#and the people criticizing the TERRIBLE ART are actually being insulted for ... questioning an ''art style''

[demeterdefence]

all the comments on the recent chapter saying how demeter has "changed" and "how much better she is" ... FOOLS. she was ALWAYS right she was ALWAYS good you were all just too weak and up persephone's ass to SEE IT. you do not DESERVE her now!!! you never did!!!

[evelina18-6-blog]

(this is so long, i am so sorry)

i understand why the artist was offended because your post made some pretty strong if not aggressive arguments, and i'm sure some assholes took the opportunity to send that person anon hate which probably made it feel more like a personal attack than it actually was, but i am honestly so sick and tired of people using their real life trauma as an excuse for every single thing. i may not have some deep, life altering trauma but i have my own issues and experiences and i too use fiction and art to cope but here we're not just talking about fiction and art, hell we're not talking about fiction at all. the ethics of shipping real life people are already questionable enough and i don't think there's a clear cut and dry answer but taking someone so repulsive, so downright dangerous, as Vargs and not only making cute artworks of him a if he's your casual anime boy, but also shipping him with a person who hated him, is inexcusable. just saying that you don't like or support Vargs is not enough when you have practically dedicated an entire account to making fanart of him. the Mayhem community is already messy enough and by doing that, they downplay what a piece of shit Vargs is and the pain he caused. (no matter how unintentional). also can we talk about Pelle for a moment? claiming to like him and pair him with such a horrible person? using him as a prop and completely ignoring his real life relationships and beliefs? how is that fair? people are already infantalizing him enough because of his mental illness and possible autism. how about realizing that Pelle is not a prop? that he was a person who deserves respect and that drawing him in the embrace of his friends murderer, is not being respectful to say the least? what about Oystein? no one seems to want to address were Olystein fits in this situation at all, why? was he not the person affected the most by Vargs? was he not his victim? putting his friend with his murderer feels like a huge fuck you to him. overall, painting someone in a positive light and later going 'lol im just kidding' is not good enough. Vargs (amongst others..) has spend the majority of his time insulting, belittling, even sexualizing Oystein, in an attempt to ruin his legacy and he has mostly succeeded because he's surrounded by cowards like himself who don't have the balls to stand up and speak the truth. the first thing people come across when researching Mayhem is the same bullshit about what a ''terrible'' person Oystein was and how he ''needed to be stopped''. this is the narrative Vargs has created and if you don't care enough to look deeper, you'll end up believing his lies and blaming a dead person. therefore such artwork, that completely rewrites the history and relationships of these people, can be very dangerous because it can actualy help Vargs into better selling his stupid narrative. i'm not saying that this particular artist is a bad person or that they're lying about their trauma or any bullshit like that, but art affects real life and the moment you post sth online you've opened yourself to criticism. do these Vargs/Pelle fics have more depth than initially presented? maybe. maybe they truly are a great psychological analysis of Vargs (although i don't understand why the hell you'd want to touch that with a ten-foot pole) but you can't blame people for not seeing that. whenever i see fanart of a ship, i don't sit wondering what the artist wants to say with their piece, i either like it bc i like the ship or i don't. if this is your copying mechanism, fine. can't criticize someone's copying mechanisms without sounding like an asshole i guess. but my advice is that maybe people need to take a better look at themselves and see how their interests affect others as well. you can do whatever in your own time but when you post it online it contributes to sth bigger whether you like it or not.

Don't worry about the length of your messages. I like that you elaborate. I agree with everything and thank you for your message. I honestly don't understand when this person says that she is NOT a fan of Varg, or that she doesn't like him and makes fun of him. I haven't seen anything mocking. I've only seen a great idealization of the young Varg, who was a horrible person, more violent than the current Varg. And a certain idealization of the "wonderful" intellect of the current Varg. I'm sorry to say that "the mockery" is poorly done. Like when you have to explain a joke, if no one understand it, it's because it's done poorly. About Pelle, I liked this: "claiming to like him and pair him with such a horrible person? using him as a prop and completely ignoring his real life relationships and beliefs?" Yes, that's why I said Pelle is not a ball that goes from here to there. I also agree that no one seems to think what's going on with Euro in this situation. In my case, it is almost the first thing that shocks me, it is a double offense towards him. That's why I wonder if there is something, deep down, against the Euro. Because romanticizing Varg SO MUCH, yes or yes, for me, brings with it some kind of sympathy for his ideologies, therefore, some kind of resentment towards Euro. When people attack Euro, they generally resort to two things: lies about the mistreatment of Pelle, and his political inclinations, painting him as an authoritarian extremist fanatic. And therefore, Varg as a person who was encouraged to go further and do "something that many would want to do." Varg is a failure who does not know how to value the only good thing in him, his musical talent. He did not know how to value the influence of Euro and the environment in which he found himself. Now he is a clown who needs to resort to ridiculing himself on the internet to stay current, so that his morbid followers consume him "as ironic consumption." It's an internet phenomenon. And he is free only because the Norwegian prison regime is very soft. I think he should be under psychiatric treatment because he can't stop being a bad influence, even on his children, or they should send him to hard labor, so that he can channel his anger through physical labor instead of the internet. Perhaps the girls who draw Varg romantically and the people who are big fans of him beyond his music do not specifically have his same ideologies, but they admire him in some way, and it is clear that his systematically offensive attitudes are not enough to stop them and scare them away I sincerely feel that they see him as a master. I see Varg as the typical cult leader, and I feel cringe at the adoration they profess of him. "i'm not saying that this particular artist is a bad person or that they're lying about their trauma or any bullshit like that, but art affects real life and the moment you post sth online you've opened yourself to criticism." What you said sums it up. I don't doubt that this girl could be harmless in real life, and that she has traumas and that her art and fanfics help her in her introspection. I fully believe her when she says it, but the debate does not end with whether something is therapeutic or not. It is up to her to choose what things to express her art on. She don't lack talent, why do you choose Varg? That's what's shocking, I mean, it's shocking that she brings Pelle into this and twists history to support her capricious ship and celebrate that more and more people join her ship. There you can see that she doesn't do it for herself, she wants more people to romanticize Varg and have the vision of Pelle that she has, which, in my opinion, is a bit humiliating and objectifying.

[aydaptic]

Hey there, lovely author!

this is a follow-up to my AO3 comment on Adapt and Endure [the WebComic], as well as a comment on the written original:

First of all, I am hugely impressed by your work and only write this because I felt like you might appreciate detailed feedback, but felt like the comment section on AO3 might really not be the place for concrit. So, if you rather would not have it, feel free to ignore everything under the dashed line: spoiler -- it's only tiny, tiny things. If you decide to skip: I hope you have a lovely day, and a good weekend :) ! Cheers, Arts

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WebComic: texture of bodies below neck in Ch 6 My only constructive criticism (as a complete, unskilled layperson!) is on Chapter 6, the bedroom scene -- I feel like the skin texturing below the neck of both characters' bodies is... slightly too smooth, making them look more oiled than just naked to me. it's probably only visible in this kind of lighting (I have no idea how blender works. NONE)(you probably are aware of this)(if yes, please ignore) Original Fic: Tense shifts and some prepositions Also, started the written version and loved it; just noticed (systematically lacking) tense shifts and some (systematically) wrong prepositions, 'pushing up' doors instead of 'open', mostly-- would you be interested in a (post-hoc) beta? I know that this kind of question can go terribly wrong and seem insulting... especially if people are not explicitly asking for beta; this offer is a gamble on my part, hoping that the chance you might find this useful is higher than insulting you by it :/ (Please be aware that this is only written out of appreciation for your work, and that I personally am kind of obsessive about tenses and prepositions, so I'm pretty sure nobody but me minded and /or even noticed.) If your answer to both of the above is along the lines of 'thanks, no thanks' feel free to not answer this, I do not wish to make you uncomfortable!

Hello!

I’m open to constructive criticism -- both on AO3 and the social links listed on my profile there -- so have no fear. It's very sweet that you gave a heads-up, though.

WebComic: Texture of bodies below neck in Ch 6

Well, they’re supposed to be ‘oily!’ They’re sweating after the implied s*x as it can be a very strenuous activity. That said, textures in general are a very technical thing. I don’t have the skills/free time to learn the whole process despite being aware of the basics. Say, if you have a beautiful 3D model, that 3D model is gonna look like garbage unless it has nice textures.

I’m not gonna get into the technical stuff bc it makes even my head explode (...and I’ve spent 5.000+ hours in Blender + am currently taking a 3D/animation bachelor!) Simply put, the body mesh and the face mesh are separate meshes, creating a seam when joined -- naturally, Gav doesn’t have a shirtless model in-game meaning that it’s custom-made (not by me) -- thus a lot of ‘texture blending’ is required between his head and the body. I don’t have the art skills to mess with textures unless it’s small stuff like increasing contrast/brightness/changing overall colors, etc., so I can’t do much there at my current skill level.

Original Fic: Tense shifts and some prepositions

They're known to me, actually. I like it that way even if it sounds odd to others. I’m not a native English speaker, but to my Norwegian ears, it flows anyway. I hope it wasn’t too distracting and took away from the story, though. I once attended an English grammar course and it’s giving me Vietnam flashbacks to even think about it, lol. The most important part for me is to get my stories across, and when possible, have readers learn from them and build my own empathy in the process. I personally don’t mind grammatical errors and such unless it’s completely/close to illegible.

In terms of your suggestion of a beta reader, I’m not insulted at all. It’s nearly impossible to offend me. Constructive criticism is the only way to improve and I like learning about topics I’m interested in. Others have offered to beta read for me in the past, but I’m not big on the concept. I’ve had my work stolen several times before and have major trust issues when it comes to stuff like that.

