#and no focus in the narrative?

[reel-fear]

Actually wait I'm not done why does the fandom always jump to giving Male Characters Super Sad Backstories to explore in fics, videos, etc That canon never even hints to while BA who actually has a tragic backstory never gets explored. Like what if I start saying BA comes from a broken household and her neglectful family was another reason why shes so hostile and struggles to take help. What if I dont wanna give Wasp or Sentinel super sad backstories to make their actions seem more sympathetic,, what if I make their backstories being rich entitled assholes who think they're better than everyone else bc thats what we see manifest in canon. What then?

[juniemunie]

[Abandoned by the Lightners, his heart became cracked with hatred.]

Hitting a lil' too close to home?

[teenietinytangerine]

[evilios]

I keep thinking of potential for "good dad Zeus" stories but for Olympians when they're younger/coming into power and they're making me very, very sentimental.

You're young Artemis and you're your father's daughter. You come to him first when you're upset or hurt because, intimidating as he is to many, he always holds you close, laughs fondly, and makes your distress easier to bear. You know that whoever hurt you will not sleep at night and your wounds will heal.

You're young Apollo and you're your mother's child but your father's favorite son. You and him share understanding looks that no one else comprehends. When you wake up from your first prophecy, you are terrified and confused, but you feel a steady, big, warm hand under yours and it's alright. He teaches you the art of fate. You know his mind like no other.

You're young Athena and you're your father's delight. He always finds newer and newer ways to engage your rapidly thinking mind, and he chuckles fondly at your theories. "You would be a mighty king, my child," he tells you and you know it is the highest praise though you don't delight in calls of power. You watch competitions and games standing by his side. You are, still, his greatest pride.

You're young Hermes and you always make your father laugh. He tells you stories of your mother, all scented with strawberry tree fruits and wild flowers, and you wonder how big a man's heart is to store so many loves. He chides you a little for your constant pranks but you can tell that he loves you from the little glint in his eyes. He always sits you close during banquets and listens to your stories even if they're made up.

You're young Dionysus and your father finds you perplexing. He might not understand you as well as his other children, but you watch him from afar and get him, somewhat. The grab for power and the need to keep it, the desire to make others bow to your might: you've felt it since you were much younger. Always a demanding son, always a ruthless little leopard. He'd pick you up and look at you in wonder, "you are so much like me".

You're young Ares and your father does not understand you as well because you're your mother's child. You are not as close to him as others are but that's how you are with most of your family. Deep down, he relates to you - he was much like you when he was young: taking what he's owed. As you grow older, you realize you've become the same great father he is, following in his steps.

[starbuck]

the thing is, i love The Narrative, but i also absolutely adore a truly character-focused tragedy where everyone’s downfall is caused not by larger narrative forces, but by hundreds of tiny decisions made by characters who, despite their best efforts, just suck.

[qiu-yan]

MDZS and asshole victims: thoughts on the second siege of the burial mounds scene

this post is not about morality judgments. this post is about reader sympathies only.

one rather clever rhetorical trick MDZS employs is putting all the more background "surviving victims of wei wuxian's actions" into one big angry mob at the second siege of the burial mounds, instead of letting them crop up anywhere else in the story. it's easy for a first-time reader to write off the guy who lost a leg at nightless city, or the guy whose parents died at nightless city, because both of those guys are being dicks. they're part of an angry mob baying for wei wuxian's blood--unfairly baying for wei wuxian's blood, because this time he didn't even do the thing they're saying he did. by putting these two victims into a mob of not just fellow victims but also unaffected individuals (ie. sect leader yao, who just showed up for kicks), the story can effectively equate these victims' grievances (ie. "you killed my parents") with unreasonable mob rule--even if these two things might not actually be equivalent.

the effect of this rhetorical trick, then, is that the reader can at once perceive the themes about mob mentality MXTX wishes to convey, and also effectively write off the victims' complaints. "yes, i did that to you, but i literally died already, what more do you want me to do? shall i walk on my knees repenting?" becomes easier for the reader to accept. and more importantly--wei wuxian's likability as a moral and just protagonist is not impacted.

