#and i don't think they are necessarily bad in terms of the show telling it's own story (which i like a LOT in an adaptation)

[littlestsnicket]

time of contempt!yenralt is geralt not trusting yennefer and being too scared of upsetting her to say it and sleeping with her anyway and the way netflix!geralt is different, that would never work.

i don't think the writers aren't fighting yennefer's arc in season 2 nearly as much as they are fighting this other version of geralt. and well... i wish some nuances of character interaction had gone a bit differently in season 2, but the thing that irritates me more than anything else in adaptations is when changes are made and the production backs off on them rather than following through. so whatever. i'm more interested to see what they do than anything else.

[blossomthepinkbunny]

Hazbins bad character design

I feel like there is a definitive lack of varitey when it comes to the designs in HH as well as a problem of characters' designs not fitting them or what the show wants us to assume about them.

I've said it before and I'll say it again (like lots of other ppl already) but the designs in HH specifically mostly don't work. They're fine if you look at them disconnected from the show. Maybe as just random characters who don't really have to carry a show visually. But they don't work if you actually put them into context and into the background of Hazbin Hotel.

Obviously this stuff is very objective and if you do like the designs thats fine (which I shouldn't even have to say). Also I didn't study art or character design and I don't think you have to to be good at it/be able to form opinions on it and this is mostly just me compiling what I don't like while using some basic knowledge on how shapes, colours etc work.

(rant under the cut)

One problem I really have is, that as soon as you have a design there are immediate assumptions about the character. In the sense that if person A is very muscular and fights against person B, who is maybe slimmer or less buff, you would probably immediately assume that person A wins, atleast in physical combat. Whereas person B would probably be the assumed winner in a stretching or flexibility competition. Often characters are designed with these assumptions in mind. Muscle, height, weight, age, clothes etc. give way into assuming stuff about people, their condition, lifestyle or personality.

The expectations that are set up by the design choices are usually either picked to genuinely represent something about a character or to be subverted and shock/confuse the audience.

Like how a lot of fighting types in Pokémon will either be more muscular or have other details relating to certain fighting styles/sports and the fairy types are usually pinkish, fluffy and cutesy. Because these elements are something typically associated with these types and when we look at them we can pretty easily tell which type they're supposed to be.

Otherwise, Monster girl from Invincible is drawn as a twelve year old girl, so it subverts expectations when she turns into a big green monster and generally doesn't stray away from violence, because it's something you wouldn't have assumed about her from her appearance.

In Hazbin Hotel most of the time the character designs don't necessarily fit what they're supposed to be and they also don't use the other design choices as subversion (the one that would probably count here is Nifty with looking and acting very childlike usually but then also acting violent/crazy sometimes).

The first thing would probably be that characters don't look their age mostly.

Charlie and Valeria (Vaggie, but I really don't wanna keep calling her that so she gets a new name) look fine as they're supposed to be around 20. Rosie and Carmilla also look alright for what we can assume their ages are supposed to be. But Alastor is in his 30s or 40s (what it says on the fandom wiki) and he looks around 20 as well. The same thing goes for Lucifer. He looks so young that he could also count as just Charlies brother or friend rather than her dad, because he doesn't look like he could be the dad of a 20 year old. This makes the song "Hell's Greatest Dad" a bit awkward because these men are singing/competing about who is better as Charlies father but they don't look a day older than her. Husk also looks way too young for someone in his 60s-70s (again from the wiki).

The body types being all the same also doesn't help.

Mimzy and Adam are pretty much the only more relevant characters who aren't like all the others in terms of body shape. All the other relevant women in the show have a tiny waist and either big boobs/big hips or just a slimmer build in general. All the men have thin waists and then broader shoulders.

And for some characters it makes sense. Like Angel is really flexible and his more lanky body fits with being a spider. But why are Lucifer and Valentino like that? Other than the fact that Viv doesn't like drawing muscles there is really no reason for them too being build like every other skinny man there. Valentino is supposed to be intimidating not just by how he acts but physically too. He seemingly has a bit more muscle than others but his arms are still super thin and look like they could snap if I look at them wrong. I'm not trying to say that abusers all have to be buff, but simply from a design perspective the scenes with him would be a lot more effective if we saw him actually have a big physical advantage over Angel and others, even when he isn't necessarily threatening them. As soon as he comes on screen, we could see him as a much more intimidating presence, especially when all the other characters look like sticks. Or they could make it so, that he hides his muscles under his coat and when we get the reveal of him actually removing it, it's more shocking and immediately makes the situation more tense.

Lucifer could've had a more confident frame as well. He's the king of hell and the strongest being in hell, so just for the diversity I would give him some muscles too. Husk is also super skinny and for someone who only sits around and drinks alcohol all day, he should definitely have a beer belly (please I swear to god I wanna see more men with bellies, Mammon was great). Also for Valeria and Lute and pretty much all the Angels I don't get why they wouldn't be more buff either. Valeria is a fighter, she's Charlies bodyguard but she looks like all of the other women there. It's stated that Angels fight so wild because they don't know they could get hurt. And while I know that the Angels can really only get hurt by angelic weapons, having this whole reveal that they can be injured would've definitely suprised me more, if they actually looked like they couldn't be injured in the first place. But then again, Valeria looks like her arms would break as soon as a breeze hits them too hard. In some episodes her thighs look a bit more muscular, but not notably and she also doesn't fight using her legs (like Carmilla) so only her thighs being bigger sort of doesn't make sense. In general, she or Lute don't show any difference to the women who aren't physical fighters. And obviously just to have a more interesting show to look at, including different body types would do a great job at making these characters stand apart from eachother more.

While we're on the topic of diversity, another obvious thing that makes the characters redundant and borig (sometimes ugly too) is the reused colour pallette. Colour coding is probably one of the easiest things when talking about character designs and it's something atleast Helluva Boss understands.

What effect warm/cold tones have or what feelings we associate with different colours is a great way to bring stuff about characters across without being too on the nose. Obviously colour can also be used to either connect characters or to make them very distinct. Shape language also plays into that of course. In Inside Out the emotions are mostly characterized by their respective colour and by their distinct shapes.

Joy = yellow (bright colour often associated with the sun/light)

Sadness = blue (cold colour often associated with tears/rain)

Anger = red (very strong colour with aggressive association with fire or when someone turns red because of anger)

Fear = purple (light colour here, mix between red and blue as fear often falls into a more angry or sad feeling)

Disgust = green (colour of most dirt or puke or other stuff people usually see as gross)

Or in a show like Bluey, where different patterns, shapes and colours show the breed of the dog and also how characters might be related to eachother (same breed/mix of breed = usually related).

Or how colours can be used as lighting effects to create cool shots when the colour pallette changes all of a sudden. In JJBA these changes happen often when someone is in distress or unsure of themselves. Also in tense moments to make them seem more exciting and interesting.

Hazbin Hotel has very limited range when it comes to the colours of the main cast. All of them feature some form of red and that usually in combination with black or white (if they aren't just purely red like Alastor or Rosie). This makes them not stand out from eachother and creates very similar colour pallettes which get boring once you've seen them repeated over and over again. It also makes the visual connection between characters who are actually related (like Charlie and Lucifer) a lot less strong because so many characters share similarities already.

Also they just hurt to look at sometimes because the background is mostly red as well and with a lot of them being very overly detailed. People have also spoken before about the show being pretty inaccessible for colour blind/vision impared people due to these issues with the colour.

And now you might say that it's hell and therefore it makes sense for all of them and the background to be red. But firstly, I don't think that there is a definitive source which decides that hell is red and can only be shown/interpreted as red. And also there is another show, also set in hell which actually does a much better job at that and actually shows different colours in hell. Like in Helluva Boss the rings are all colour coded.

And I know, that HH plays in the pride ring fully, but imagine how cool it would've been to see sinners have colours similar to the sin(s) they committed. This could lead to them looking distinct from eachother and the background and would also lead to us being able to assume stuff about them, if we're familiar with the colour coding. In "Hell's Greatest Dad" they do a fun colour change with different light and it's really refreshing and I just wanted to see more variety like that (of course I kinda get that the colour changing isn't really part of the shows design but it was pretty cool to see in that song).

There also is the issue with characters that are supposed to be animal-like sinners not looking like the animal they apparently take inspiration from. The thing is that the animal/object parts don't necessarily have to be visible to understand a character. But in the show, how sinners look in hell is often influenced by their life on earth. Vox's head being a TV is because he was a Tv-show host when he was alive. Nifty also is supposedly a bug, which makes sense because she hates bugs and probably hated them in real life too. But that is where it would be great to actually have Nifty resemble a bug, instead she has no features of one and just looks like a regular humanoid sinner. The same thing happens with Alastor being a deer, Valeria a moth, Charlie goat-like and Angel a spider (also Mimzy is apparently based off of a chicken). Like I said, the animal inspiration isn't essential to the characters, but emphasizing these design elements could help the characters stand out instead of them all just looking like sort of human characters. Sir pentious and Husk work the best in terms of presenting their animal inspiration (though pretty much everything else about Husks design sucks ass).

And then there are complaints about the characters that are supposed to be people of colour not having any features that resemble their race. It's just a bit weird when a mostly humanoid sinner doesn't really seem to resemble how the person looked in real life. Black characters have really desaturated and sometimes just straight up grey skin in HH. Alastor is probably the most egregious in that regard, but also Emily has just light blueish gray skin and no textured hair or other black features like the nose or lips or palms. Velvette and Sera have darker skin but also no other features (except for when we see Velvette's natural hair texture in like one shot at the end of the season). I know there are other things wrong with how Voodoo is presented in HH or with Mimzy's design often being seen as a jewish caricature, but I don't wanna focus on that fully, because I feel like there are people better suited for talking about that (black people or jewish people ofc).