Either way, thank you so much for reaching out. I hope I cleared a few things up. Feedback is crucial and I welcome it. Both positive and constructive ♥

[gh0stly-official]

TITLE: In Your Eyes WORD COUNT: 1,048 CHARACTERS: Kang Myungsoo & Park Sungho WARNINGS: Age gap, manipulation, tbh it’s mostly just a lot of implied shady / creepy behaviors so proceed with caution. If anything else needs to be tagged more specifically please lmk! SUMMARY: An insight into the beginnings of Myungsoo’s unhealthy relationship with his manager, Park Sungho.

A/N: This is kind of a prequel to their 'relationship', takes place predebut/early debut days. There is nothing super outright here yet (aside from Myungsoo's blatant crush), but it’s still a bit toxic/predatory so be warned.

This was the first time Myungsoo had ever been inside Sungho’s office alone. It was really the first time he’d truly been alone with Sungho at all. And so now he was sitting here, in one of the strangely uncomfortable chairs, feeling slightly awkward and out of place. Maybe it was the contrast of his pink cardigan to the dull colors of the space, or maybe it was the silence hovering over the room.

Sungho’s office seemed neat and put together, Myungsoo had always liked that about it. Myungsoo was often someone who thrived when things were in order, he needed it. He needed structure. However, what he didn’t like was the lack of color or the rug that felt akin to one you’d find in a waiting room. What he liked least of all---was the strange painting behind Sungho’s desk. It seemed to be the only outstanding color in the space, with a terrible depiction of watchful eyes. He hated it.

Sungho was talking to him, he knew this, but he wasn’t listening. Instead his gaze was trained on the painting behind Sungho, those stupid eyes glaring at him. “What is that?” Myungsoo says, almost abruptly.

“What?” Sungho turns his head to see where Myungsoo’s eyes were lingering, “the painting?”

“Yeah, it’s creepy.” Myungsoo is often hyper aware of his lack of filter, but it rarely does much to stop him. “I don’t like it.” Sungho looks slightly baffled, like he’s unsure what to say to that. Myungsoo realizes that maybe insulting your new manager’s decor wasn’t exactly --- polite. “Sorry,” he mumbles.

Sungho shakes his head, “it’s fine,” he says lightly. “Not everyone has the same tastes.”

“Do you really like it?” Myungsoo questions, glancing at the painting again and grimacing. He then looks back at Sungho, “it doesn’t make you feel uncomfortable?”

“There’s more meaning to it than you might think,” Sungho says simply. “And in any case it’s just a painting, it’s not like they’re real eyes.”

“A deeper meaning doesn’t make it any less unsettling,” Myungsoo retorts. “Or any less ugly.” Sungho looks surprised at his words and now Myungsoo wonders if he’s put his foot in his mouth. “No offense,” he forces out an awkward laugh.

Sungho chuckles, “you’re quite the art critic.” He shifts a little in his seat, “maybe sometime I can show you some other pieces, see what you do like.”

Myungsoo shrugs, “that could be cool. Hopefully your taste extends past --- that.”

“It definitely does,” says Sungho. “For now though, maybe we should discuss what you actually came here for.”

“That might be a good idea.” Myungsoo says.

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Myungsoo liked Sungho, a lot. Sungho took an interest in him, made him feel cared about. He made him feel good about himself, special. Sungho was mature, handsome, and well put together. Myungsoo admired him.

Myungsoo knows this isn't ideal, crushing on someone older than him, and especially his manager of all people. But he couldn't help it, he liked Sungho. He just did.

He'd jump at any excuse just to have a moment alone with him, he almost felt childish. But being around Sungho made him feel different and he liked that feeling. There were moments too, fleeting moments where he believed that maybe Sungho just might like him too. He doesn't know if it's truly something he should hope for, and yet, he can't help but to.

Right now, he's standing in Sungho's office. It was a rare occasion for him to be in here, especially alone. He still liked it, the tidiness of it all, even in spite of his grievances towards the rug and the painting. And he liked being near Sungho.

Myungsoo was standing there waiting, waiting for Sungho to look back up at him. For his attention to no longer be on the screen of his laptop. "Did you need something, Myungsoo?" He still doesn't look up quite yet.

Myungsoo doesn't really know why he's here, he thinks maybe he should have at least come up with a decent excuse. "I wanted to ask you something," he says. And it's not entirely untrue, Myungsoo has a lot of questions, he always did. But especially about Sungho.

"Must be important if you came by my office just to ask," says Sungho. He still wasn't really giving him his full attention and it only served to make Myungsoo feel even more embarrassed. "What is it?"

Myungsoo realizes he doesn't have a good question to ask, nothing to warrant a visit at least. But he doesn't want to just stand there silently, doesn't want the quiet to simply linger. And so he just asks what comes to mind: "Will you tell me more about yourself?"

Sungho looks up finally, “what is it that you want to know?”

Myungsoo shrugs, “I don’t know, what’s your life like?” Sometimes he was just curious about what Sungho was like outside of being their manager, the kind of people he knew and kept company with.

Sungho laughs, “my life is mostly working and just keeping busy otherwise.”

Myungsoo frowns, “you don’t have any hobbies? Or friends...no dates?” He was always just a little too inquisitive for his own good. Sungho’s eyes fall on Myungsoo’s face, there’s an intensity behind them. Myungsoo doesn’t know if he likes it or if it made him more nervous than anything else.

“Why are you so curious?” Sungho asks, brow quirking.

“I don’t know, why can’t I be? I just want to know more about you.” says Myungsoo.

Sungho looks at him, almost like he’s looking him over, assessing. There’s a curiosity in his own gaze. “I’ll tell you whatever you want,” he says. “But --- only if I get to ask you some questions of my own.”

Myungsoo honestly feels a bit strange under Sungho’s gaze sometimes, under his watchful eye. But he still couldn't ever bring himself to look away. It almost reminded him of the first time he’d ever been alone with Sungho, here in his office. The painting, still hanging on the wall. The eyes he couldn’t look away from no matter how they made him feel, no matter what they might’ve meant. Except he wants this, he wants Sungho’s eyes on him.

“That sounds like a fair deal to me,” Myungsoo says.

[arthurwindsorsr]

nicole & arthur relationship task !

Is there so much hate for the ones we love? Tell me, we both matter, don't we?

𝐈 —  arthur finds a jewel among scholars

he really thought she’d be in his life for a moment. just some future duchess, only there for a quick and fun visit. there were so many of them, and he had never been very interested in norfolk, the duchy of sheep and cows. his expectations for nicole were low. but much like everyone around nicole, he became mesmerized. people like nicole were hard to come by and in his eyes she was exceptional. she’d talk and he’d lose sense of time. nicole was entertaining. he ended up looking forward to her parties, despite once promising to himself that he wouldn’t be a person who sought other people. his self-image certainly took a hit, especially because of their 10-year-age gap. he couldn’t really believe that he cared for her opinion.

𝐈𝐈 — eysham hall disappears from his mind alongside nicole

all good things come to an end. nicole was exciting and interesting for roughly two years. then the invitations to oxford began slipping from his mind. he had been there a million times, there was nothing to see, nothing to talk about. most of the times he remembered to decline the invitations but sometimes he simply didn’t tell her whether he’d show up or not. 

𝐈𝐈𝐈 — arthur makes a deal

if he only had lost all interest in nicole ! it would have saved him a lot of trouble. when nicole called him and demanded he listen her, he never expected to hear that she was pregnant. the possibility of it ever happening had never crossed his mind. so he got her to make a deal: his name would stay out of her mouth and he’d stay out of natalia’s life. he knew nicole would take the deal — she knew too much about him to have silly dreams. both of them knew he wouldn’t just do the right thing and marry her. her compliance made a big difference, it was what made him keep her number. her calm reaction made him want to call her and check up on her. occasionally he even missed their late mornings together. without nicole, he didn’t quite have anyone to talk to. only after she wasn’t a constant presence in his life, he realized that he was bad at keeping himself together.

𝐈𝐕 — staying away is proven to be surprisingly difficult

it’s not jealousy. it’s not ! he would be never be jealous ! especially not of someone like cecil armistead. god no. but the husband’s presence irritated arthur to no end. which was why arthur began calling nicole away from eynsham. he had the worst excuses but nicole still showed up. it was what mattered. at first he expected her to fall for his charm once more but it never happened. she had certainly learnt to know him and his tricks by then, it shouldn’t have surprised him. her disinterest in committing an adultery was perhaps what cleansed their relationship. for the first time in a long time, it felt like nicole there was for him. not for some cheap fun or for his favours. and when she began speaking and opening, he realized that he had never had anyone confide in him. he never thought he could dislike a person without meeting them but chantal de marquis proved him wrong. he began blindly hating her for nicole’s sake.

𝐕 — apparently, words can be more painful than knives

cecil made the mistake of accompanying nicole to london one time. exhaustingly boring cecil. it was sunday morning and arthur opened his mouth — he said all the things he had ever thought about cecil right to nicole’s face. a fight erupted. what started as “ constructive criticism “ ended in the most horrendous personal insults. he would have burned with fire for weeks to come if not the last thing out of nicole’s mouth would have been an accusation. how easily he had used her and then forgotten her ! they would have not been friends if nicole hadn’t forgiven him. it was the undeniable truth. it made arthur feel hollow and cold, and he didn’t force nicole to stay when she stormed out of the palace. 