ngl tho. it would be a bit more difficult for the reader to write off these victims' complaints if, instead of meeting said victims in an angry mob, the reader instead met these victims almost anywhere else. imagine if, instead of meeting mr. "you killed my parents" at the second siege of the burial mounds, we instead met him getting smashed at the local bar and crying about how his parents are dead. imagine if, instead of meeting mr. "you chopped off my leg" as a member of an angry mob, we instead met him begging for alms on the side of the road because his disability rendered him unable to work in a wuxia-esque setting. or imagine--if either of these background characters, overcome with survivor's guilt and trauma from nightless city, hung himself in his bedroom, and the next day his body was discovered by his 15-year-old daughter.

all of these scenarios are entirely plausible. you could easily include any of them into the story without changing the main plot at all. but suddenly shit just got a lot more depressing.

however, no such scene would ever be included in MDZS. the reason is that, as a work of fiction, MDZS's single most ardent goal is for us the readers to conclude not just that "we like wei wuxian as a character," but also that "wei wuxian is ultimately a morally righteous person." when the narrative focus shifts onto the people who were actually helped by wei wuxian's actions (mianmian and her family, lan sizhui, the few months of dignity the wen remnants were afforded) this becomes much easier for us to conclude; wei wuxian does indeed look like a hero. but the more narrative focus is given to the negative impacts of wei wuxian's actions--the more the "victims of wei wuxian" (whether actual victims or not) are given a face, instead of abstracted away by broad summaries--the more the reader might side-eye wei wuxian instead. every new victim given a name, given narrative attention that isn't just focused on making them look like an asshole, arouses the reader's sympathies in the opposite direction--and thus increases the risk that the reader might ultimately disagree with the novel's conclusion of "wei wuxian is a righteous person."

tbh, this does not seem like a risk MXTX particularly wants to take. instead, she's mastered the art of writing Asshole Victims.

which is an entirely valid writing decision, because imo basically every work of genre fiction out there does this to some extent.

[drenched-in-sunlight]

(spoilers about DLC final boss)

i don't have enough energy to make a detailed case on this but

has any of Miquella's defenders found out about the proof in the base game that indicates Radahn was leading him on yet...

we found this at the Haligtree.

we know Radahn looks up to Godfrey and Radagon a lot and want to be like them, it makes sense he’d jump at a chance to be a Lord for a New God. i think he’s not above leading on a young Miquella instead of putting an end to a childish crush, even went so far as establishing a vow with him. But Radahn got cold feet later when Miquella was hell bent on going through with it as adult (stuck in a child body or not) & now he had to pay for his ambition.

i think that’s why they emphasize that Miquella made that wish in his youth. A traumatized & insecure child, losing faith in his parents’ Order & having to look his sister withered away, i think he would be very impressionable, especially around someone that strategically showcase his strength and honour like Radahn.

I think all this could have been avoided if Radahn, as the older brother, had just been firm & told him no.

[heybiji]

dande's dying btw

[grassoftunnel]

I Love You For Psychological Reasons: George and Shannon as a matching pair of gendered insecurities

let me start right off…this is NOT a shipping post (for MANY reasons..), and is not structured in any particular way its just half awake rambling but I feel like George and Shannon’s relationship is super compelling in terms of what they are looking for in each other, and how they define themselves using each other as props.

the title is from the song I Love You For Psychological Reasons by They Might Be Giants which is kind of a cute romantic song but i think can be applied to them as a sad and cynical song about their relationship. I’ve also just thrown lyrics from this song into the post not for anything deep really but bc it made me think of them. Like I said, this is just rambling but I’ve divided it roughly into 4 ways they’re similar:

1.

Hard to explain, but it's plain that I love you for psychological reasons

The root of their decisions to pursue each other have nothing to do initially with an actual interest in the other on their own merits. For George, he was driven by wanting to make Shannon turn away from Battler and look at him that way instead, and for Shannon, george was her way to settle/move on from the heartbreak of Battler.

2.