In general HH is a show with pretty bad designs (imo). That's actually a thing I prefer about Helluva Boss, because there the designs are mostly okay or actually sometimes pretty good. Striker is probably my favourite design in both shows (he reminds me of Dillon and that's cool).

I like Mammon, Asmodeus, Octavia and Loona as well. I would still probably change a bunch if I were to redesing the HB cast but they overall look more solid than the HH cast.

This was another post which pretty quickly became an excuse to talk about other media I enjoy. I might do that more often, because comparing elements of HH or HB to other stuff makes it kinda easier to articulate my feelings. Also just because I enjoy talking about other stuff too.

[howtofightwrite]

Now you got me thinking...I've been thinking about writing a fic where the (in-universe) desensitization of violence for the main characters is a running theme. My main issue, however, is managing the violence within said narrative because, as you've said before, violence has diminishing returns. While I don't want it to be a gorefest from start to finish, I do want part of the horror to be having to engage in it, no matter what steps are taken to avoid it. If I'm not careful, I could end up with a weaker story for all the violence in it. What could I do to maintain this theme without it losing its impact due to these diminishing returns?

So, there's two different things going on here, and ironically, it's the same term, and mostly the same process.

When I'm talking about your audience becoming desensitized to violence, it's more that they become acclimated to the degree of violence you're comfortable with exposing them to. Again, “diminishing returns,” because as you expose them to more violence, they become more acclimated to that violence, and the shock value will subside. Similarly, the ability to build tension on the threat of violence occurring falls off when you're willing to engage in violence, but that doesn't mean you can't build tension, just that you need to be a little more careful about establishing those stakes.

Also, when most people write violence, they tend to establish implicit boundaries. It may be that only certain characters engage in violence. It may that certain areas are exempted from violence. At very mechanical abstraction, with some writers, you can tell when they've introduced a location that is exempt from violence. Even if you're getting into diminishing returns, violating these kinds of boundaries can keep the violence fresher than you'd expect. The formula of slasher films put a lot of effort into maintaining shock value by creating misleading boundaries that you'll pick up on and then violating them in new and novel ways.

Outside of some genuinely stomach churning violence, you're not likely to permanently move the needle for your readers. You're not actually desensitizing them to violence; just your willingness to depict violence.

I feel like I need to make a clarification: Too much violence doesn't mean the story will be bad. Normally, I offer advice with the assumption that you'll want to manage and maintain as much shock value as you can from your violence. However, that's not the only valid approach. That said, too much violence can cause your readers to disconnect from the work, so that is a legitimate consideration. Also, this doesn't mean the story loses impact. Unless the violence is the story, which is a somewhat weird edge case, violence won't necessarily reduce the impact of the story as a whole.

The example of slasher films, earlier, really does illustrate what I mean when I'm saying that lots of violence (even gratuitous violence) isn't going to necessarily mean that a story will be bad. (Though, this could spiral into a much deeper argument about the artistic merits of that genre.) To some extent, your choice of genre already starts to prepare the audience for a more violent experience. You're preemptively trading shock value for a higher baseline.

The second thing is your character being desensitized to violence. While there is something to be said for getting your audience into your character's head space to the point that they accept it as their own, doing that with desensitization to violence is extraordinarily difficult. (And, really, it's a tricky route to go in general. In most cases, the audience will simply assign whatever dissatisfaction they have onto you or the work, rather than realizing you were being clever.)

So, how do you show someone is desensitized to violence, without trying to simultaneously traumatize your audience? You show the consequences of that desensitization. This can show up in a character's sense of humor, their overall outlook. They may be more clinical about violence, more casual about its consequences (at least, superficially.) They might have an incredibly dark sense of humor, which might not come up most of the time.

In a larger context, a character who has been desensitized to violence may come across as basically normal, outside of a narrow band where certain concepts don't bother them. This is especially true with a specific brand of military humor, where violence has been rendered mundane for the individual, and the people they interact with on a regular basis.

Now, audience desensitization to violence can create a very weird situation. Where an absence of violence is more unsettling. Not because they're worried about what could happen, but because they're waiting for it all hell to break loose. It's one thing to simply call it, “tension,” but it is a very distinct kind of anxiety you can invoke, if you're careful. In the opening of a story, when the genre is clearly established, I've seen this compared to the ratchets on a roller coaster's first ascent. Everyone knows what they're here for, everyone's here for the ride, click, click... and then the lights go out, and the screaming starts.

I'm trying to make it sound easy, but violence is one of the more challenging things to write. That doesn't mean it's impossible, and you don't need to sit down and carefully sketch out every detail before you get going. The biggest thing to be careful of are that you don't want to overuse it, but you have a lot of flexibility to tell the story you want with the amount of violence you need to communicate that story.

Though, it might take a few tries until you get a tone you're happy with.

-Starke

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[will80sbyers]

What makes you believe that byler is real? I ship Mileven personally, but I'm trying to understand byler shippers' logic, because a lot of the time it feels like it makes no sense.

I personally think there are some scenes in the show and there are some choices that the writers made that are telling us that the plot of the show is going towards Will getting a "pay off", in terms of writing, at the end of the show and Mike and El finding out they are better as friends instead and Mike discovering he has romantic feelings for Will!

The writers have emphasized Will's sadness in relation to Mike and El as a couple both thematically and visually, in the writing & filming of the show there are too many scenes like this especially in season 3 and 4 they have made it clear that he will never be happy if Mike and El are the endgame relationship, even during Mike's love monologue after he supposedly decided that he was ok with El having his own feelings for Mike by saying that the painting was a thoughtful gift from El when it wasn't... They put a shot of Will's sad face in the middle of the monologue, and also he was framed behind Mike when he said "I love you" which in film is a EXTREMELY weird choice unless it means something more is going on that should make us not want El and Mike's relationship to work - the writers have been sabotaging the emotional connection of the fans with mileven by doing this and I don't think that professional filmmakers don't know that, I think it's on purpose!

The writers have shown Mike and Will as having a deeper relationship than all the other relationships Mike has, putting him in the same category of El as one of his possible love interests in the plot, they have multiple scenes bonding in a tender way than Mike has with any other of his friends, they happen in private usually or in emotionally charged moments that they film to make you as a viewer feel like they are in private and show how they have this connection that's more than just friendship

The writers have wrote in the show since season 1 MANY parallels between Mike and Will and other official couples (Mileven too!!!) that are, in my opinion, hinting at them ending up together at the end of the show

You can find the parallels here

The writers have continously shown El and Mike to have some kind of problem in their relationship and made El decide to leave Mike behind multiple times even if to save his life because she loves him, the writers have been showing us how Mike is not her PLOT priority and instead they have put having a romantic relationship with Mike as Will's deepest desire since season 3

The writers are building up El's character to have a coming of age that has recurrent themes of her finding herself without the influence of others around her, her becoming completely free from any kind of influence, and Mike has been represented as having too many internal fears to overcome at the moment about their relationship, especially with the love monologue at the end of season 4, he has beliefs about himself as a person that clash with El's character arc about not having to feel influenced in any way, the end of the show for El should be her having complete freedom in all aspects of her life because of the circumstances of her upbringing... Not saying that Mike is influencing her in a bad way necessarily, I think they both love each other a lot but having a relationship with someone that is that much insecure about his role in your life because you have powers will always be a type of influence

The writers have shown Mike and El as not being a team at the same level by separating them constantly after s1, instead they have shown the other couples that work as working together in the supernatural plot (Jancy, Jopper, Lumax, Byler)

The writers have paralleled Mike and El's relationship to all the ships that are not working for some reasons/are not endgame and have more infatuation than a real "true love" kind of relationship (Steve x Nancy, Karen X Ted, Bob x Joyce)

The writers have wrote in multiple scenes of Mike acting awkward with Will (Mike!!! Not Will) or them having coded conversations about how much they care for each other that have no sense to exist unless there is a pay off at the end

The writers have presented El, Mike and Will as being in a love triangle and have been framing them in a love triangle composition in the framing of multiple scenes, with Mike at the centre

When during season 4 the writers talked about all the movies that have inspired season 4 and 5 they have put multiple movies with love triangles that are almost identical to the situation between Mike, El and Will

Will and Mike have multiple fight scenes that are scenes you give to two possible love interests usually, the way the fight happen is written as two lovers having emotional fights instead of as how you would write two friends fighting

The writers wrote in the show a precise parallel in all the scenes of Vickie and Robin... between them and Will and Mike, paralleling Mike to Vickie specifically... who is a canon bisexual character and even paralleling Steve and Jonathan in that context as observers of the couples!

The directors filmed their scenes how you would film romantic scenes in stuff like Bridgerton or a romcom lol

The whole painting scene was Will making Mike feel so loved that he felt comfortable being vulnerable with El, but this means he was still not comfortable on his own relationship with her, he didn't feel safe enough to open up on his own and needed that talk and needed to believe all of those ideas about him being the heart came from Eleven so that he made the jump and told her how he felt instead of being selfishly silent on it because he was too afraid of her possibly leaving him one day... When you are really deeply in love with someone in the context of movies the characters don't let those type of fears influence them and if what gives him courage is the feelings of another character in the love triangle it means he's the right person for the character

( idk if you saw gossip girl but the was a love triangle situation between Blair, Dan and another character where Dan made Blair believe the other character felt some type of way towards her, she understood that she loved Dan because of this act because she wanted those words to be from him and not from the other guy... The whole painting lie is that same trope)

The writers are obsessed with IT from Stephen King and there are clear parallels with it in the show, the whole plot of s4 about the painting is a reprise of the plot between the romantic relationship of Bev and Ben in IT (with the postcard and the poem) Beverly is supposed to be Mike, Ben is Will and Bill is El.... Mike and El share a kiss at the end of season 3 that is supposed to parallel a kiss between Bill and Bev (they did love each other and liked each other but are not endgame)

Both Will and Mike are queercoded multiple times during the seasons

There are WAYYYY more reasons but this post is becoming too long so I'll leave it as this lol

You should rewatch the show and imagine if Will was a girl, I think many people would be seeing what I'm talking about way more and take it as a sign that Mike is going to choose "Willow" and see how Will is the better love interest for him...