𝐕𝐈 — arthur learns that nicole has no soft spots

like a scared child, arthur let nicole be. he didn’t have the capability to fix what he had broken. time healed everything ? he wanted to believe that. time or... revenge. nicole and natalia’s faces on the covers of every magazine published that day... arthur knew what nicole had done. three months went by before he asked if natalia could visit and spend some time with him and art. six months went by before nicole, despite living in london some miles away from the palace, was asked to stay for tea. 

𝐕𝐈𝐈 — forged steel is stronger than cast

there were no more issues to talk about. everything had been laid on the table. nicole became the most frequent visitor of the palace, and wherever arthur showed up, nicole was two steps behind him. what arthur loved about nicole was that she never became condescending. arthur knew, arthur was very aware of his limits. the only reason he survived the world of politics wasn’t skill or wits — it was just experience. there weren’t many new tricks you could come up with, and arthur had seen almost every one of them. he avoided the worst catastrophes by knowing what people had done and what they could do. nicole never made him feel inadequate. she was smarter than him, he was aware of it, but she never implied so. she never asked him rude rhetoric questions. she just helped. she told him things would be alright. she gave him solutions when he couldn’t think of any. nicole became a support beam that he could put his whole weight on.

You don't want to hurt me, But see how deep the bullet lies. Unaware I'm tearing you asunder. Ooh, there is thunder in our hearts.

i want to say that at the end of the day, with a clear head, arthur would have forgotten about implicating nicole and natalia. the hate he felt, it would have disappeared with time. the desperation that dug up every imaginable feeling of resentment, envy, and hatred. eventually, he would have seen nicole’s decision as something else than an act of betrayal. nicole who had been by his side for quarter of a century. nicole who had been there for him at every turn. nicole who had done terrible things to help him. nicole who had been the only one who had stuck after his exile. nicole who held his brain on her palm. nicole whose laugh was the only sound he could remember from his younger days. nicole who could remember his stories so well that she actually corrected him when he made a mistake. their last fight would have ended up being like any other of their fights. it was always just him and nicole. 

[wonderfulworldofmichaelford]

Is It Really THAT Bad?

Cats has been a divisive show ever since it opened in 1981. Some people hate it for being a plotless spectacle that focuses more on the visuals than on music and story, while others love it for those same reasons, as well as for being utterly campy and fun. I’m firmly in the latter category, to the point I can’t  really comprehend the opposition to the film. Stuff like the jab at this film in The Critic or the mockery of it in Hey Arnold just seem weird to me; what is it about this fun, silly musical about cats that makes people’s blood boil so much?

Perhaps all these people saw into the future where the film was released.

Cats had a long, troubled history getting from stage to screen. In the 90s, Amblimation was set to make an animated version of the movie, set during the Blitz of WWII. Unfortunately, the inability of writers to find a way to turn this episodic showcase of random singing cats into a cohesive narrative combined with the failure of Amblimations films caused the project to dissolve, leaving behind nothing but some really cool concept art. 

But see, this perfectly demonstrates the problem with adapting Cats: the musical is a spectacle, a showcase, it’s all about the dancing, costumes, and the songs. It doesn’t have a story to speak of, instead contenting itself with showing us a bunch of different cats and having them sing about themselves for a bit before moving on to the next cat. Sure, there’s a bit of continuity and whatnot, but this really isn’t the sort of show that’s trying to deliver a deep narrative. It just wants you to have a good time, nothing more, nothing less.

No one told any of this to Tom Hooper, apparently. This director of the grounded, gritty, realistic adaptation of Les Mis was tapped to utilize this same style in a musical about magical singing cats, all while not even knowing what catnip is or how animation works. Hooper was apparently constantly butting heads with the VFX team due to his lack of understanding of how animating works. He tried to get the team to watch videos of cats performaing the stuff he wanted and forced them to give 90 hour work weeks, cementing Tom Hooprt as one of the biggest douchebags imaginable. On top of all this, the guy tried to weave this plotless showcase of felines into a cohesive narrative, and tapped a bunch of talent of various degrees of questionability to play parts. And what was the result?

An absolute disaster. The film was savaged by critics, with most positives being that the film was so bad it’s good. The film (of course) won a bunch of Razzies, and was the subject of mockery and memes before, after, and during its run in theaters. Hell, as soon as the trailer dropped, the film was mocked to death. Not helping was the rushed VFX which, again, was due to the team being under pressure from a draconian idiot who had no idea what he was doing. The film received an unprecedented bug fix, so to speak, in the form of an updated version with slightly better VFX that was shipped to theaters after the initial negative reaction. This obviously did nothing to help the movie’s reputation, of course. Hell, even in my initial review, I wasn’t super keen on the film. Most damning of all, though, was Andrew Lloyd Webber himself calling the film ridiculous, and even said "The problem with the film was that Tom Hooper decided that he didn’t want anybody involved in it who was involved in the original show."

But after ruminating on it, and after watching the film once more, I’ve decided to ask the usual question: Is it really that bad? It’s weird to ask this about a film that’s so new; I usually wait for hindsight to kick in, and look at older films considered bad. But even now, Cats is building up a reputation as a campy cult classic, with such figures as Martin “LittleKuriboh” Billamy watching the film with alarming frequency. And after reading the nightmarish behind the scenes and considering everything… yeah, I think this film deserves a re-evaluation.

This is going to be a little different, though: I’m sort of going to go through the film part by part, since this film has an interesting issue where, generally speaking, the first half is where the worst problems are, and the second half is where things start to pick up. So let’s get the bad out of the way first, then move onto the good.

THE BAD

So, I’m actually not going to pick on the VFX too much, and not just because of the horrible treatment of the VFX artists. In all honesty, the weird human/cat people, while not even remotely as cool as the insane costumes of the stage show, eventually stop being super distracting and kind of just become something you accept. Like, I’m not gonna pretend like this work is amazing, but I dunno, I think it gets harped on too much. There is some stuff that stands out as noticeably bad, though, and we’ll get to that.

A consistent problem with the film that I can’t even try to defend is the problem with the scaling. It’s seriously hard to tell how big these cats are supposed to be in relation to anything else. They honestly seem to change size from scene to scene. It’s seriously weird and baffling and there’s never any way to get a good sense of scale. Even when the cats are alongside mice and roaches, it just boggles the mind what size anything is actually supposed to be.

Mr. Mistoffelees, one of the most flamboyant and enjoyable characters of the stage show, is one of the biggest character issues with the film. Gone is the tricky, confident magician who prances and dances, and here is a meek, sniveling twerp who can barely do anything without tripping over himself. This is because the actor who plays him had a terrible audition that left him miserable due to a lack of singing and dance background. So, rather than find someone who could, you know, sing and dance, they decided to rewrite Mr. Mistoffelees into comic relief, which is just an insulting slap in the face. The cherry on top of course is how they straightwash the character and excise his homoerotic tension with Rum Tum Tugger, instead making him completely and totally straight and giving him a thing for Victoria. Out of everyone in the entire film, they did Mr. Mistoffelees the dirtiest.

Now, let’s get onto the actual “plot.” The film actually starts out fairly well, with some cool shots, good dancing, and some setup for Macavity, whose intro has a neat little nod to the fact he’s based on Moriarty. The issues don’t really start showing up until we reach the first of the Jellicle choices… Jennyanydots.

Jennyanydots is portrayed by Rebel Wilson, which is the first issue. Rebel Wilson is probably one of the worst actresses ever. She is just a horrendously, relentlessly unfunny human being, and she brings that exact quality to her role here. For her song, the vocal talent is secondary to the cringeworthy comedy Wilson puts on display. And yet, somehow, Wilson isn’t the worst part of the scene. No, that would be the horrendous CGI human-faced mice and roaches, which look like they came out of a PS3 game.

This horrendous spectacle is followed up with the appearance of Rum Tum Tugger, portrayed by Jason Derulo. I’m of two minds about this. On the one hand, I do think Derulo has the necessary egotistical celebrity swagger to play Rum Tum Tugger (especially when you consider he responded to negative criticisms of the film by calling the movie  “one of the greatest pieces of art ever made”) and his design is actually one of the better ones in the film, but on the other hand, his singing and the musical choice for his song are not very impressive and really just doesn’t work all too well. It’s at least something of a step up from Rebel Wilson and her CGI abominations, but that’s not really saying much, is it?

Next up we have Bustopher Jones, played by James Corden and, if I’m being totally honest… he’s not quite as awful as he could be. Corden is basically the male equivalent to Rebel Wilson, but at least while he’s singing he manages to be somewhat amusing, whimsical, and enjoyable even. The problem comes when he throws in jokes, including one where he claims to be self-conscious about his weight… a joke that occurs in the middle of his song where he is bragging about how fat he is. Talk about sending mixed messages. I wish I didn’t have to be so harsh on Bustopher, but sadly he is bogged down by really bad shtick.

Bustopher Jones also highlights a problem with the cats in this first half. These minor roles – Jennyanydots, Rum Tum Tugger, and Bustopher Jones – are all being played by relatively big celebrities, and as such they’re going to want a lot of time to sing. As a result, songs that were ensemble numbers on stage become more one-man songs here, with Bustopher Jones being the most egregious example, turning this positive fat character into a walking James Corden fat joke as he sings his own praises rather than having his praises sung.