Lately, I've taken to vacantly making repetitive movements. Mistakenly seen as improvements

They are both deeply insecure about their abilities to fulfil certain gendered expectations, and both seeing each other as pathways to successfully performing those gendered expectations. For George, he was bullied so much and unable to be “strong” and “assertive” or even defend himself, and feels like he’s not a real man because of it. For Shannon, she has her hangups about her androgynous appearance first, and then her intersex body later. See also, their awkward, and at times uncomfortable/forced miming of their ideas of how a man and a woman in a relationship “ought” to act. For George, this can sometimes veer into really uncomfortable ordering around of Shannon…and as for Shannon herself…she learns to react in specific ways to his artificial negging. Both are trying to follow the “script” for how George thinks these types of couple interactions should go/what he thinks Shannon wants based on his distorted perceptions of her past relationship with Battler.

They are both also well aware of the inexperience of the other in relationship matters, so they are able to kind of do a training-wheels version of an actual relationship (most notable with George, but for Shannon like as much as she eventually slowly grows to like George…kind of…any boy who was nice/showed interest would have done the job).

Nearing perfection but wisely electing To shun my reflection, preferring instead shoe inspection

Even then, they’re both twice shy due to their own neuroses so their relationship kind of stalls until George resolves to marry her.

3.

They are also both desperately wanting to leave their old/current self behind, in favour of remaking themselves in order to reach a certain type of future, even at great personal cost. For George, this is his desire to go all out in marrying Shannon, even to the point of throwing away his family if he needs to.

Under the table, unwilling, unable, the torture's medieval The dream is a fable with feeble wings

For Shannon this is her murder-suicide bomb plot deathwish that will wipe away all traces of the truth of her cage of flesh (of the body which makes her “unable to love” in a physical sense..and also a genetic one..since it taints the romantic relationships that were so important for her with incest) ,and make real the possibility of her relationship with George being a True, Uncomplicated Love. They differ greatly though in what this commitment to this relationship means emotionally….for George it’s triumphant but for Shannon, while also triumphant in a way…it’s a bittersweet death march.

Why does the mouse share the house with the louse? They won't say, but they feel their feelings

It’s also worth noting that both of them see the other as “above” themself, and as attaching themself onto someone better in order to improve themself (regardless of whatever the actual reality of their class and age difference is…)

4.

I'm ashamed to admit I'm afraid of assuming the blame For my lame abnegation of braveness and fame Brain in a jar in a car in reverse, I'm rehearsing the way I'll replay how to say how to be where you are

In pursuing this relationship, they both want to prove to themselves that they are capable of achieving these things that they’ve wanted for so long (performing their gender, remaking themselves). They are both constantly trying to plot out their future and like do a “good job” of hitting milestones in their relationship rather than being carried naturally from one stage to another.

Anyway I have no way to wrap this up lmfaoo this is just my loose thoughts! These two are really interesting! Their weird falsely-mutualistic relationship where theyre simultaneously both getting something but also not really getting something of actual substance since its all performance. The selves they present to each other within the context of the relationship are curated specifically to exist in the relationship. And of course this relationship “succeeding” crystallises Sayo’s resolve to undertake the murder suicide…the win condition for both of them is so drastically different haha…

[lotus-pear]

FIGHTING the urge to draw shuake so i can study for my ap stats test but i cant concentrate on fucking linear regression with them constantly haunting my brain

[casscainmainly]

Small question, does it have to be Gotham for Cass? There's charas like Dick that can go establish their identity in a different city. Then there's Bruce, Steph, Jason and Duke who are so intrinsically tied to Gotham that this has to be the city for them. Where does Cass lie on this spectrum? Tq!

EXCELLENT question. I think Cass' situation is somewhat unique because of the way her character was handled post-Batgirl (2000).