Maybe it's all just queerbaiting, who knows, but at the moment I believe this is way too much for it to be queerbait!

I personally think Mike is bisexual

Masterpost about it here

and has feelings for both of them, but his feelings for El have always been a "puppy love" type that is growing to become more platonic than romantic with time, and I think he's a best match with Will, I think Will is able to make him be the best he can be, he's capable of making Mike feel worthy in a very natural way unlike the relationship with El does at the moment!

In my fixed post in the blog you can find all these things in more detail if you're interested!!

Thank you if you read all of this, regardless of what I believe I think everybody should be free to ship what ship they like best!! 😊

[covenofthearticulate]

Ash I’ve been bitten by the Louis!Simp bug, I need your headcanons about his romantic side please and thank you 🥹 (with specific partners or in general or both, dealers choice!!!)

JESS!!!!!! hello. in all forms but physical i am squeezing your shoulders and kissing your cheeks. welcome to the louis!simp club i am so glad you're here

anyway YEAH i think in terms of fanon, folks tend to underestimate Louis' interest/capacity for romance because he always has a bad time whenever anyone tries to show him a Grand Romantic Gesture but i just adhgdskfbhsjbfvdjhbf I think Louis is one of the most romantic characters in the series!!! he just shows it in ways that aren't obvious to those who don't know him well, but I know for a fact that this man is down so bad for Lestat and Armand and just wants to see them happy.

He strikes me as the kind of person who puts a lot of time and effort into the love he gives— whether that's spending actual time with his lovers (I always HC that his preferred love language is Quality Time) or hunting down a specific gift, or even taking the time to better himself!!

Like I know we talk about it a lot, but I think all the times throughout later canon where Louis dresses nicely for Lestat and Armand is such a great example of the type of lover Louis is. That's the closest thing to any Grand Love Gesture he'll get. We know if it were up to him, he would wear the same clothes for centuries. He doesn't care about his appearance, but he knows that Lestat and Armand do. He knows that they like to look at him, that they like to see him in fine things, just as he used to like seeing Claudia in fine things. They gift him clothes because that is their way of showing affection, and he knows he can ease Lestat's or Armand's anxiety just a little bit by accepting that affection and allowing them to fawn over his beauty, even if it makes him uncomfortable. Louis is someone who thrives with the comfort of the familiar; to step out of his comfort zone is a BIG DEAL to him, and I think we really see that reflected in Lestat and even Armand's narration any time they do see him all dressed up, like they always seem so surprised and awestruck LOL

ANYWAY yeah he cares so deeply for his loved ones like really truly, I think that Louis is the kind of lover who is just so thoughtful. Gift giving isn't necessarily his preferred love language, but he's ALWAYS thinking of Lestat and Armand, and it manifests in different ways. Some nights he'll barge into the room and read aloud an article he thinks they might find interesting, and he'll ask them questions and soak in every one of their opinions. Other nights he simply graces them with his presence and reads silently beside them.

And other nights still, Louis will revisit arguments that occurred a century ago, or even an hour ago, and will pick at old wounds not because he is truly upset, but because Louis is genuinely the kind of person who is constantly thinking about the things Lestat or Armand have said to him. He's constantly picking their words apart in his head, trying to find new meaning, and I know it's absolutely infuriating for Lestat, but there's something about Louis where, even as he's rebutting an argument from two years back, there's a passion in his eyes that's just so exciting and almost kind of sweet. You just KNOW that Louis loves to debate, not for the sake of winning (though he loves to win) but because he loves to hear his lovers' ideas and understand their psyche. Honest to god, I think Louis' ideal date night would be debating beside a cozy fire LOL

Okay sorry this is getting long! I don't have a lot of individual headcanons BUT one favorite headcanon that I've had in my back pocket and do want to turn into a fic one day is that Louis teaches himself to speak Armand's native tongue, so he can tell him he loves him with a language Armand has not heard for centuries.

Another headcanon I've been thinking about as well is like, in a similar vein to the clothes thing, Louis understanding how insecure Lestat gets at times, especially about how their relationship is perceived. So like, again with the comfort zone thing, I think Louis tries very very very hard to swallow his discomfort in order to occasionally hold Lestat's hand in public. Maybe even kiss him, who knows. He loathes being perceived, but he'll do it for Lestat.

[triptychgrip]

Viktor's potential insecurity in the aftermath of Yuuri's poster reveal

As much as I absolutely adore YOI, one thing I would have killed for the creators to show us is the long-term aftermath of the moment (or perhaps, series of moments) where Viktor grasps just how big a fan Yuuri is. And not only even for humor reasons (i.e."Wow, Yuuri! Not even my publicist is able to get their hands on that poster, but you have four different copies!), but also because, depending on when it occurs, the discovery might pose a sort of crisis for Viktor.

Because as confident as he is with regards to the ice, as he and Yuuri begin to spend more and more time together outside of training, I imagine he might find himself confronting a pretty important question: what does he have to offer in terms of personality, and in general besides his skating talent, or the association that comes from his reputation (and, by extension, the longevity of his career)?

While the beach scene is hugely important for the progression of their relationship, you could argue that it's a beginning: when Yuuri tells him that he wants Viktor to be himself, it's from a place of saying "you don't have to pretend, show me who you really are", so Viktor may feel that while Yuuri truly wants to see his full personality, it doesn't necessarily mean he will be accepting of it.

To be clear: I think that Viktor can grasp that Yuuri accepts him for his flaws -- after all, it's pretty apparent that he forgives him when he royally screws up at the Cup of China in that damned parking garage. But accepting someone's flaws and being able to celebrate their positive traits are two different things, even when they are opposite sides of the same coin.

Speaking of the Cup of China (which, don't get me wrong, has me completely in my feels every time I watch that episode), while it's extremely powerful when they both express their feelings for one another via skating, sometimes actual words are needed when it comes to assuaging our insecurities. At some point (and when would this have occurred? I wish we could have seen!) Viktor probably needs concretization around the things that Yuuri perceives about him, good and bad.

Back to the poster reveal. Once Viktor realizes the extent of Yuuri's fanboying, part of me wonders if his thoughts might take a turn in the vein of "What if Yuuri thinks my career is the most interesting thing about me? And "What if the other parts of me aren't palatable enough outside of that?"

When they have the inevitable "come to Jesus" conversation(s) whereby Yuuri tries to articulate that he sees Viktor as more than just an idol on a pedestal, how might Viktor react, and would he be able to take Yuuri's words at face-value? Similarly to Yuuri's journey of realizing that he is more than worthy in Viktor's eyes, I think Viktor goes on a parallel one, and those moments of reassurance are something I really love ideating around.

I think this is part of why I get so much comfort out of writing post-canon/established Viktuuri, particularly in my married Viktuuri Olympic Games series: it gives me a bit more freedom to "move" and portray some of the security they've developed with time (and allows me to imagine some scenarios where Yuuri is able to verbally demonstrate how much he values Viktor in a way that is unrelated to the ice)

[chronicbeans]

Y'all Ready for my Hazbin Hotel Hot Take?

I have like 3 different hot takes for the Hazbin/Helluva series, but I haven't seen anyone mention this one, yet. You ready?

Hazbin Hotel is a poorly written, but still enjoyable series (so far).

I liked watching the show, don't get me wrong. That's why I said the show is still enjoyable. Just because I think something is poorly written doesn't mean I dislike it. In fact, far from it! I've watched a lot of movies I've thought (or even the majority of the people who watched it thought) was really badly written, but still absolutely LOVED it! So, even if something is not written well, it doesn't mean you should suddenly stop enjoying it altogether. So, I'll go into the reasons why I think it wasn't necessarily written well but still enjoyable to explain what I mean. It starts out with the criticism, then ends with me explaining why I still enjoy it and a small concept.

TW: Abuse, Mental Health, Criticism of Hazbin Hotel (I know very well some of you can go crazy about it), Talking about Valentino

I mainly just think, outside of the rushed pacing, the first season had a lot of serious topics that weren't treated with the proper care needed. Such as Angel's abuse at the hands of Valentino or the Exterminations at the hands of the angels. The story tells us "this is bad", but a lot of audiences will hear that and simply not process HOW BAD it really is supposed to be, a bit like being desensitized without actually being desensitized to the topic. This is why I think the term "show don't tell" is often used when describing this show's flaws. A lot of people don't actually feel the weight of what's happening if just told. As a writer, I can understand how difficult it is to get that balance of showing enough to convey the full impact, but not showing too much as to make the story uncomfortable to read, and I'd imagine it's a lot more complicated in animation where you are actually showing what is happening. It's just that the audience feels it better when showed. While I'm not saying things like Val's abuse towards Angel or a massive group of demons getting annihilated should be shown, there are ways to show things to convey the message that these events are horrible things.