Following him up we have Mungojerrie and Rumpleteazer, who are usually fun characters with a fun little pseudo-villain song, but alas, they manage to screw that up by using a slow, jazzy version of the song originally used in earlier London productions rather than the more up-tempo version from later productions, making the song sound awkward and forgettable. Topping it all off is the bargain bin Mr. M popping in at the end for some wacky shenanigans, but at this point, the movie takes a turn towards…

THE GOOD

So as soon as Dame Judi Dench shows up as Old Deuteronomy, the film gets a sort of inverse of what happened at the start. Where the film starts somewhat awkward and promising, it slowly gets stupider and stupider when Rebel Wilson, Jason Derulo, and James Corden botch their scenes in the ways described above. Here, things start a bit shaky and unsure, but Dench is a sign things are about to pick up. What makes her so enjoyable is how, despite how utterly silly things are, she treats her role with the dignity and gravitas of something out of Shakespeare. The only thing as good as an actor in a silly movie like this going full-on ham and cheese is an actor treating their role dead serious and injecting it with such class and dignity you can’t help but enjoy it. Thankfully, Dench isn’t the only person to take her role seriously.

Jennifer Hudson as Grizabella technically appears briefly in the earlier portions of the film, but here we get to hear her belt out “Memory,” and by god does she do a fantastic job. The raw emotion and passion she injects into Grizabella is phenomenal, and it’s even more powerful when it comes back for its reprise in the finale. Victoria gets a sort of response song to “Memory,” called “Beautiful Ghosts,” and it’s a decent song in its own right, but you can tell it was a more modern composition and it just doesn’t gel super well with the rest of the songs. Still, all this is good stuff, and the “Memory”/”Beautiful Ghosts” scene is a nice, refreshing bit of emotion after the incredibly weird and silly extended dance number that is the Jellicle Ball.

The movie doesn’t stop pulling punches; shortly after Grizabella we are given Gus the theater cat, an elderly actor whose number is all about reminiscing of the old days of theater and his many stellar roles from days gone by. Naturally, the only actor who could possibly perform this role properly is Sir Ian McKellan. I am completely unironic when I say this: This is to McKellan what Patrick Stewart’s performance of Xavier in Logan is. This sounds ridiculous, but think of it: Gus is an aging thespian, clearly a bit senile and desiring to be reborn because he has reached the end of the line, and McKellan fills him with this genuine, incredibly honest performance that really makes you feel emotional. It’s powerful. It feels so personal and resonant, like McKellan has inserted some of his own feelings into his performance, which may very well be the case. Oh, and after his song Macavity kidnaps him with a big autograph book and apparates away while saying his name, which gets me every time.

And now, my friends, the lord and savior arrives: Skimbleshanks.

This is, hands down, the best scene in the entire film. Everything comes together here: the music is absolutely fantastic, the dancing is choreographed extremely well, and it’s clear that everyone involved is having a blast. This is a concentrated essence of what Cats should be, and it’s really a shame Hooper didn’t understand that this is the energy needed for the entire production. The most crucial element, of course, is Steven McRae, who not only has a lovely singing voice and looks dapper as all hell in his red suspenders, but is a tap dancing maniac. This man has feet of fire, and his tapping adds a whole new layer of fun to the song. Overall, this is a perfect scene, and probably one of my favorite scenes in any film ever. For a brief four minutes, everything about this film works. I literally have no idea why this cat wants to be reincarnated, he is straight balling in this life.

But the hits don’t stop! Right after this song, Taylor Swift descends from the ceiling, and we get “Macavity.” In the stage productions, this is a song sung by Bombalurina to describe how nasty Macavity is, since she’s traditionally a good cat; here, she’s reimagined as a villain, and so this song is basically her acting as Macavity’s hype man, singing his dastardly praises, and best of all, Macavity joins in at the end! I’m certainly not a Taylor Swift fan, but she really kills it here, and definitely makes this one of the best songs in the movie with her hilariously forced accent and insane energy. It’s just a shame that from here on out Macavity ditches his villainous pimp coat and is now a nude Idris Elba, but I suppose this is equivalent exchange for Skimbleshanks being so amazing.

While not as incredible as the previous two songs and not quite as good as the stage version due to the removal of the latent homoeroticism, Mr. Mistoffelees’s song is actually okay. It’s nice that he gets to sing his own praises here, but it’s just nothing compared to the stage version, even if it has a fun little finale and it actually is genuinely heartwarming when Old Deuteronomy returns and sings along. It’s a sweet moment that almost makes up for how much Mr. M has sucked the whole movie. Oh, also, all of the Jellicle choices Macavity kidnapped fight back against their captor Growltiger, with Skimbleshanks aggressively tapdancing at him and Gus using his acting skills to make him fall into the Thames. This is so goofy that it wraps back around to being awesome.

The movie winds down in the goofiest way possible after the gorgeous reprise of “Memory,” with Macavity being caught on a big sculpture and apparently running out of magic, leaving him stranded like a regular cat. Then we get one final fourth-wall breaking song where Judi Dench directly addresses the camera that has the music swell up to the point where it seems like the song is ending numerous times without actually ending, and each time is funnier than the last. Really, what better way could you end such a silly film than with this?

Now, a general thing that’s great about the film is the choreography. The dancing in the movie is spectacular. I don’t really have a bad thing to say about it. And, in a broad sense, the music is good too, even if the singers aren’t always perfect, the backing tracks are great, and there’s a lot of fun in the tracks in the latter half of the movie. McRae and Taylor Swift’s contributions in particular are great, and Hudson’s version of “Memory” is incredibly powerful, as is McKellan’s take on Gus’ song.

Is It Really THAT Bad?

No.

Look, it’s hard to be like “Wow this is a fantastic masterpiece of film” or anything like that, because the movie has blatant and evident problems. But this is literally the reason I made this review series; I’m asking if the movie is really as bad as people say, and in this case, no, there’s too much genuinely enjoyable in the film for me to say it’s deserving of several Razzies and a spot on the Bottom 100 of IMDB that places it above Master of Disguise and The Emoji Movie. Like, seriously? This is worse than the 90 minute commercial starring the abusive dick who called a bomb threat on his girlfriend? Hell, this movie is rated worse than Artemis Fowl, which is definitely a contender for the worst film ever made (and amusingly enough also features Judi Dench in it). Artemis Fowl has next to no redeeming qualities in it, and it certainly doesn’t have Skimbleshanks, whereas Cats has several fun scenes and also has Skimbleshanks.

I definitely think there’s more of an argument for this film being so bad it’s good or camp at best, but it’s definitely more enjoyable than you’d think it would be. If you can learn to live with the weird CGI, it’s a fun, goofy romp that you might find yourself feeling for at times. After my second watch, I have to say… I’ve started to unironically enjoy this movie. It might even be one of my favorites of all time. I can’t even deny that it has a lot of stuff I don’t like, and it falls flat in a lot of ways the 1998 film soars, and it screwed up some of my favorite characters… but there are so many moments where the fun and heart of Cats shines through brighter than it has any right to, and all the failures of Hooper and Universal seem distant for a just a few minutes.

So yeah, is this movie good all around? No way. But is it fun, does it have value, and is there more redeeming qualities than the critics let on? Oh yes there is.

[beneaththetangles]

Reader’s Corner: Silver Spoon, Solo Leveling, and the Disappearance of Haruhi Suzumiya

Solo Leveling, Vol. 1 (novel)

The immensely popular webtoon, Solo Leveling, features a basic premise about a young man rising from the lowest of ranks of “hunting” to become incredibly strong. It’s most appreciated for its art, so the question is, if the story is mundane, does it’s forerunner, which lacks any illustrations, hold up? It does—surprisingly well. Volume one of Chugong’s novel series, originally published on the web and now being released by Yen Press, traces the story of Level-E ranked hunter, Jin-Woo, in mesmerizing detail as he “levels up” following an experience that should have lead to his demise. That opening is only one of a number of violent but engaging episodes in the novel, which also relies heavily on descriptions of game-like mechanics. As the rare anime fan that isn’t a gamer, my eyes usually glaze over such details, but Chugong’s vivid but spare descriptions kept me engaged, as the protagonist moves quickly along his journey, which still, is well structured, even if his characterization if less developed. That’s both a flaw of the series and a point of question: Is Jin-woo’s desire for “Money, honor, and power” meant to be admired, glossed over, or criticized? I’m not yet sure, and I wonder if Jin-Woo’s moral development will become a significant part of the story beneath the well-crafted verneer of fighting and powering up, which as imaginative as it is, can’t very well carry an entire series—can it? ~ Twwk

Solo Leveling is published by Yen Press, which provided a review copy.

Neon Genesis Evangelion: The Shinji Ikari Raising Project, Vol. 18

I did it (insert GIF of everyone applauding Shinji here). I finally finished reading Neon Genesis Evangelion: The Shinji Ikari Raising Project. And let me tell you something about it: While there are science fiction undertones and references to the original series throughout that give you genuine laughs, by the end, the series is primarily just an ecchi teen romantic comedy with Evangelion characters as window dressing. Every chapter is an opportunity for Shinji to mistakenly trip, fall, and accidentally grope a girl. Every other chapter, by the end, sees a character with exposed breasts—sometimes because of said clusiness, sometimes because the mangaka just decides to draw an extended group bathing scene. This volume gives the final actual reference to an Evangelion, but once again, there’s no actual use of it. This alternate Eva-verse is, in the end, a school harem romance and not a science fiction epic that discusses about real issues like depression. For some, that’s fine. For others, the blatant fanservice will be too much. For me, I am still so very struck by how out of character both Shinji and Gendo act in this series when compared to the original . I guess Yui Ikari being alive really made a huge difference! ~ MDMRN

Neon Genesis Evangelion: The Shinji Ikari Raising Project, Vol. 18 is published by Dark Horse Comics.

