hob Gadling. Make of that what you will.

3. It makes the immediate cut to Desire at the start of The Doll’s House story all the more eyebrow raising. Part of the reason why I think Desire’s scenes follow on from Tales in the Sand is because Desire had a lot to do with Dream’s bad behaviour in that story, and what ultimately happened is partly their fault. It is brought up both in comic and show when Desire tells Despair that “Nada was a mistake” but in the show, this comment remains a mystery, whereas in the comic, it goes some way into explaining the horrific story we have just read.

In the show, instead it makes for absolutely beautiful subtext as they cut to Desire’s realm and the song Desire as Desire says “Attend sweet Sibling” whilst we have just watched Dream reunite with Hob and smile the first real smile he has had all season so far. For a split second on my first watch I legit thought Desire was talking to Dream at that point and encouraging him to hook up with Hob. It was a very confusing few seconds!

At the end of the day, I think the change to the order of these stories was a very good idea, even without the added level of shipping fodder it gives us Dreamling shippers. In changing the end to The Sound of Her Wings in the show, it removes the foreshadowing of Dream’s desire to die, which I’ll be honest, so far I can’t see at all in the show version of the story. Instead, we get a Dream who is happy for the first time after reuniting with his friend - who apparently waited an additional 33 years for him and built/refurbished a pub in that time.

I have a bazzillion more thoughts on the changes from comic to show on the Men of Good Fortune issue in particular, but that’s for another post. I just had to get my thoughts down as the more I read and re-read the comics, the more I feel like the show is considering a different direction, a more hopeful happy direction. But I guess we’ll have to wait and see.

[benkyoutobentou]

12 Books for 2024 (Japanese Edition)

You may have seen my post about the twelve books I read in 2023 (here), and I thought it would be fun to follow it up with a little tbr for 2024! Ideally, I'd like to read more than twelve books in 2024, but twelve is enough for now since I've got some series on this list that I'd like to either make some serious progress in or finish up completely. This list is in no particular order!

地球星人 - 村田沙耶香: I read コンビニ人間 by Murata a few years back and loved it, and this one has been high up on my tbr for a long time now. With how many people say they're completely traumatized by it, it sounds like the perfect book for me. The only reason I haven't read this yet is because I've hyped it up so much for myself.

生命式 - 村田沙耶香: A short story collection by Murata? Sign me up ten times over. This one sounds weird and gruesome and right up my alley.

本を守ろうとする猫の話 - 夏川草介: Another cat book, who can blame me? This was also touted as being perfect for book lovers, and I haven't heard a bad review yet.

吾輩は猫である - 夏目漱石: Keeping with the cat theme, this one I actually have planned in tandem with a challenge I have to read twelve big ass classics throughout the year. Between the sheer size of this and the fact that the text is so densely packed in, this book kinda scares me. I'm planning to read it in December of next year so that I have as much time as possible to prepare haha.

世界から猫が消えたなら - 川村元気: Last cat book, I promise, but I had to keep them all together (it's actually not about cats, though). I've had this one for a long time and just picked it up on a whim. I've heard a bit of mixed reviews, but the premise sounds interesting enough, and it seems to be pretty popular.

博士の愛した数式 - 小川洋子: This was one of the first books I bought in Japanese, so it's high time that I get it off my tbr. I've seen so many people love this, in and out of the language learning community. This author also has a bunch of other popular works, so I'd really like to jump into her books and experience the hype for myself.

告白 ‐ 湊かなえ: I've seen a bit of buzz about this book in the language learning community, but what really convinced me on it was seeing people outside of language learners also enjoying it. It sounds dark and mildly depressing, and I'm hoping that it'll have some interesting commentary as well.

独り舞 - 李琴峰: Somehow, I haven't read any queer literary fiction in Japanese yet, despite it being my favorite genre, so I'm so excited to jump into this one. For the life of me I can't remember where I heard about this, but I think it'll be one of my first reads in 2024.

デゥラララ！！- 成田良悟: I used to be obsessed with the anime adaptation in middle school but never revisited the series out of fear that it wouldn't stand the test of time. After seeing a fellow language learner gush about the series, I decided to give it a shot, managed to find it at a local used bookstore, and snatched up the first volume. Don't let me down, nostalgia!

憎らしい彼 - 凪良ゆう: This is the second book in the 美しい彼 series, and even though I'd like to read the third one next year as well, I'm just combining them. Seeing this series next to series like No. 6 and キノの旅 I'm really grateful to have a trilogy on my tbr haha.

No. 6 - あさのあつこ: Saying that I would like to finish this series next year is a bit of a stretch, seeing as I have eight of ten volumes left, but I'd like to put a serious dent in it to be sure.

キノの旅 - 時雨沢恵一: This series is more of a read as I please type series for me, since there's not really any overarching plot. I'm also not racing to make progress, since there are over twenty volumes (and still going). I'm savoring this series and I'm okay with that.