An example I like to use is the original Mulan, where the scene starts as a musical then everything goes quiet when they see the destroyed village. You see the absolute tragedy that happened, know what it implies, and nobody has to say "wow this is bad". We see it on our character's faces, hear it in the silence, and the physical darkening of the area compared to the song just before makes it hit harder. While I understand that Hazbin is a musical, I feel like it doesn't understand that there's a place and a time for a song to say and not show, as well as a place and a time for it to ENHANCE the show don't tell.

I feel this is especially important to know how to balance that with heavy topics like abuse, war, death, etc. because of the aforementioned fact that people don't understand how bad the topic is if they're just told. They feel a detachment towards the subject unless they are one of the people who have been affected by it, and if it's done wrong it can come off as offensive or even mislead people on those topics. In order to get those who don't have those experiences you need to show it in a way that isn't too intense but isn't glossing over it. It's just that Hazbin doesn't do that. While I'm glad that they try, in my opinion, it just doesn't hit it correctly, especially with Angel Dust's abuse.

However, I do love a lot of things about the show. A few of the jokes got me to laugh (this isn't meant to be a backhanded compliment, btw, it's generally hard to get me to laugh even if I find something funny so it's actually a compliment). The art is very pretty, even if I think there's too much red due to my shade blindness. Many of the characters are fun, and even the ones I despise are at least tolerable. Especially Adam! He's an asshole, but he's a fun asshole, in my honest opinion. A character you love to hate. The only real character I kind of think isn't written that well (at least for the role that he plays and the writing surrounding him) is, ironically, Valentino. Aka probably the most hated character of the series so far.

Considering Val's actions being EXTREMELY deplorable, I don't understand why there's these times where they try to make him funny or seem more lighthearted. I did enjoy that time when Niffty tore off his fluff and ran off because it served as a refresher after the intense scene of Angel confronting him, but the other times are odd to me. He seems like a threat only when the writers want him to be a threat, when really, he should be a constant threat considering one of our main characters is constantly in danger of his abuse.

He wouldn't even need much of a personality change, either. His over reactionary personality and slightly erratic behavior can be TERRIFYING if the show treated it that way. Instead, while I was watching it seemed like it was treated as more of a joke. While being over reactive isn't something that makes you a bad person, being a bad person that is over reactive can be terrifying. As someone who has met a person like that, it feels like walking on eggshells and not knowing what you should say, what you should do to calm them down, and even if you should calm them or leave them be to calm on their own. Imagine if they had that scene where Vox checks on Val, but instead of Vox being extremely calm and composed, he's visibly trying to stay calm but is internally worried. It'd show that, while the other two Vees are condoning his actions and letting them stay, even they aren't sure if they're safe from his violent temper. It'd help imply just how bad his abusive actions are towards his workers and Angel if even his two colleagues - his EQUALS - don't feel completely safe.

Anyways, that was my rant/hot take. The show doesn't have to be exactly how I want it for me to like it. Hell, I LOVE it for what it's trying to do. I just have my own critiques on how some things are handled, and the hope that it'll keep striving to attempt to handle those topics better.

[bildads-shoes]

Ever since I saw this incredible post I've been thinking a lot more about the book vs show differences, and one of the things my brain keeps returning to is the very different presentation of Heaven and Hell.

In the book, I feel like the majority of the time Heaven and Hell are mentioned, it's simply in reference to them being adversaries. They're often just referred to in the context of being Aziraphale and Crowley's bosses, both equally uninterested in humanity or the details of their employees' actions. Hence, we really do see them as not being so different from each other, and dislike them both equally. Personally, I feel this is a bit different in the show.

In the show we actually get to see Heaven and Hell. We get to see Beelzebub for more than a couple of lines, we get to meet Gabriel, and we get to feel the atmosphere of Heaven and Hell as settings.

In terms of their general vibe, the difference feels pretty stark. Heaven is empty, cold, unfeeling; every interaction between the angels we see is laced with mistrust and two-faced scheming. Hell, on the other hand, does have emotion; it's a deeply unpleasant space, of course, but the way the demons complain to each other feels more honest. Take Uriel and Michael: we've seen them throughout both seasons, yet I can't recall either of them expressing a single honest feeling. Shax and Furfur, on the other hand, have had a lot of honest moments both with each other and with other characters. In a bizarre way, Hell becomes more relatable, more likeable, in the show.

Of course, there are massive issues with Hell, but they don't necessarily come across at first glance. The really dark aspects are almost always played off with jokes, to the extent that we don't talk about them that much. Beelzebub is pretty well liked from what I can tell, despite evidently having extensively tortured their employees - but it's part of a funny scene so we instinctively overlook it. Gabriel, on the other hand, seems widely loathed; he's just blatantly a dick in Season 1, and we don't see enough of him actually as himself in Season 2 to balance that out. I'm sure that's also in part due to fake-Aziraphale's trial being resurfaced in Season 2 as a serious, traumatic event for Crowley. We aren't shown the impact that Hell's treatment of Crowley had on Aziraphale, so once again Heaven ends up seeming like the more 'evil' side.

So I suppose it's no surprise that we end up having more discussions surrounding dismantling Heaven in Season 3, with Hell's toxicity being a slightly lesser topic of conversation. It does instinctively feel a little like Heaven is the 'bad one' in comparison, whereas we have to actively analyse those throwaway/comedic moments to acknowledge the massive issues with Hell. Therefore, to me, that neutral/equal presentation of the two 'bosses' in the book is no longer the case in the show.

Perhaps this is all because the show is shifting more towards commentary surrounding religious institutions as opposed to the Cold War energy of the book. Or perhaps we'll be explicitly shown more of Hell's dark side in Season 2 and will return to truly seeing them as equally bad. Or maybe you have a totally different interpretation (please let me know 👉👈). I don't know man, I just needed to get this thought out honestly lol.

[lemotmo]

Okay, I basically stalked that blog, sorry not sorry. The other answers you shared were nice but this is the answer. EVERYONE READ THIS ANSWER. You won't need a question synopsis, it will be very clear what they were asked. Also I got the sense from their blog that they're more of a fan of the show as a whole than a hard core shipper. They do clearly like Tommy but they're a Buck lover through and through if you scroll their blog. READ THIS ANSWER!

A. Hi anon, I have been very clear from the beginning that I will support whatever ship the show decides to go with. I have worked very hard at trying to maintain realistic expectations. The problem with your argument is that the show hasn't shown us anything you presented in your ask. The show hasn't indicated in any way that this is a long-term serious relationship for either of them. In fact I would argue that most of the dialogue Tommy has been given would actually indicate the opposite, at least where he's concerned. He has been given very little actual dialogue so I promise you they're being particular with the dialogue they are giving him. And I'm sorry, but no, the show absolutely did not tell us or insinuate in any way that Buck told Tommy to only call him Evan. Lou himself said in one of his cameos that the show won't 'allow' him to call him Buck. If you've been around for longer than season 7 not calling him Buck is usually a bad sign. All his previous partners called him Evan. It's an established pattern of indicating they don't really know him. So far, from the little we've been shown, they're sticking to that pattern. We do however have numerous canon scenes of Buck explaining why he doesn't associate with the name Evan. Going by Buck is a well established CHOICE for him. At this point, Tommy is being written as a plot device. The show hasn't given us anything more than that. Can that change? Sure, but I don't think it will change much. Tim himself said it was a nice introductory relationship for Buck and he didn't want anything heavy (I'm paraphrasing). Oliver said Buck was going to have to work for his next relationship. He said this having already filmed the beginning of Buck and Tommy (and at that point Tommy was only supposed to last 4 episodes but they got renewed and the storyline was slowed down) so I don't think Tommy is the relationship Oliver was referring to. I will once again stress, that's okay. Tommy can be important without being his forever. It doesn't make Tommy meaningless. But it is why, in the end, the cameo videos were a mistake. It's lovely that Lou wanted to talk with people, and I understand why he wanted to do them, but many of those fans have taken those headcanon conversations and tried to argue them as canon fact, like your ask did, and they simply aren't based on anything canon. I hope that doesn't sound mean because I get wanting them to be canon, but, at present time, they're not.

The last part of your ask is confusing to me, I won't lie. You just said yourself that making Eddie canonically queer wouldn't necessarily be a leap, but then you said, in the same sentence, that Ryan shouldn't refer to Eddie as ambiguous. Both of those things cannot be true at the same time. And I'm sorry but at no point, ever has Buck and Eddie's relationship been written as traditionally bro, as you put it. There are countless, professional articles as well as interviews by the actors and creators themselves stating how unique and special their relationship is. The audience knows that as well. It's why they're popular. You can't watch the show and honestly describe them as bros. If they make Eddie canon queer it is not a matter of if they'll put him with Buck. At that point it simply becomes a matter of when. And no, Josh will not be a realistic option. I adore Josh, lots of people do, but a romance between Josh and Eddie is not what anyone wants. Also I'm pretty sure Oliver would commit a crime if they gave Eddie to Josh instead of Buck, lol.

Love, love, love.

Another thoughtful and insightful answer from the anonymous blog.

Thank you for bringing this to my attention Nonny! :)

Once again I ask everyone to stay civil in comments or reblogs. No hate towards this person please. Thank you.