The Disappearance of Haruhi Suzumiya

First released in the U.S. eleven years ago, and originally published in 2004, Yen Press has rereleased The Disappearance of Haruhi Suzumiya (along with all the others) to coincide with the new Haruhi Suzumiya light novel. After all this time, it holds up surprisingly well, and in fact perhaps takes on more meaning now in the booming light novel industry as a series that—as with the anime—inspired so many of today’s writers. A quick read—it tells just one longer tale instead of several shorter one, coming in at under 200 pages—every sentence is meaningful, every chapter tightly structured, and every emotion hits with precision and sharpness as the series at once returns to an older act, takes the story to new places (and new heights), and brings in questions from the future as Kyon wakes to discover that the SOS Brigade has disbanded, no one has ever hear of a Haruhi Suzumiya, and Asahina and Nagato no longer have their peculiar powers. The volume works so well because it depends on those preceding it, not only for it’s “return to the past” plot but also as it ramps up the nostalgia and emotions in both Kyon and the reader. Everything is predicated on how the reader feels about these characters, leading to a tale that’s simultaneously a love fest for the series and one that is satisfying in its own right. Disappearance proves to be, much like its characters, a light novel that surely is timeless. ~ Twwk

The Disappearance of Haruhi Suzumiya is published by Yen Press, which provided a review copy.

The Genius Prince’s Guide to Raising a Nation Out of Debt (Hey, How About Treason?), Vol. 1

What we have with this mouthful of a title is a more comedic (and non-isekai) take on the kingdom-running light novel. Prince Wein is appointed regent to run the country of Natra in place of his ailing father, but given how terrible the state of his nation is in financially, he would much rather just sell the country off and run away. Yeah, he’s lazy and a coward. The problem is, he’s also a bit too smart for his own good, and plans that he intend to go towards relieving his workload and avoiding confrontation only make people believe he can totally win wars and bring the country back to greatness. (It helps that the countries trying to deal with Natra have issues of their own…) The result is an amusing read as I had fun seeing Wein pull out plans that work a bit too well and have him suffering from success. I also liked how his relationship with Ninym, his childhood friend and primary aide, is framed in the story both as a teammate that Wein relies on to help run the country, and also a close companion (and love interest) whom he banters with but also trusts deeply and does not tolerate any insults toward her from others. Overall I’m definitely looking forward to reading more from this series and how Wein will continue to help his country more than he might want to. ~ stardf29

The Genius Prince’s Guide to Raising a Nation Out of Debt (Hey, How About Treason?), Vol. 1 is available from Yen Press.

Dragon Head

Dragon Head was a horror manga series I picked up last year from a Kodansha Halloween Humble Bundle. Let me tell you—it is dark, earning its way into that genre heading. The first volume begins with three teenagers trying to survive in an underground subway tunnel after an earthquake event caused its collapse. As the story progresses, and effects on the surface world around them are revealed, the characters discover that the earthquake was no isolated incident but something that struck all of Japan. It is gritty and violent at times. Yet, the overall story and a desire to see how these characters survive kept me reading page after page. I finished the entire 10 volume series in about three days time as I had a hard time putting it down. The ending is is a hard one, and perhaps very fitting for this work, leading readers to consider how widespread the problems that struck and set the events of the series really are. Psychological horror indeed. ~ MDMRN

Dragon Head is published by Kodansha.

Silver Spoon, Vol. 1

With Fullmetal Alchemist: Brotherhood continuing its tear through our annual AniMarch Madness tournament, I turn my attention to the other now-classic work from mangaka Hiromu Arakawa. Silver Spoon, which ended its run in 2019, is a fish out of water tale featuring high school freshman Hachiken, an academic-focused city boy who decides to attend an agricultural high school in Hokkaido. Volume one has fun with his inability to get used to farm life, though it also sensitively looks at his reasons for choosing this high school while showing that even early on, Hachiken is growing, such as when he condescends horses only to be taught how the majestic animals can show the rider a different perspective on life. It doesn’t take long for readers to grow attached to the series characters, like Aikawa, who is the determined to overcome his sensitivity to blood and death to become a veterinarian, and Nishikawa, who loves tractors and mecha. But most of all, Hachiken makes for a compelling character. Like Edward from FMA, Hachiken is easily frustrated but kind and open; it’s lovely to see him already developing among friends so different from what he’s used to, even while seeing him frequently fall (and slowly get back up)—a source of laughter page after page in this wonderful introductory volume. ~ Twwk

Silver Spoon, Vol. 1 is published by Yen Press, which provided a review copy.

[rem289]

Q: Why are you writing this post?

A: Because during the Christmas holidays I started to receive attention from the Zootopia fandom which led me to re-discover some concepts that I thought I had made clear, and since this didn’t turn out to be true, I am forced to reiterate them.

Q: What happened?

A: I discovered that someone had reposted, obviously without my consent, an old comic of Aoimotion and mine on reddit, a site I don't like and on which I had already said not to publish my actually and old contents. This repost "reminded" this fandom of my existence, and after this event some people came to ask us questions such as "when Nick and Judy would reappear in our work?" and the like.

You can imagine how much it bothered me, so I went to reddit and wrote to immediately delete the content. Unfortunately, doing this I couldn’t help but notice how the post had become a place to waste insinuations and insults aimed at me and Aoimotion. In particular, the comments of three users stood out: @ggctuk , @owningsuperset7​ and @hammytotherescue

Q: Why did these users get your attention?

A: ggctuk, which I have no idea who they are, have proclaimed themselves as the narrative voice of the events that have taken place between us and the fandom, providing a lot of incomplete and, in the worst case, completely wrong information, about why we left the fandom and about the alleged "abusive behaviors" we had against translators.

Owningsuperset7 spoke about us (like he does every time the occasion presents itself to him), defining us ungrateful towards the fandom "that had fed us". But "fed" in what sense? It seems to me that we have been those who have definitely "eaten" very little… or likes can be monetized, just like the views on youtube, and I didn't know it? Did they break the keyboard in order to put those likes on our works? If it’s so, I'm sorry, but I certainly wasn't the one who pointed the gun at their head to follow my work. Always remember that paying attention to a work is always and only a reader’s choice. No creator has power over these phenomena, we just create and publish, the rest is always an unknown factor. So expressing yourself as a seduced and abandoned lover on an old and free work doesn’t make you a victim, it only makes you ridiculous. Anyway, I know the subject, who had already decided in the past to talk on DeviantArt before I blocked him, and I decided not to tell him anything in that moment, also because, what can you say to a person who clearly has problems that go beyond fandom? Sometimes ignoring is the kindest choice you can make.

Hammytotherescue instead claimed that he and I were friends in the past, before the duo formed by me and aoimotion became toxic. Since I had no memory of this person and I hate when someone alludes to relationships with me that don't exist, I wrote to him privately on Tumblr asking him if he could kindly refresh my memory about this "friendship" he was bragging about.

Q: How did it end?

A: The conversation, which I report below because I, unlike him, have nothing to be ashamed of, is as follows:

As you can see, Hammy never replied to my last message . But in reality the story was not over. A few days ago, in fact, I discover that the user in question "vented" in the post of reddit, not under my comment (so that I received notification of his reply) but in response to another comment that had been left to me. Showing, as always, the incredible maturity of these people.

After reading this comment, I decided to act by reporting the user on reddit, but the answer I received can be summarized as: "since you are a content creator, you deserve insults regardless." In short, a response as useful and smart as the people who gave it to me. So don’t worry Hammy, you won't be banned from reddit because the only braincell shared by you users agrees that defining a toxic and manipulative person is, to quote one of the wise moderators I talked to, "a fairly typical level of criticism". All is well that ends well.

Q: You mentioned "concepts to reiterate". What would they be?

A: Let's start by denying what ggctuk wrote in that reddit's post, given how much popularity his comments have gained.

My split from this fandom started because I simply lost interest in Nick and Judy and preferred to do something else, something of my own. Black Jack gave us the opportunity to invent many original characters and they was those I wanted to work on. We have never worked for ulterior motives other than having fun together. When we recognized that we no longer have anything to give to this universe, we declared it openly and closed this chapter of our "artistic life". This split could take place in a peaceful and calm way, I would have taken my own path and you yours, since it was obvious, since BJ times, that you had very little interest in our original contents. You also reiterated this between the lines of these last comments, so really, I make a terrible effort to understand your logic of contents belonging to your fandom. It's not your fault, don't worry. You have been spoiled by this entrenched habit of creating any anthropomorphic animal and attributing it to your precious and super-nutritive fandom. Once you labeled this attitude at heresy, now everything is fine as long as it helps you keeping this universe going, honestly, I just pity you. However it seems that your obsession with me prevents you from accepting the fact that my life would have continued even without this fandom and that I would have lived very well even without the amount of likes that fanarts could give me. Indeed my life would be even more beautiful if I didn't have to waste time like I am doing now.

Both me and aoimotion together gave you a lot, and in the end we simply got it back. Jack is a prime example: yes, he is a character born from the scratches of Zootopia's artwork, but thanks to our work he has evolved to the point of becoming a completely original character. This fandom has not been able to accept it and until the end has tried to claim him as its own, and even now it can’t accept that we have instead taken him back, and even less can you bear that we are successfully using him in our original works, which is why you insist so much on his "Disney" origin, as if this defines his identity, and for months you have made fun of us saying that we were claiming something that belongs to Disney as our own. Unfortunately, beyond a doodle and a hint of a hypothetical background, Disney has absolutely nothing. Whatever weight you have attributed to "Jack Savage" is only thanks to our work, Disney has nothing to do with your mania and it has nothing to do with everything we've built up over the years. Still, you took our job and stuck it over the "Disney" label, and that was even when Black Jack was long gone, so don’t use that excuse anymore. You even tried to attribute Cynthia to the Disney universe by calling her "Skye", since you are so desperate to keep your fantasies going, and when you had nothing more to say, you said that my art style was "clearly inspired by Disney". Did you think I could condone such an attitude? I suppose these statements derive above all from the certainly very poor culture that you have of the world outside the fandom (or fandoms), however there are artists who WORKED for Disney, who TEACHED drawing techniques at the Disney Academy and who work at own productions with that style, without anyone attributing anything to the major. If you don't believe me, try using the web for something constructive, like doing some in-depth research on the subject.