In favour of Cass not staying in Gotham, she doesn't have the same emotional connection to Gotham as the four people you listed. She wasn't raised there, and in Batgirl (2000), she has next to no ties to Gotham civilians. In fact, it's when she moves to Bludhaven in Gabrych's run that she gains her first civilian friend and civilian love interest. The iconic volving panel is from Bludhaven, too. It's undeniable that the distance from Gotham, from Bruce (and arguably Babs), helps her grow:

Batgirl (2000) #71

It can't be overstated how important ownership is to Cass. To own something means, necessarily, that you not an object. You are a person who something belongs to, and who belongs to something. By calling Bludhaven the "first place that's ever been... mine," she's explicitly saying that Gotham was not hers. Bludhaven was the first place that made her feel fully human.

But there are caveats to this. Cass goes to Bludhaven in the wake of Stephanie's death, a Gothamite through and through. It's probable that Steph's death colours her view of Gotham here, and her willingness to embrace Bludhaven is in response to the pain that Gotham now brings her. (This is also after Babs calls Cass stupid). Feeling like Gotham doesn't belong to her might stem from these specific circumstances, and not be applicable in current canon.

Still, if the story had ended there, I'd say Cass doesn't need to stay in Gotham. Unfortunately, it doesn't.

Red Robin (2009) #17

After Bruce's death, Cass goes to Hong Kong. Well, 'goes' is putting it nicely. She was written off to make Steph Batgirl, which resulted in Cass a) not appearing in most comics, b) being stripped of the bat symbol, and c) being isolated from everyone she cares about, besides Tim. It's a horrific and undeserved fate, reversing everything Cass' story once stood for (narrative agency; becoming a hero; finding a family).

Though Cass regains the symbol and becomes the Bat of Hong Kong, she is no longer part of the narrative; her distance from Gotham became a representation of her distance from narrative importance. That's the real danger of Cass leaving Gotham - unlike Dick, who is a big enough character to be guaranteed solos in Blud, Cass leaving Gotham will forever hold the threat of erasure.

I'm discussing this in a meta-textual sense, but textually Cass knows the danger too.

Gates of Gotham #5

Here, Cass rebuffs Dick's assertion that Gotham will never keep either of them because they don't belong. She says, "It's about how you choose to see the world. Everything else is just an excuse." She's repudiating multiple things: editorial's decision to boot her from Gotham; Bruce's decision to take Batgirl away; even, somewhat, Dick's ascension to the Bat mantle when she wasn't given a chance.

This is ultimately why, though Cass could work elsewhere, I think she should work in Gotham. It's the place she ran to after David Cain, the place she chose to stay in, and the place that gave her Batgirl. Most importantly, it's the place that rejected her. It's not about Gotham itself - It's about how she was ejected from it, and how she fought her way back, over and over again. Cass staying in Gotham ensures history doesn't repeat itself. It rewards Cass fans who survived OYL, Batman Inc, and New 52 with the light at the end of the tunnel.

This is just my opinion! I do love her stint in Bludhaven, so I understand other people preferring her elsewhere. Just for me, she may not belong to Gotham in the way Bruce, Steph, Duke, Jay, or Babs does, but she deserves to be there.

[captainofthetidesbreath]

To expand on a prior post I've made, it is really fun and it makes a lot of sense and it feels ultimately natural that Spahr is here at the end, in this last confrontation with Weepe, because he and Weepe are rivals. They're, almost unexpectedly, foils.

They're arrogant men who allow and enable awful things to happen to others to protect and increase their social standing. They hurt the people they care about most for self-serving reasons—but in the end, only one of them takes responsibility for that. (Trustfall and Ghosts are inverse parallels, and this post discusses a portion that is most relevant here.) Weepe increasingly identifies with the Trust as Spahr is increasingly disillusioned with it, and Weepe rises to power at the same rate that Spahr falls into disgrace. Just as Weepe is convinced that he will always be an awful person and fatalistically believes he cannot ever do better, Spahr has been convinced he has a self-evident righteousness but eventually sees that not only does he not, but he can and must do better.

Beyond that, they're narratively tied together. Weepe is in the Highest Light because Spahr agrees to bring him. Spahr helps Imelda lock Weepe in the Arca, and he does it in part for smug satisfaction because of his personal dislike for Weepe. He wronged Weepe by participating in engineering the circumstances that led to his torture and by failing to intervene against it out of fear for himself, and the fact that he wronged Weepe is something that Spahr is explicitly aware of and is something that weighs heavily on his conscience. It is through the Arca that Spahr traces Weepe's ascension to Tripotentiary as a direct result of his actions; he believes that he failed to stop, or even facilitated, Weepe's rise and everything that results from it.