[x-liv25-jamieswife]

hiii! Can I request hcs for the hawthornes brothers sister pls xxx

the hawthornes if they had a younger sister head canons pt. 2

of course! i already made a post about this (here) so this one might be really short and crappy (im sorry). some of these might be similar to my other post. hope you like them <3. @lanterns-and-daydreams helped me with this one <3

she'd definitely tell her brother's girlfriends all of the blackmail material she has on them. although they're her brothers, she'd always side with the gf during arguments (if they were a long term girlfriend like avery and stuff)

she'd go to the book store all the time cause she loves reading and would buy books she thought her brothers would like. she'd leave the books on their bed for them to find with a little message from her.

her and nash would get matching cowboy hats (i may have mentioned this in my other post). like he'd get himself a blue hat with white details and she'd get the opposite.

like gigi, she loves coffee but her brothers don't allow her to have any bc she gets so energetic the brothers have to physically restrain her from doing anything too dangerous.

xander and her sometimes pretend they're in a tv show like friends or smth (idrk how to explain this, but like when they come in, they act like guest stars or expect people to clap like you hear in the background of those tv shows)

her contacts for her brothers are usually really crazy and random. so random that sometimes she forgets where the contact name even came from (like sometimes she'll see a random meme that reminds her of one her brothers, name that brother after the meme, and then forget about the meme (and the name) a few days later). the funniest part is when one of her brothers is calling her while she's around her other brothers (or just people in general) and her phone just goes 'call from bloated sheep in my closet' and everyone around her is like 'what?' and she's like 'oh don't worry its just grayson'

she loves stuffed animals. when she was younger and her brothers where sad or mad, she would go up to them with one of her stuffed animals, shove it in their arms, and tell them that hugs and talking it out always makes her feel better. she quite literally believed that stuffed animals fixed everything

nash is the cowboy with the savior complex, jameson is charming and reckless one, grayson is the heir apparent, xander is the scone-lovng genius, and their sister is the literature fanatic who can literally convince anyone to do anything and is super likeable.

she's the type of girl in school who isn't necessarily popular but everyone knows and likes her. she really only has a few close friends but gets along with everyone.

she has one of the nicest smiles you will ever see. her smile can actually brighten up a whole room (it even manages to cheer grayson up)

she struggles with really bad anxiety when it comes to school. she's a huge perfectionist. no matter how good she is in a class, she always thinks she needs to do more and be better to prove her worth to tobias.

skye lowkey hates her bc 1. she's jealous of her and how much tobias loves her and 2. she's one of those weird boy moms who's literally in love with their sons.

she's always been insecure about her looks bc haters sometimes comment on how ugly she is compared to her brothers (which isn't even true bc she's gorgeous) (those haters are mostly just jealous girls who wish they were as pretty as her). her brothers always try to hype her up bc they know she takes these comments to heart but it doesn't really work (bc they're her brothers and would never insult her)

she doesn't really have one specific style when it comes to clothing. one day she'll be dressed super coquette and the other day she'll be dressed like a tomboy.

grayson and her love to paint together. its not one of her passions, and she mostly does it for fun so she isn't as good as grayson, but they both find it relaxing and love being near each other. she's the only sibling who doesn't constantly pester grayson about his feelings or just in general. they'll sometimes bounce ideas off of each other and make paintings for one another.

jameson and her both love rooftop golfing together. she's the only sibling he's ever done that with.

her passion is writing. she has an ao3 account where she posts fanfics for her fav books and even ends up writing a book and publishing it (it becomes a best seller obviously cause ... hawthornes)

grayson would do her hair every morning before school cause when skye would do it, it would like like crap.

jameson would teach her how to cuss and would tell her to say those words in front of tobias just to piss him off (he would take the blame whenever he got mad at her though)

xander taught her how to disarm bombs bc he believes its an essential skill.

tags: @never-enough-novels

[blowflyfag]

WORLD WRESTLING ENTERTAINMENT/FEDERATION MAGAZINE: OCTOBER 2011

THE CULT OF CM PUNK

“All it took for The Straight Edge Superstar to turn the world upside-down and ignite the WWE Universe was one microphone. HEre we’ve given the “Voice of the Voiceless” another soapbox to explore his many issues with WWE management, his epic match at WWE Money In The Bank, his fellow Superstars who deserve a better shot, and what, if anything, is going to change now that he’ back for good. 

By JOHN MIHALY PHOTOGRAPHY BY PER BERNAL, DIGITAL IMAGING BY ERIC HEINTZ

[The Second City Saint reveals his cult of personality, and shows off his new T-shirt and WWE Championship during his unexpected return to WWE a week after leaving with the title (Raw, 7/25/11).]

In your estimation, what do you feel is wrong with WWE right now, and what would you do to change it?

What’s wrong with WWE right now is that there isn’t enough youth. Most of the ideas are old. They worked in The Attitude Era or in the ‘80s-and I'm not necessarily saying that they’re bad or they’re wrong-but they need updating, they need tweaking. There needs to be some young minds spinning the webs, so to speak. I’m sick of seeing people who are excellent wrestlers get passed over for people who have abs or who were good-string linemen in a European football league. I think there are a lot of people who, on their own terms, have made their own personas and perfected their craft simply out of love for what they do. They’re not trying to be bodybuilders or football players who fail miserably and then call their uncle or their dad and say, “Hey, I’ll give that wrestling thing a shot because I suck at everything else.”

Why do you think it’s such a strike against guys who-like yourself-are fans but aren't from a sports or bodybuilding background?

Now, this is complete speculation. I can't even tell you what somebody else is thinking. I can only say what I think works. And I'm not going to be right 100 percent of the time just like they're not going to be. Somewhere along the way I think we lost the Midas touch. This whole thing became uncool. I think people who love it aren’t going to go do something else  if they get fired. Like Colt Cabana. He’s a perfect example. He is a wrestler. If he gets hired and it doesn’t work out, he’s wrestling somewhere else the next day. He’s not trying to shoehorn himself into an accounting job. He’s a wrestler. He’s always going to be here. So I just think if you love wresting sometimes-maybe-you’re punished. You’re placed last in line. The attitude is: You’re always going to be here,  maybe we can use you later if we need you, but right now we’re going to use this guy because he was good at college football, and he didn’t quite make it in the NFL.

Another one of your gripes is how the WWE Championship looks. How would you redesign the title? What is the definitive look of that particular championship for you?

Oh god. How long is this interview? Honestly, I think old Dwayne used to have a cute little blue cow on his title or something. Then, of course, Stone Cold had the Smoking Skull title. I don't know. I think I could Straight Edge the hell out of that thing. A couple of “X”’s might make it look good. Make it look like a title should look like, and not make it look like some sort of weird, rapper bling. I feel the definitive look, though, is what I like to call “Bret Hart’s Title.” I think everyone likes to call it the “Winged Eagle Title.”That’s a little bit redundant. I’m pretty sure most eagles have wings. That’s the one that always sticks out in my mind.

This anger with your job has been festering for a while. Was there one moment backstage when you felt that you’d had enough?

I can name one off the top of my head. How about main-eventing a pay-per-view as the World Heavyweight Champion against Undertaker and then, a few months later, being in a dark match against R-Truth at WWE TLC? That’s pretty ignorant in my mind. This is the problem. We do this too many times to too many of the Superstars. It’s a start-stop kind of thing. The company likes to spotlight certain people. Like, “This week, Kofi’s cool,” and then, the next week, “We changed our minds-we like Dolph this week.” It flip-flops back and forth ad nauseam, and the next thing you know, the people couldn’t give a crap about either guy.

When did the powers that be really begin to take your leaving WWE seriously?

I told them probably a year out. They would say, “Hey, how about we talk about your contract?” And I would just say, “No, I don’t really feel like it.” And they would say, “Ok, back off. Punk’s crabby and temperamental.” We’ll get him next week.” And the next week it would be, “Hey let’s talk about it.” And then maybe eight or 10 months out, it was, ���Hey, I really want to sit down. We really need to sign you a new deal.” And that’s when I straight up said, “No, I’m not interested.”

[CM Punk perches on the top rope to hear out The Chairman’s final contract offer (Raw, 7/11/11).]

Take us back to your title match at WWE Money In The Bank. What did you do differently that day knowing that could have been your last day on the job?

I don’t think I did anything different that day. I’m a man of my word. I wasn’t going to skip out on my contract earlier. I was going to let it run out. These to do, and I was going to let it run out. These are the terms. I agreed to and the dates I agreed to do, and I was definitely going to finish up. But I think I talked so much about everything and everybody that all eyes were on me and it created a high-pressure situation. Thankfully, I thrive very well in those situations. I’d say I pulled it off. All this stuff i talk about, about ebony the best in the world, I certainly proved it that night. The match went near the 35-minute mark But i wrestled for 93 minutes one time back in 2002 or 2003 in a Two-Out-Of-Three Falls Match.

You mentioned on the Bill Simmons B.S. Report podcast that you had made the decision to come back and resign at WWE Money In The Bank. Do you think your decision was at all clouded a little bit too much by all the emotion going on that day?

I can definitely put it aside. I can be a robot if I need to be. Resigning was something that was on my mind day -in and day-out whether I was at the gym or sleeping. I was dreaming about it, I was really trying to figure out what was the best decision for the company as a whole. I love what we do. I ‘m not going to get along with everybody I work with. I’m certainly not going to agree with everything all the time, But at the end of the day, I want everybody’s voice to be heard. I want this place to succeed. So I had to weigh my options. 

[The conquering hometown hero wins his first WWE Championship (To add to his three World Heavyweight Titles) at WWE Money In The Bank (7/17/11).]

They say  a man’s refrigerator is a window into his soul. When you Tweeted a photo of the WWE Championship inside your fridge the night you won, we couldn’t help but notice that there was a jar of peanut butter in there. Isn’t peanut butter meant to be stored at room temperature?

Is it? Why? I'm not saying we have to end the interview now, but here’s a good wrap-up for you: WWE has stored their peanut butter at room temperature for over 30 years; I'm putting it in the refrigerator now. It’s time for a damn change. I don’t eat my peanut butter like everybody else, I suppose. I don’t spread it on anything, because I try to stay away from bread and all that, so if I’m eating peanut butter, i take a spoonful of it, and i eat it like ice cream. It tastes better a little frozen. 