As for the matter of our alleged abuses on translators, I will only say two things: the translations started because of my naivety, and we prohibited them because the translators abused their role and went out of control, acting as if the comics belonged to them and / or as if there was a special relationship of complicity between me and them. I'm sorry I gave false hopes to these people, unfortunately I didn't have time to realize the misunderstandings that were being created and how our work was being used. There is a clear difference between the fan content and the original content, so now more than even, less our work passes into the hands of others, the better it is for us.

Now let’s analyzing the brilliant messages of Hammy, both on Tumblr and on reddit:

In both cases, what I see is a desperate need to cling to Rem's "pretty" facade while simultaneously demolishing the person behind Aoimotion. These insinuations suggest that the only possible Rem to conceive for your narrow minds is the kind and lovely one, and everything I say and do that does not fall within this definition is the work of aoimotion.

I will never go into detail about the dynamics between me and her, because frankly it’s not your business and I don’t want to give you further ground to cultivate your absurd speculations and your degenerated ideas. If you have decided to treat us as two two-dimensional characters of some fourth category fan fiction born from your fragile minds and then feel disappointed or offended by my attitude or a severe response I can give you, you cannot help but blame yourself and not who is my friend .

But you have to get it into your heads that when you talk about us in a personal way, you refer only on the basis of two web profiles. You don't know us personally and above all you don't know me. Being an extremely reserved person, I always decided to use social networks to share my artistic side or my interests related to entertainment, nothing more, nothing less. "Rem289" has always been only a blog, a showcase on the web, I’ve never attributed a real emotional and above all personal value to it, even before Zootopia. For the rest I prefer to live my personal life off the web. Unfortunately, you have been so careless as to decide to hit my personal sphere, my friendships and my affections. So no, Aoi didn’t take over between you and me, but the person behind Rem289 took over and you paid the consequences.

Still on the subject of aoimotion, it seems that the moment this comment was written on DA has remained particularly impressed: https://www.deviantart.com/comments/1/765376682/4647911119

This great insult, which among other things is attributed to her as if I didn’t think the same (if not worse) about you, has become the new reason why aoimotion is ugly and bad and is the reason why she deserves to be insulted and disparaged at the slightest opportunity, even during a conversation with me in which she’s not involved in any way.

Now, since this term seems to me rather dated to be used as a matter of indignation during your debates, and since I still find it rather ”soft” to use to outline my intolerance towards you, in order to give you another thing to think over, I will give you an attribute which seems more correct to me: you are sick. Confronting you is like talking to someone who has been brainwashed. You are a broken record that always says the same things over and over again. I can't even feel sorry for you, what I feel is just a great sense of unease. (Of course there are people that still participate in this fandom and are perfectly normal, but those are exceptions and they already know we think good of them.)

And it’s precisely your illness that prompted me to dissociate myself so violently from the fandom. Not aoimotion, as you have been saying for months between an insult and another that you address to her because perhaps you are too afraid of me to address them directly to me, which is rather contradictory since I should be the sweet and pretty one of the duo. After all, it's better to treat me like a poor brainless fool who lets herself be manipulated rather than admit that I also have my own ideas and that, you don’t say, you don't like them.

Q: In any case, you have no right to deprive your fans of old content they love so much, you just want to be spiteful! Why did all your old WildeHopps comics disappear from the web?

A: The decision to delete the contents created by me relating to the fandom from my web platforms or those shared with my partner was not born in the least out of spite or "punishment" towards the members of the fandom. It was a decision made to dissociate my name and my current work from fandom, because unfortunately it created difficulties for my image and real difficulties for readers to understand (you can go on and say that if people think your work is still Zootopia-related is not a big deal, but I assure you it is). All that came after, are only and exclusively speculations built on purpose to find the most sinister reasons of why it happened. Publishing content is only an accessory part of the job itself, a percentage of the process. Deciding to publish, not publish or cancel a publication is at the pure expense of the author, and no consumer has the right to impose his will on the creator. I understand that they are perhaps too complex concepts for you, since it’s clear that you are used to measuring the value of things based on the likes they receive, but this current of thought also exists and I hope it will be useful to you someday, in the remote possibility that decide to take moments of deep reflection (which would be more and more useful than tapping your fingers on the keyboard).

(Little curiosity: in the last few weeks we have forwarded about twenty reports to various sites to remove our old contents posted there without our permission. Not only all twenty reports have been accepted, but the contents have all been removed in less than 12 hours from the date of reporting. This is to remind you that if we don’t want our content on the web, we have them removed and it’s the reposters who pay for it, not us.)

Q: Well, however you can't force us not to talk badly about you or aoimotion, in fact, you can't stop us from believing that she's been manipulating you for years. Almost certainly it’s she who is writing this post without your knowledge, isn't it?

A: The people of the web are notoriously lazy and are therefore often uninformed and constipated in developing their own concepts. They spit sentences without even knowing what they’re talking about, they choose "comfortable" truths, such as the fact of attributing to aoimotion every not nice word that comes from me, and when this phenomenon is reflected on real persons, unfortunately it’s quite difficult to manage.

We are attributed with labels, words, concepts, faults, relationships that don’t belong to us and that are difficult to get away from. A simple comment or a wrong statement towards a person can spread like wildfire and end up marking them for life. Needless to say, these conditions often prevent these same people from continuing with their activities, which instead are healthy, in a serene and peaceful way. Even now, instead of drawing, I’m writing this latest post to defend me and my partner from your sick slanders. Those who allow themselves the luxury of damaging the "active personalities" of the web are people who fully enjoy anonymity behind a screen, and often people who have the matter of regulating them (like the reddits moderators, who are a joke at best) limit themselves to considering certain behaviors "ordinary” in the creator / consumer relationship. The mere fact of normalizing certain behaviors doesn’t smooth out the rules of civilized life, makes these "authorities" complicit and therefore only adds a problem. It’s more than evident that some people are not yet able to distinguish the boundary that exists between objective opinion and direct and personal insult, but from people who lose sleep at night because they have been defined as “lunatic” I don’t expect anything less. Who knows what you will do now that I have called you sick.

I conclude with a message to the interested party:

@hammytotherescue​: I don't know how old you are, however, judging by what you write and how you write it and how you act, I deduce that you should not be more than 14-15 years old. Unfortunately I regret to tell you that the fact you are a minor doesn’t mean that you don’t have to take responsibility for your actions, and if you still have doubts about understanding where you have gone wrong I advise you to ask your parents for advice. I gave you the opportunity to confront me but you ran away to cry on a public platform. Hasn't anyone taught you that real life doesn't work like that? If, on the other hand, you are an adult, I sincerely feel sorry for you, I say this from the bottom of my heart.

I know how comfortable it is to hide behind a group or in this case a fandom to vent one's dislikes towards the individual. This time you and your friends have received the same treatment, you have not caught generic appellations addressed to the fandom but I decided to speak to you personally. My only advice is to use this experience to learn how it behaves on the web, and when you have learned it, you could teach it to all your friends, perhaps starting with @owningsuperset7​.

For @ggctuk: I hope you will appreciate my effort in writing this long post, as so the next time you talk about us again, you can use it as a reference to explain how things went 🤗

[hatari-translations]

Hákon interview on ‘Vloggað um ekki neitt’ - translation/summary

This video is a 25-minute interview of Matthías by Hákon from Iceland Music News, about a play that Matthías was commissioned to write for the National Theater (Þjóðleikhúsið). In the process, they talk about how they met, the beginning of Matthías’s interest in theater, and the experience of being a teenager being constantly lectured at.

As it's quite long, I'm not going to translate word for word; this will be mostly summarizing, with choice quotes.

The play in question is called Vloggað um ekki neitt (Vlogging about nothing), and it's written with a specific age group in mind - the theater commissioned him to write a play for two actors aimed at ~13-15-year-olds. The theater's educational department does this, selecting demographics and commissioning educational shows meant to appeal to those groups.

Matthías thinks it's a challenge to write for this particular group; it's not obvious that a play for teenagers should be such and such. "I think teenagers just want to be treated like sapient beings, people with taste, and then it's pretty hard to be deciding, 'Yeah, this is like this, because you're teenagers.'" What's annoying about being a teenager, he posits, is that society as a whole is always trying to patronize you.

Hákon says that he remembers, from being a teenager, that there's also a pretty huge maturity gap between thirteen- and fifteen-year-olds. Matthías agrees, and adds that when you're a teenager you're developing your tastes and your self-image, feeling yourself reflected in the things that you like that somebody else might not, and that makes it difficult to categorize you as an age group. The last thing you want is being told, "This is for you, because you're fifteen" - either you like the thing or you don't.

"I also think that teenagers are generally... you aren't going to be telling them anything they don't know. I can imagine that if I were fifteen and I were invited to see a play that some random Matthías Tryggvi dude has written with your age group in mind, I'd just be like 'Okay, this is going to be some drug prevention bullshit, I've heard it all before, I know exactly what it's going to be like, I've been to the theater, I know what this is.'"