For much of the narrative, they're racing to the same goal, even sometimes without knowing. Spahr is on Midst specifically to find the Breach centerpoint, and Weepe identifies it as the cabaret and turns it over to the Trust before Spahr has any chance to start looking. Weepe pulls the Fuze-Loxlee investigation out from underneath Spahr when he convinces Sherman to name Fuze's murderer, ultimately succeeding where Spahr fails. He takes the information to the Upper Trust himself after Spahr was removed from the investigation for, simplistically, lack of progress. Sherman chooses to trust Weepe over Spahr, and Weepe wipes his debt before Spahr can.

When Spahr is court-martialed, he is given the opportunity (read: pressured) into donating all Valor accrued during his tenure to his successor — and then that donation apparently goes to Weepe as part of a series of donations to help set him up as Most Valorous. The role of the Prime Consector gets folded under the new position of Tripotentiary, and without a Prime Consector appointed, Weepe is the sole direction that the Company has. Weepe even moves into the residence held by the Prime Consector, as we're often reminded that Spahr lived there before Weepe did. Weepe is Spahr's successor in all but literal title.

Spahr waits until Weepe repeats the order to bring Lark and Phineas to refuse. At the moment where Weepe is at his most elevated and Spahr at his most diminished, when they are such extreme ends in the hierarchy, it is to Weepe that Spahr says, finally, "No."

As Prime Consector, Spahr was ideologically (though not materially) the truest manifestation of Valor. A Consector's job is to hunt, to pursue those who have escaped the Trust and restore them to the Trust. At this point, Weepe is all that is left of the Trust, its only manifestation, and all he does now is hunt Lark and those who aid her, to rebalance and to restore what is felt lost.

As funny as it is that Spahr is here at the end as the only one who isn't a protagonist, it makes so much sense that he is here in the confrontation against Weepe. He has to be. They're foils to one another, one of their many. Their actions have deeply entangled themselves in one another's arc. Over the course of the story, very slowly, there's been a changing of places between Weepe and Spahr.

Of course Spahr is here too. He was a razor's edge from being the one bearing down on that cabin. He was very, terrifyingly close to being on Weepe's side of the door.

[quacaserous]

like john, i’ll be eternally

a forgotten name, some lost refrain

just “jane”, jane

doe

[windser]

feel free to surround my house with pitchforks BUT how do we feel about university!mc (non-hunter), living in the n109 zone but attending linkon city university. yes, living in linkon would be more convenient but rent is cheaper back in the n109 zone and she feels safer there? it's also where she grew up, so its not as off putting.

as a child, she was present during the cataclysm and since then the atmosphere outside of the zone always felt off to her, almost as if the further she got away from the deep tunnel the worst it got.

but of course, she's not too worried about that because she has four exams to study for and two paper to write.

her focus is just to graduate, yet four men seem determined to make their problems hers as well.

[scarapanna]

[WIP] Some more updates!!!

I've been quiet recently, but got a bunch of stuff in the works for y'all!!

I'm still working on those paper puppets for a little project regarding intertwined opposites (Possibly one of the most ambitious things I've ever worked on so far) and found a proper way to introduce that new au I'm working on!!

Here are two more paper puppets for the big pmv

And a few sneak peaks for the new au!!

(Doodles+notes alongside a silly little meme with a sprite edit of pewpaw)

I'm working on an info post for it, progress has been slow however since I wanna prioritize the pmv again (Started it on june, stagnated a long period, and went back to work on it. I'm dead set on finishing it this summer AND stubborn/silly).

[Personal reminder: Beetle stop starting wips when you're already busy/silly]

[kerryweaverlesbian]

What's your favourite *drumroll*...

Also which one do you pledge right now to include in some way in your next faneork that includes Sam. I hope it's gators.