Another thing we noticed is that you used the “W” word a lot in your tirades these last weeks. How much do you dislike saying “sports-entertainment”?

I don’t hate it as much as you would think, but I really do think it’s ridiculous when you’re not allowed to say “wrestling.” At the end of the day, that’s what goes on in that ring. That ring is our stage. What we do on that stage is we wrestle. I’m not playing grab-ass. I’m out there fighting to win. Wins and losses mean something. Wrestling happens to be damn entertaining.

So is it weird to call yourself a “Superstar” as opposed to a wrestler?

I don’t think it’s weird. I think we’re all Superstars. Absolutely. I don’t think there’s anybody else who can be called that. Would you call Brad Pitt a Superstar? Do I think Brad Pitt can do what we do? Absolutely not! Brad Pitt gets scripts and lines to study months ahead of time and he has a very controlled setting in which he looks the best he possibly can. He has makeup on, there’s lighting, there’s people doing the sound and everything. We go out there on live TV every Monday night and kill it. That’s where the entertainment part comes in. It’s more entertaining than a Brad Pitt movie. There are no retakes, you know? There’s no Take 1, Take 2–”I screwed that up, let me do it again.” IF we screw up, we screw up. That’s the entertaining part. 

Entertaining was your baseball analogy equating John Cena to the Yankees-which caused him to punch you. But let’s follow that analogy a bit further. Earlier this century, your Chicago Cubs and the Boston Red Sox were quite similar. Then the Red Sox were quite the equivalent of baseball’s nouveau riche, effectively placing that franchise and fan base in line with the Yankees. Won’t the same thing happen to the Cubs when they win? And what about you? If you continue to win, wont you in turn become what you hate?

Possibly. We’ll have to wait and see. Is the same thing going to happen to me? It’s quite possible. That’s life, though. I really think it depends on the person. Am I going to change? Absolutely not. I'm not changing anything. Will the WWE Universe maybe get sick of me? I think the people get sick of anything if it's shoved down their throat. I think free-thinking people like variety, and they like change. There’s no reason why multiple people can’t be marketed correctly and in everybody’s face constantly so there’s a choice. 

[Punk ruffles the feathers (and tie) of new COO Triple H (Raw, 8/1/11), and hopes for a retro design akin to, in his words, “Bret Hart’s Title” (above left).]

One thing you did change is your entrance music, to Living Colour’s “Cult of Personality.” Did you consider anything else?

No, that was the one. It was a throwback to my Indie days, but it also just fit. I have tremendous guts, I’d like to say, and it was just a gut feeling that this was the right thing to do, to change my music now. Did I like my old song? Absolutely. Was it recognizable? Sure, I had it for five years. Was it time for a change? Was it a risky thing? Yes and yes. But ultimately, I think it was the right move. I haven't been able to get the song out of my head since last Monday. It’s a song that came out in 1989, when I was on my little league team, and now it just jumped into the iTunes Top 200. That’s powerful. That should speak volumes to the WWE management. They should say, “Holy crap, this kid has the power to do something like that. Let’s see what else he can do.”

What’s really different now that you’re back? What are we going to see that’s not status quo?

I don’t want to ruin any surprises, but i will tell you that when the Ramones were voted into the Rock ‘n’ Roll Hall of Fame. This is, after all, the establishment that shunned the entire band for its entire career, and he wanted nothing to do with it. He was extremely adamant that, “No, you don’t get the privilege of having the Ramones in your little club.” My good friend, Lars Frederickson [of the band Rancid], got on the phone and said, “Marky, listen to me. You almost have responsibility to the underground to accept this award and be in the Hall of Fame to show that you are as big as the Beatles, you’re as good as Led Zeppelin, all these mainstream bands that the Ramones maybe never got credit on the same level as.” And that’s kind of how I feel about WWE right now. I’m a guy who, for all intents and purposes, never should have even made it to WWE. Then I had roadblock after roadblock thrown in my way. Not only did I get past those roadblock thrown in my way. Not only did I get past those roadblocks, I did it while flipping off the people who put up those roadblocks. I feel I have a responsibility to the younger wrestlers on the roster, the ones that aren't signed yet, and the future of wrestling as a whole, to help make this place better, and to change this place. I certainly can't change it by sitting on my couch in Chicago.

[mylordshesacactus]

LOVE, WATER, FIRE

What is your best writing advice?

"Show don't tell" doesn't mean what you think it does. Learn it better, and free yourself from a half-understood mnemonic.

When you show, you slow. Learn THAT one backward and forward as well; it won't fix pacing issues overnight, but it'll help you understand what causes them.

Writing fanfiction? Go back to the source material FREQUENTLY, or you'll lose all sense of the characters and end up writing someone unrecognizable.

If you struggle to block out action sequences, genuine advice? Think in terms of combat rounds in D&D. Not literally, of course, nobody should be taking rigorous turns, but: Play out the action in your head. If six seconds have gone by, everyone in this sequence should have done something. That thing could be charging into melee range--noting that this extra combatant is running toward the fight but hasn't gotten there yet. It could be reloading a weapon. It could be clutching their side in shock and wheezing. They don't need to be Selecting A Combat Action, but fight scenes become incoherent when you lose track of who's doing what. When you forget about Goon #3 and then have him show up again doing something that doesn't remotely track with where you last left him. YOU DON'T EVEN HAVE TO INCLUDE THEM IN THE NARRATION if they're not important! If two seconds ago your protagonist kicked a guy off the dock, we can safely assume they'll spend at least the next several "combat rounds" climbing back out. But at any given moment, YOU should know where everyone is, what they're doing, and why.

But most importantly:

Anyone purporting to give The End-All Be-All Writing Advice is either delusional or a scam. Yes, including or perhaps especially famous bestselling authors. What works for them won't necessarily work for you, and there are plenty of people who don't even like their work. You're never going to be whoever's advice you try to mimic. Write your stuff, not theirs.

Do you prefer urban fantasy or high fantasy?

Yes!

Genuinely though. They're both good and they both serve their respective narratives in some way. In general I'm more drawn to high fantasy, personally, but I'm never not going to be interested in a well-done urban fantasy.

Pedantic nitpick though, these things are not the opposites they are being portrayed as. I think what the question was GOING for was actually "low vs high fantasy" which is a completely separate concept. Words mean things! But also, I'm not an ass, and the intent was pretty clear.

(High Fantasy: This story is set in a completely separate world from ours, with no crossover into our known and lived reality. ANY completely separate world, regardless of technology level! STAR WARS IS HIGH FANTASY. This is not an opinion, this is a genre fact.

Low Fantasy: The story is set partially in our world or includes crossover or other intrinsic connections to a realistic world that follows the same rules and expectations of our world. Isekai and portal fantasies like Narnia fall into this category, as do hidden-world/veiled-magic fantasies like the Bad Wizard Lady Books, Percy Jackson, and Artemis Fowl; and also a lot of true-anthropomorphic fiction like Watership Down, Warriors, etc. Note that "low fantasy" does NOT mean "gritty" fantasy or fantasy that focuses on the lower classes instead of nobles, nor does it mean a low-magic pseudo-medieval setting

Urban Fantasy: A story with fantasy tropes and themes that takes place in an urban setting. Can be low or high fantasy!)

What is the worst thing you've ever created?

Okay so this one time in high school me and my best friend Sam were trying to make lemon bars at his house and to this day we do NOT know what the hell ingredient we neglected to add to the lemon bars

but given the state of the results, there is a non-zero chance that the ingredient we forgot was flour.

[howtofightwrite]

this scenario happened on Twenty-Four and they didnt really account for the long term damage -evelynmlewis

"No long term consequences" could have been the tagline for 24. I mean, we are talking about the show where terrorists detonated a nuclear weapon in Los Angeles, and a few hours later people were going about their daily lives like nothing had happened. But, I think I remember what you're talking about, and it was a small symptom of a much larger problem.

Two important caveats: I haven't watched season 3 in roughly 20 years, so I might be slightly misremembering when things happen. Second, IMDB's trivia page doesn't have any mentions of what I'm about to say, so it's entirely possible this was a fiction cooked up by someone on TV Tropes.

The short version was that Chase (James Badge Dale) was captured and was being tortured by a Mexican cartel. (Because no synopsis of 24 is complete without gratuitous torture sequences.) And, at one point, one of the cartel members shoots him through the hand. The problem is that Chase was originally planned to be killed off right at the beginning of the next episode.

However, going into season 3, the show runners had, supposedly, gotten into a bad habit of watching fansites, and started tweaking things on the fly, when fans accurately predicted the outcomes of upcoming plot twists. This included keeping Chase alive, when the original plan was to kill him off, and also killing off Chappelle (Paul Schulze), later in the season.

So, I mentioned that the plans for Chase's execution being changed are a bit dubious, that's not true with Chappelle, and there's a couple major things to pick up on here. First is that we have confirmation from Paul Schulze that the original plan was to fake his character's death. (This came out of an interview Schulze did, though I'm not sure with whom.) The second is a production cue from the way the show was produced. By season 3, the show was being shot in two episode blocks, (so, for example, Day 3: 1:00 p.m. – Day 3: 2:00 p.m., and Day 3: 2:00 p.m. – Day 3: 3:00 p.m. were shot at the same time. Also, yeah, the official episode titles are a bit unwieldy.) In the case of Chappelle's death, it came at right before 7am (which would have been part of the shooting block for 5am to 7am.) However, Chase's death would have been right after 9pm. (Which would have been part of the 9pm to 11pm block.) This would mean that the production would have needed to bring James Badge Dale back in for what would have amounted to a glorified cameo, if they were originally planning to kill off his character. Once you're aware of the way that episodes were shot, the pacing of the series gets a lot more predictable. Significant characters (even short term ones) tend to get introduced in the front half of a block, and killed off in the back half. Not necessarily the same block, but the structure tends to hold up. Especially when the show plays with the idea of someone dying during the episode cliffhanger.)