Hákon says teenagers as an audience vary a lot. He brings up Skrekkur, a popular youth talent competition for the 13-15-year-old stage of Reykjavík schools, where groups of teens will put together a short theatrical performance, each school will pick one to represent them, and then the schools compete. Matthías notes Hákon has hosted Skrekkur and participated in it, but Hákon corrects him, saying he never participated; at the time, as a young teen, he didn't think theater was very cool at all. Matthías says, "Those upbeat, positive types were just a bit intolerable. That's where I was at, too, at that age." They agree that they were basically the 'difficult' teenagers that might be in the audience.

Matthías says that he saw Leg (Uterus), a black comedy musical about teenage pregnancy by Hugleikur Dagsson, at this theater, and thought it was awesome. (This was in 2007! I saw it too, and it was pretty great. I was 17 at the time; Matthías would've been thirteen.) He loved Hugleikur's books and their grotesque humour, which he still jives with. Leg really opened up the world of theater to him, surprised him with what theater could be. And he hopes Vloggað um ekki neitt could be that for at least one teenager.

They move on to talking about the play itself. Matthías notes it's still in progress, and he's been working on writing it on and off for more than a year (I'm going to guess he was contacted by the theater about doing this during or after Hatari's participation in Söngvakeppnin; Hatari's huge popularity with youth probably made the directors of the theater immediately pin him as likely to write something teens could get excited about). He expects it to go into rehearsals this fall.

The play is about two people trying to become successful vloggers on YouTube. Matthías says really it's kind of like what they're doing right now, "just projecting yourself, and what you have to say, no matter how ill-advised it may be, out into the world." Hákon will be playing one of the two characters, Konráð.

Matthías notes that one thing about writing teenagers, and characters on social media or YouTube or the like, is that you're entering their domain. His main source on YouTubers is his fifteen-year-old sister. "It's their home field, they know how this works, they know what's cool. So very early in the process, I just admitted defeat. I'm not about to write cool social media content for these characters, or write it to be cool. They're always going to fail. It'll be some kind of attempt the characters are making to make good content on YouTube, but it's doomed to fail, because it's the audience that knows what good content is."

Hákon does think the characters are making honest attempts, having read the script so far, and they're honest characters, critical of themselves, perhaps too critical at times. "Yeah, they're scared to take the leap, scared to publish the material they're recording." Hákon says that's probably a common issue for vloggers, whether to publish something or ditch it or start over. Matthías says he's pretty sure PewDiePie, who his sister introduced him to, records a deluge of material and has somebody else editing it for him. It's become a bit of a production, even though it's just him at his computer playing video games (or other things). The characters in the play have that dilemma, as they're making content but are unsure how to present it and edit it.

Hákon talks about how as an artist you have to have a degree of self-reflection and be able to recognize when an idea isn't going anywhere. Matthías says when you're recording or writing or creating something, you enter a bit of a manic state, start to have delusions about how awesome it is, which the characters do, only to hit a wall and realize actually that sucked. Hákon: "And then they might also get delusions about how terrible it is, because it might be neither amazing nor completely awful." Matthías: "Maybe just a little tacky."

Hákon goes over how this isn't the first time the two of them work together, having attended the Academy of the Arts together. He notes Matthías wrote Þvottur when they were in their first year, as a side project, and that was how they met. He says Matthías has a recognizable style; Matthías says "That's fun." Hákon asks if Þvottur was Matthías's first play; he says no, but it was a kind of first effort anyway, as it was the first one he directed. He also notes that Hákon helped him with that, having more experience, and others - at which Hákon brings up that Klemens helped as well, as he built the set. "Which was 'simple but clever' according to a critic," Matthías adds.

Matthías's actual first foray into playwriting was when he and a friend took part in translating-slash-adapting Gertrude Stein's "Doctor Faustus Lights the Lights". "It's a really interesting piece, very experimental, in some sense not very conventional in its textual structure. And it was really - again, a whole new world opened. Whoa, is this a play? Okay, wow." Working on this adaptation/translation with director Brynhildur Guðjónsdóttir was hugely inspiring for him. "After that process, I've really gotten into it, seeing students at the school acting out lines that Ingólfur and I had been polishing."

From there, he moved on to Ungleikur, where young people work together to write, direct and act in their own plays. He wrote three pieces for it all in all, and then Þvottur independently. He says it was really good to be able to make that connection and try this out at the Academy of the Arts.

Returning to Vloggað um ekki neitt, Hákon asks what besides his sister sparked the idea for this piece. Matthías talks about how he attended his sister's civil confirmation ceremony (the non-religious version of a Christian confirmation; confirmations are so commonplace and important in Iceland that any thirteen-year-old that simply doesn't have one would be considered weird, so there's a non-religious version done by the Icelandic Ethical Humanist Association). At the ceremony, there were a bunch of speeches by various speakers, and he thought it was really clear there how much everyone was trying to lecture them. One of the speeches was a parable about frogs. The frogs were all hopping, but then some people came and yelled insults at them. All of them immediately floundered somehow and fell out of line, except one of the frogs, and the punchline of the story was that that frog was deaf. He could just see in the faces of the thirteen-year-olds that nobody could make heads or tails of this story; it was completely irrelevant to them. He thinks this desperation to push you to succeed and not do this and that and think about your health and your mental health all just becomes noise at a certain point. He can relate to that, remembering when he was a teenager himself.

Hákon agrees that that tends to be how you experience this stuff as a teenager, and that this is also visible in the play, which includes that parable about the frogs. The play also shows a sort of exaggerated version of preventative education. Konráð and the other character, Sirrý, are trying to educate teenagers watching their vlogs ("a hopeless project when everyone's just watching PewDiePie," Matthías quips). So the characters are including a lot of hard facts about drugs, cigarettes, sleep, exercise, screen time, bullying, etc., which they're kind of aggressively trying to convey to the audience. The idea, for Matthías, was to create a character who's just spewing all that stuff and all that noise at a camera, not knowing who's even watching.

They talk about how Matthías has been appointed as one of the City Theater's two playwrights for next winter, after Vloggað um ekki neitt is done, though he expects to still attend the rehearsals ("You're not chained to the City Theater" - the National Theater and the City Theater are the two big competing theaters in Reykjavík). He also might become one of three people working on "Þjóðleikur", a project where playwrights write short plays with many characters, to be produced and performed by groups of teens around the country.

"And then Hatari gets mixed up with all this." "Yes. Hatari will be - maybe there's a performance of Vloggað um ekki neitt, and I'm there in costume, and Klemens and Einar are there, and we do a song or two and then introduce the play." (He's joking.)

As they sign off they sanitize their hands and remind everyone to keep two meters apart (Matthías is unsure if they've quite been placed two meters apart here; Hákon thinks it is two meters, but I'm with Matthías in thinking it seems like a bit less).

[swifty-fox]

dude! more history rants, that was great!! I honestly probably learned more in that than I ever have in a history class

dude! Learning about history is SO much better when the person you’re listening to has a genuine passion for it! My Russian prof used to take his shoes off and bang on the table to prove his point, he would imitate historical figures down to the Russian accent (with great skill he lived in the USSR through the entire nineties which if you know anything about nineties Russia that is a FEAT. His wife to be at the time ((now a german history prof at my college)) was offered a ride in a helicopter by the Russian mob. She declined) 

Russian history is also just such a rich and dramatic and WILD history. Theres so many things to focus on like an entire semester was spent JUST studying the revolution and that was only an introductory course

Anyways since I’m here and can rant lets talk about two fun things! Lenins  name and his family as well as Vasily Grossmans greatest and most controversial works!

So Vladimir Lenin is a pretty iconic name. A pretty cool name in fact! Really rolls off the tongue and strikes FEAR into enemies hearts.

Did ya know it’s not his fuckin name? Nope! the guy straight up chose a new last name for himself! This former law student (oh yeah he wasn't even a politician no wonder the fucko didn't know how to run a country) was actually born Vladimir Ulyanov! 

but why the name change? Ulyanov is still pretty easy to say, still pretty memorable. Rolls of the tongue so on and so forth.

this, ladies, gentlemen, and everything in between and beyond, is because of Lenins older brother Aleksandr Ulyanov! 

(this guy has better hair than i could ever hope to, thanks diluted slav genes) 

now sweet Aleks here was also four years Vladimirs Senior and was also a revolutionary! (seems like it ran in the family) 

Not only was he a revolutionary but he was a MASSIVELY FAMOUS ONE and kinda helped set the ENTIRE downfall of the soviet union in motion long before the revolution was even a whisper of a thought. 

How you ask? well uh.

he tried to kill Tsar Nikolas II’s dad. 

yes, that Tsar Nikolas who later was overthrown and was executed by firing squad. Sorry the Romanovs are all very very dead we found all their bodies the animated movie was very wrong. 

Anyways, sweet kolya’s father was Tsar Alexander III and he was known throughout the land as the Peacemaker! 

(also yes they're both called Aleksandr. Russians only have like. Ten names to choose from)

wow sounds like he must be a great guy with a nickname like that huh? Why would anyone wanna kill him! Sadly, the nickname is only because Russia entered no wars under his rule. He was in fact, a huge bastard. Outside of being physically and emotionally abusive to his family (he would often berate Nikolai for being weak which definitely led to some of his issues with his authority and pride being questioned later on...) he was incredibly reactionary and heavy handed when it came to ruling. he opposed ANY movement that might minimize his authority as emperor. He was famous for executing a LOT of anti-imperialist terrorists.

he also looked like this

not to insult bulldogs but this guy sure looks like one. 