So, where am I going with this? Don't mess with your story to keep your audience off-balance. Your first concern is keeping your story coherent, if members of your audience manage to accurately predict what you're doing, good. They're invested enough in the story that you're telling to care about what you're going to do next. These are the last people you want to mess with. And if their prediction is correct, when it does play out, that's a reward for them.

Don't follow the example of 24(especially in season 3), where the overarching plot degenerates into an incoherent mess, because it keeps getting revised, on the fly, to keep things surprising. A well written thriller shouldn't be predictable, but it should have internal consistency so when the unexpected happens, it makes sense. A second viewing (or reading) of a thriller, should provide more satisfaction, as you can now see all the pieces getting dropped into place, long before they pay off. But, again, when you're writing in a serial format, if you start flipping things around to keep ahead of what your audience is predicting, that will ruin the cohesion of your story. (And, it's why I haven't watched Season 3 since shortly after it released on DVD. When I did go back and rewatch the first two years of the show.) While it's a bit uneven, it is something the first season of 24handled remarkably well, especially in comparison to what came later.

There's a couple advantages to writing in a serialized format. If you're unfamiliar with the term, serialized fiction refers when a piece of fiction is released in multiple parts over time. This is somewhat distinct from episodic series and metaplots. Episodic series tell multiple self contained stories, while metaplots refer to an overarching storyline that hooks into episodic stories granting them a larger context. Serials are smaller parts of a larger whole. The individual pieces (or, in the case of television, the episodes) are segmented portions of a larger story. Now, I said there are advantages to serialized writing, but almost all of those come with some significant perils, that if you're wanting to

The first advantage is you don't have to have the work completed before you start putting it out there. If you have a completed chapter, you can simply post it out there for the world to see. The peril is that you can't (really) go back and change it. You're committed to the previously released material. Even if you go back and revise the earlier work, you'll have a significant portion of your audience who don't want to go back and reread chapter 3, because you cleaned up the dialog, and also closed a plot hole that would emerge years later.

The second advantage is that serials can easily deliver much larger stories than you could offer in another format. For example, each season of 24 tells a single twenty-four hour story (actually, about 18 hours, once you account for commercial breaks.) Just putting that scope in front of someone is kind of wild. The peril is that serialized stories can easily spiral out of control. For example, nearly every webcomic ever, with an ongoing plot. This can result in some insane bloat. So you can either accept the content in medias res, or you can be looking at an unpleasant amount of homework. Whatever praise 24 deserves, the show asks you for an entire day of your life to watch a single story. When put in those terms, frankly, it's not that good.

The third advantage is that you can adjust your later work to better fit what your audience responds well to. If your fans like something you're doing, you can expand that part of your story. This time, there's multiple perils. First, you can easily lose track of how your original plan fit together. This is less of an issue if you're running with a fairly loose outline, but the better scripted your original plan, the more this can inadvertently screw you over. And, as I mentioned above, with the first peril, you can easily trap yourself. For an example I'm not completely conversant in, this might be what's delayed the final Game of Thrones book, as Martin may have accidentally killed off a character he needed, and now he's spent years working out a Plan B. The second peril is a little simpler, sometimes fans are reacting to what you didn't say, rather than what you did. Peripheral characters or concepts can prove to be fan favorites because the hints you provided along the way were more enticing than the full background you had in mind. This is a very subjective risk, because ultimately, it is more about accurately gauging what your audience reacted to rather than what they said they reacted to. That's a tricky one to split.

The fourth advantage to serialized writing is, almost, more a peril disguised as an advantage: You don't have to know how this will end, when you start. You can go on the same journey as your reader. The real advantage is that it can make the story more approachable. If you look at the idea of writing an entire novel, and the scope of that scares you, then smaller serialized novellas are a lot less threatening. However, this also means you don't have a plan to finish this. Much your characters, you're going to need to figure it out on your feet. If that sounds like a fun challenge, then that's absolutely something to drop into the “Pros” column. The downside is, I've seen professionals screw this up, and worse, get it past their editor. (In this case, I'm thinking specifically of Transmetropolitan. If you know, you know; if you don't, it's a massive spoiler for the end of the series.)

I will say, on this last peril, having good documentation, and a good project bible can save your ass. Don't trust your memory to keep all the (figurative) plates spinning. Take notes on what you're doing in another document, so that in the future you'll have easy reference to try to avoid accidentally creating temporal paradoxes as you try to sketch out your conclusion.

Also, yeah, if you're going to shoot someone in the hand, even if it's with a .22, don't change your mind about killing them 20 minutes later. James Badge Dale was cool, but, dude had nothing to do but chew scenery for fifteen hours.

-Starke

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[descendant-of-truth]

The data characters in Coded are endlessly fascinating to me because like... they're so much like the originals. But everything is shifted just enough to the left that they feel different, and a little off if you think about it long enough.

Probably the main thing that stands out is that they all start out with different "base memories" from each other, if you will. The only thing Data Sora knows is that he grew up on the islands with his friends, but Data Riku has an encyclopedic knowledge of everything that happened in KH1. Data Namine knows what happened in CoM, and Data Roxas remembers up to the end of the KH2 prologue.

None of them are caught up to the present. The events of KH2 don't exist to them, because those events are written in a different journal.

But you can't even say that Data Sora is "just" Sora from before he started his journey, because almost as soon as the game starts, there's something wrong with that picture.

It's a little hard to explain, but Sora seems... remarkably unconcerned with his surroundings. He accepts whatever Mickey tells him without a second thought, even if he admits (still much too casually) that he doesn't understand what's going on.

(Not to mention that the giant, eye-catching blocks around him are things he doesn't even acknowledge until prompted by Mickey to "look for anything odd.")

But probably the biggest difference between the two Soras when they're starting out is that the journey isn't personal for Data Sora. He doesn't dwell on the islands being lost, and more importantly, he isn't looking for his friends. He doesn't even think about his friends. The first time Riku's name comes out of his mouth is when he literally shows up in front of him.

The early parts of Coded really make the "data" part of Data Sora apparent, I think. He's kind and brave like Sora, he has his mannerisms down, but he feels a bit hollow. There's nothing that's really important to him yet; he just goes along with things as they happen to him.

And then he loses the Keyblade and Riku at the same time, which is the first event to prompt genuine distress from him that he doesn't quickly bounce back from.

This is when Data Sora goes from a passive protagonist to more of an active one - something that the original Sora was from the start. He finally disobeys a request from Mickey, going to Hollow Bastion by himself in order to save Riku.

It's only there that he finally starts to process what having friends means, though, courtesy of Donald and Goofy's guidance... which the original Sora had ever since Traverse Town, by the way. Mickey wasn't a bad mentor to Data Sora, necessarily, but he was a lot more objective-focused, and thus didn't do a lot to help foster a deeper understanding of certain things in him.

Another thing I find interesting - the original Sora lost his Keyblade before going through Hollow Bastion, too, but the way they each get them back is different. Sora makes a rousing speech about how his friends are his power, and his conviction in that summons it back:

While Data Sora summons his back in a moment of fear, and a desire to protect his friends from being crushed:

He even fights a possessed Riku like Sora did, but the dynamic between them is much different on both ends. Originally, Sora was really fed up with Riku, and didn't know the full extent that he was being manipulated. (Also Riku stole the Keyblade and his friends by extension from him, so he's understandably kind of mad about that)

Meanwhile, Riku's villainous sass was on full display, mocking Sora for having a weak heart and saying he would get destroyed by the darkness. This was probably the worst terms they've been on with each other.

In Coded, there's no bad blood between them, and Data Sora knows exactly how much Riku isn't acting of his own accord. So his tone becomes one of unambiguous concern, while Riku wants so much to not fight Sora that he asks to be destroyed instead.

And because Ansem just... doesn't seem to exist in the datascape, Sora is able to bring Riku back with him much faster than the original could, so the motivation that made CoM and KH2 possible in the first place is gone entirely.

Data Sora's journey leads him to the same places as Sora's, and the story beats are similar, but his experiences are unmistakably different. Which is what makes the way Data Riku talks about things especially fascinating.

He makes a lot of references to the original events of KH1, and talks like he and Data Sora are inextricable from it. "I always seem to give in," "you once turned into a Heartless," "you would have saved us." He never completely separates the events of the datascape from those in the real world, treating Riku's failings as his own, saying that Data Sora lost his heart and doesn't remember it.

Data Roxas and Namine are the same way - it's actually Sora who's the odd one out, who doesn't give his original a second thought most of the time. It's only when other people attribute Sora's experiences to him that he, somewhat mistakenly, adopts that information into his worldview.

(No, Sora, that's not your Heartless. No, you weren't on a journey to find Riku and Kairi. That was a different guy. You don't even know Kairi for some reason. Add him to the list of people that live in Sora's shadow along with Roxas and Xion)

I don't know what the conclusion is here exactly, just that there's something about the way the data characters are so different but similar at the same time to the people they're based on that's really engaging to me.

I mean, one of Sora's biggest fears seems to be turning into someone else, or just being a copy of another person, as we saw in DDD. Data Sora is a Sora who's a copy, and he's kind of just... fine with that. He's content with what he has. Even when his memories are a complete mess by the end of the game, he accepts the situation as it is and keeps moving forward.

Anyway I could keep going but for now I'll leave it at "and that's why the data characters should show up again in future games"

[coraniaid]

The other thing Gingerbread and Helpless have in common, of course, is that they're both about Buffy's parental figures: her mother Joyce and her sort-of father figure Giles. More specifically, they're about her lingering insecurities regarding these parental figures: the fear that Joyce will violently reject her having found out that she's the Slayer, the idea that Giles only cares about to the extent that she is the Slayer and isn't interested in her as a person at all.

I've complained before about how differently the fandom treats these two characters, so I won't repeat that argument here, but I think it's fair to say that I don't think either Joyce or Giles are acting particularly in character in their respective episodes (Joyce is explicitly being influenced by a demon for at least part of her episode, and while the show doesn't give Giles the same excuse it kind of stretches belief to imagine that the Watcher of Prophecy Girl or Innocence or Lie To Me or Dead Man's Party knew about the upcoming Cruciamentum or would go along with Travers' plans for as long as he does).

There is also essentially no follow-up on what either Joyce or Giles does. While both episodes do have long-term ramifications (Amy's transformation into a rat will be a recurring subplot for years, as will the much more hostile relationship Buffy has with the Watcher's Council after Helpless), they do not meaningful change how Buffy relates to either her mother or her (now technically ex-)Watcher. Gingerbread doesn't even bother to address the issue of whether Joyce remembers trying to kill her daughter (although it at least hints that she doesn't, by telling us that Willow's mother has forgotten). And the one time the Cruciamentum is brought up again (in Season 5's Checkpoint), Buffy will act as if it was something that Watchers others than Giles did to her. This is because (at the risk of stating the obvious), Buffy the show is not really about Buffy's mother or her Watcher except insofar as they relate to Buffy herself.

That's why I think it's more interesting to think about these episodes as not telling us new things about Joyce or Giles (and things which, if we took literally, would largely suggest Buffy is better off without either one of them) but as telling as things about Buffy herself. Not necessarily new things, of course. Buffy was afraid of her mom finding out she was a Slayer for two seasons, and it's safe to say that Joyce hasn't really done a great job of dealing with it to date (her talk of "marching in the Slayer Pride parade" notwithstanding). Meanwhile Giles spent most of the first season not just ignoring Buffy's personal life but -- between his reaction to her trying out for the cheerleading squad in Witch and her attempts to go on a date with Owen Thurman in Never Kill A Boy On The First Date -- actively telling he she couldn't have one. But in these episodes the fears become a bit more literal.

I think we actually get a much more representative idea of what Joyce as Giles are `really' like (to the extent that means anything, of course) by considering them in each other's episode: looking at Giles in Gingerbread and Joyce in Helpless. The Giles of Gingerbread is hardly indifferent to Buffy's wellbeing or uninvolved with her personal life (witness his post-Band Candy awkwardness around Joyce, for example). Similarly the Joyce of Helpless seems quite proud of Buffy's slaying ("oh, she was very clever") and, far from trying to hurt her, is abducted by Kralik exactly because her first instinct on seeing somebody she thinks is Buffy lying injured outside is to run out to help her.

So, to me, the point of these two episodes is less that Joyce is a bad mother or that Giles is an inadequate father figure, but more that Buffy herself has these very real fears that her competing parental influences will find her to be not good enough. Not normal enough a daughter for her mom, who very openly still wants her to have the sort of life that Buffy's already decided is all but impossible for her, and not dedicated enough a Slayer for her Watcher, who only a few episodes ago accused her of having no respect for him or the role he carries out.

And this is, perhaps, another reason why the episodes work without Faith in them. A key part of Faith's characterisation is that she is intensely jealous of these parts of Buffy's life ("You get the Watcher, you get the Mom," she'll complain later this season, "[...] and what do I get?").

Maybe Faith wouldn't be quite so jealous if she'd been around the time Joyce led a mob of angry parents to try and burn Buffy at the stake. Or if Buffy ever told her that Giles was secretly drugging her so that she wouldn't be able to defend herself from a vampire he was going to send her to fight. That stuff makes the way Gwendolyn Post treated her look ... well, okay, what Mrs Post did to Faith still looks pretty bad.

[dropintomanga]

AI Can't Be the Whole Solution for Manga

So this week I found out out a Japanese start-up called Orange, who wants to be the Netflix of manga by translating a lot of manga with new apps and tools for the world to fight against online piracy. And to do so, the company will use AI to machine translate all of their manga into English. They also received $20 million USD in funding (one of their investors is Shogakukan) for their goal. This company wants to release up to 500 titles a month at some point.

I honestly don't know how to feel about this.

I read a more in-depth report from Deb Aoki of ComicsBeat and Mangasplaining about this whole startup. There's a lot of tout given by Orange about how this will help the manga industry overseas. Terms like deep learning, accessible content, influencers, reducing cost of localization, etc. are thrown around. Orange already has done some work for Shueisha for some of its MangaPlus titles. While it's apparent that the North American market only gets a small fraction of the manga published in Japan, there's concerns over whether this endeavor will end well.

A good number of manga translators and editors in the North American localization scene have commented on how bad this can be. AI machine translation is far from perfect. While DeepL (a Japanese language translation app similar to Google Translate) is arguably better than Google Translate, there's still errors abound. AI machine translation doesn't seem to be at a stage where you can just show it off to the world and have it translate something like a research paper with context. And even if the translation was good, there still needs to be people to fix errors AI will miss and the jobs to fix those errors don't necessarily pay well since they're the equivalent of "data entry" jobs.

And speaking as someone who reads up on mental health news, AI is not good for picking up nuances and differences that can help people for the better. It's only good for standardizing universal treatments. AI can not be open to the vulnerabilities of other people. One recent story I read last year was about a eating disorder helpline that created a chatbot to help those with eating disorders and how it bombed. There were complaints about how the bot didn't address patients' concerns that they were feeling down or bad about their bodies. Even worse, the chatbot gave some horrible advice by telling people to follow behaviors that led to their eating disorders in the first place. The support staff was fired in favor of the chatbot and while the chatbot was taken down after the complaints, it still left a bad taste in my mouth because mental health problems can never be solved without the human element.

I see this with what's apparently going to happen with manga. I don't see this creating a better world for manga readers. I'm well aware that there are a few professional manga translators in the scene who aren't doing a good job, but I feel they're doing fine for the most part. There's a glaring issue though that most people aren't thinking about - the amount of content we have out there.

We're in a golden age of having so much catered to us that it's ridiculous. Anime, manga, webtoons, video games, board games, music, etc. There's a lot out there. And to have a Japanese startup proclaim that they want to put out up to 500 titles a month, who realistically has the time to read all of them? I wonder if that's the point of these ventures - beat down consumers with so much material to consume that they become apathetic to what's going on behind the scenes.

I do want people to read manga, but I don't want them to become so overwhelmed to the point of burnout and numbness. That's the last thing any manga fan should want. I'm already hearing complaints from my fellow manga peers about the amount of manga we're getting here. It's nice to see bookshelves and libraries filled with manga, but which titles are really being read?

I also think there seems to be no universal standard that EVERYONE can agree with regards to localization. You have the professional side that knows a lot due to being inside the industry, but can be hindered by the Japanese publishing side and pestered by fans who think they know better. And you have the fan side that thinks they know everything because of scanlations and miscellaneous fan translations.

If you're a professional, it's a rough job and I applaud all manga freelancers who do it. Sometimes, I may not agree with the localization choices. But I'm not going to raise a pitchfork and treat them like they're witches. I know a few of those folks in-person and see the human in them.

If you're a fan, you can't expect a very casual reader to understand Japanese terms being spoken out right off the bat. It takes a while to get used to those terms. I'll use myself as an example as a riichi mahjong player. I throw out terms like suji, kabe, mentanpin, ryanmen, etc. to my fellow players. However, if there's an absolute beginner I'm talking to, they will have no idea what the hell I'm talking about.

I know some fans are like "Whatever, understanding those terms make me stand out. Yeah, I'm different! Screw the normal world!" But that makes it sound like gatekeeping to a certain degree. It's fine to have that kind of knowledge, but binding it to the very fabric of your identity is not healthy when circumstances change.

Orange seems to want a universal standard for manga translation by incorporating a variety of people into their process, but the fact that people will only be involved AFTER the translation makes me skeptical and the company is being called out for some things on their website. Both professionals and consumers will be screwed here. AI is being pushed so hard by corporations because it can readily applied to real life jobs and regular people in many ways, compared to cryptocurrency/NFTs, which applies only to people with a crap ton of money to spend. I've seen instances of AI usage at the company I work at - some of it good, some of it bad.

But nothing will beat the will and heart of the people. I think that's what scares AI-promoting people. Turning us into total mindless consumers prevents us from being mindful people that want to do right by others. Sure, reading manga makes me happy. But I don't want to be the only one who's happy. I also want people to make informed choices about what to consume.

I also want some people to stop assuming that Japan is the most "anti-woke" country alive out of their rage against localization because it's totally not. Japan has problems and there's people living there speaking out against them. They're "woke" in their own way. I swear that almost everyone who thinks Japan is better than the West hasn't lived there at all and are basing things from a very filtered point of view. I actually feel sorry for them because their lives are just so focused on consuming without thinking for themselves - a perfect market for the AI-pushing crowd.

I'll finish by saying that this AI-powered manga translation venture needs to happen with the right kind of people already on the table through the whole process and where everyone benefits. Everything bad with AI, as far as I've seen, has left people behind with no compassion or empathy. Manga has taught the wonders of compassion and empathy for all and I don't see the Japanese business side of things preaching what their works speak.