Anyways, Aleksandr Ulyanov helps devise a plot wherein he and a bunch of other revolutionaries will ride by Tsar Alek’s carriage and chuck a bomb through his window and then boom no more emperor. basically, it was the 1887 version of a drive by shooting. 

Naturally, it failed, otherwise we wouldn’t be talking about this! Anyways, All the conspirators were captured and sentenced to death. (5 were later pardoned none of which were Lenins brother.) They were all hanged.

Although Lenin was involved in politics before this to some degree, this action really radicalized him and really got the ball rolling for the eventual Soviet Union. Talk about butterfly effect. 

Alright time for history lesson part TWO!! Lets talk about Vasily Grossman and his work In The Town of Berdichev! Though more technically I will be talking more about the film adaptation titled Commissar(1967). 

quick background time! Vasily Grossman was born to a Jewish family and due to prosecution (of both Jewish people and Ukrainians) at the time was forced to conceal his heritage. He actually studied to be a chemist at first and was quite successful until he transitioned later in life to being a writer and reporter! His accounts of the Ukrainian famine are the some of the most detailed accounts as well as the most controversial (to the Russian state) he also was a war reporter for WWII and intensively documented the ethnic cleansing going on. Understandably.

he was strongly supported by Maksim Gorky! (yes that Maksim Gorky, famous writer, and the man who helped develop the entire soviet education system that kinda was just brainwashing and propaganda. Reportedly later in life he considered that to be one of his greatest regrets((he was also a massive homophobe too because same sex relationships were actually legal for a while there in russia!))

Long story short, Vasya believed strongly in several things. he believed in the human spirit, he believed in supporting his Jewish brethren, he believed strongly in mother Russia and the communist party. But more than that he believed that those who do not learn from our mistakes are doomed to repeat them. 

Thus came about his work. I’ll post a quick plot summary here from Wikipedia of the movie. it’s a really good film honestly I highly recommend it. 

“During the Russian Civil War (1918–1922), a female commissar of the Red Army cavalry Klavdia Vavilova (Nonna Mordyukova) finds herself pregnant. Until her child is born, she is forced to stay with the family of a poor Jewish blacksmith Yefim Magazannik (Rolan Bykov), his wife, mother-in-law, and six children. At first, both the Magazannik family and "Madame Vavilova", as they call her, are not enthusiastic about living under one roof, but soon they share their rationed food, make her civilian clothes, and help her with the delivery of her newborn son. Vavilova seemingly embraces motherhood, civilian life, and new friends.Meanwhile, the frontline advances closer to the town and the Jews expect a pogrom by the White Army as the Red Army retreats. Vavilova attempts to console them with a Communist dream: "One day people will work in peace and harmony", but the dream is interrupted with a vision of the fate of the Jews in the coming world war. She rushes to the front to rejoin her army regiment, leaving her newborn behind.“

- White army was the anti-soviet army during the revolution. Red Army was the soviets. Pogroms were targeted areas of ethnic cleansing against Jewish peoples, namely they were villages or towns that were wiped out. 

this film was banned for something like forty years for anti-soviet sentiment. But why? it seems pretty damn pro-soviet doesn't it? 

Well firstly lets talk about how oppressive the soviet regime was by this point! In 1967 Russia was in the dying throes of Stalins regime. Yes he had died a little over a decade earlier but the government was still very much being run by his ideals. All independent newspapers were banned. EVERYTHING every single piece of art, literature, news, commercial, WHATEVER, had to be state approved. And by god was it hard to get things approved. Grossman routinely wrote of his frustrations and struggles of getting anything published because if a Russain character was portrayed as anything but a happy go lucky communist then it would be censored. Grossman first ran into this issue when he was reporting on the iron and coal mines in siberia. the conditions were terrible but Grossman had to lie and say everything was fine. It let to a real crisis of ideals for him.

The first red mark against this movie is that well, it focuses on a woman. It’s an incredibly feminist movie, with the idea of motherhood and duty and the strength of a woman being just as much if not more than a man. (for reference a Commissar is like an army Officer) 

Secondly, she abandons her post! to have a child! In communist Russia NOTHING comes before your duty to the motherland. But again she eventually realizes that the call of her country is stronger than the call of this simple maternal life and she does go on to fight so why is this a problem?

Well ultimately, it boils down to the final scene. 

"One day people will work in peace and harmony" she says. An entirely pro-soviet message. But then it is instantly contradicted by footage of the holocaust. This is a visual representation fo Grossman saying that although the communist ideal is strong in the soviet union that they are being blinded by false enemies, prejudices and will find themselves committing such atrocities (of course they already are but again he DID still support the Soviet State) Basically it was a warning to the Soviet Party! Learn from the mistakes that were made and gentle themselves!

And this, this was a criticism of the Soviet party! And thus, it was shelved for nearly twenty years.

It finally was shown again in the late 80′s  

Grossman, after attempting to publish his magnum opus, Life and Fate, had his flat raided by the KGB and all his notes, manuscripts, letters, books, publications, and pretty much his life's work were confiscated. Grossman died in the mid 1960′s of stomach cancer not knowing if any of his writings or best works would ever be seen or published again. 

Thankfully they were found and published and his massively important legacy lives on in the people who know about him. But his story is a very bittersweet one indeed. 

you can watch the full movie here with English captions! 

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(tw: imagery of holocaust, some anti-semitism (if i recall) some children without any clothes bathing if i recall (its not weird but I know it was shocking for me to see at first))

(maybe I’ll talk about the TRUE story of Rasputin another time...) 

[godlivesonthemoon-archived]

THE POSITIVE & NEGATIVE; Mun & Muse - Meme

fill out & repost ♥  This meme definitely favors canons more, but I hope OC’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multi-Muses pick the muse you are the most invested in atm.

My muse is: canon / oc / au / canon-divergent / fandomless

Is your character popular in the fandom? YES / NO / IDK (I don’t see lot of content with him so he’s not so popular I guess? :( )

Is your character considered hot™ in the fandom? YES / NO / IDK (apparently it’s a debate but I personally find him HOT)

Is your character considered strong in the fandom? YES / NO / IDK

Are they underrated? YES / NO / IDK

Were they relevant for the main story? YES / NO (first one to introduce observation haki so heck)

Were they relevant for the main character? YES / NO / THEY’RE THE PROTAG.

Are they widely known in their world? YES / NO

How’s their reputation? GOOD / BAD / NEUTRAL

How strictly do you follow canon?

I’m trying my best to follow his canon character and the way he reasons, but I have to somehow make sure to be able to interact in several verses as well, which could end up turning him as a more canon-divergent character sometimes. We don’t know much about Enel, especially his past, it’s a vast playground which has never really been explored, so it gives me liberties regarding his interpretation and my own headcanons. I do believe I try to portray him in the most canon way possible, but I’m not Oda, and I didn’t create his set of mind in the first place! That’s just me trying!

SELL YOUR MUSE! Aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.

Enel is an asteroid suddenly entering your world, highly different from the casual villain you could encounter, with a set of mind different from what you have ever seen before! Egocentric prick full of himself and able to harm your muse either with in verbal joust or physically? For sure! You want to have debate about your muse’s most profound beliefs and challenge their abilities to think and manipulate someone else? He’s always up to have a conversation and will provide you so many topics to debate that you could stay here for years without even being done. Enel is the impredictable character you need to have spice in your life. He drifts between a terribly strong God Complex and a very human persona, leading you to various interactions where I dare you not to feel anything. Because that’s it’s his best capacity : ENEL WILL MAKE YOU FEEL SOMETHING, and either you will love it, or hate it, but you can’t remain neutral when he’s around.

Now the OPPOSITE, list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?).

Even if you believe he could be nice and understanding towards your muse’s sorrows, Enel remains a villain and probably one of the most unpredictable. He’s not here to be kind, not here to waste his time either. He’s more often harsh and insulting than really patient and open-minded. Could he really love your muse one day? That’s a harsh question, and he will probably disappoint them if you expect something more casual around him. Enel loves to destroy his environment, challenge his RP partners (all of them, not necessarily on a romantic ship), and your muse could walk out of his garden, thinking that they waste their time with someone like him.

What inspired you to rp your muse?

I JUST LOVE ENEL SO MUCH.

I have always been hooked by complicated characters in the first place, and when I started RP with my OC when I came here, I was already interested in having another canon character. I wanted to roleplay with him, and no one else. Enel is such... a forgotten character? We forget about his haki, we forget about his set of mind, we forget about his combat skills (DAMN he masters martial arts so WELL), we forget about his impressive logia fruit... Enel is a smart man, cruel and impetuous, but his philosophy is so interesting to develop, I’m just a weak girl for this boy.

What keeps your inspiration going?

Definitely the numerous roleplay I have, and the awesome friendships I developed with awesome muns!! I have received so nice comments regarding my portrayal that it’s a real pleasure to keep musing with him. Really, guys, thanks a lot for everything!!

Some more personal questions for the mun.

Give your mutuals some insight about the way you are in some matters, which could lead them to get more comfortable with you or perhaps not.

Do you think you do your character justice? YES / NO (doing my best)

Do you frequently write headcanons? YES / NO

Do you sometimes write drabbles? YES / NO

Do you think a lot about your muse during the day? YES / NO

Are you confident in your portrayal? YES / NO

Are you confident in your writing? YES / NO

Are you a sensitive person? YES / NO (I’m tough for sure but I’m also a bby)

Do you accept criticism well about your portrayal?

Only if it’s constructive and genuine in the first place! I totally get that people might find my portrayal divergent regarding his canon character, but argumenting is always important, and it’s still a game... I wouldn’t actively criticize someone in the first place because I don’t agree with the way they portray their muse ; everyone should be able to bring more diversity in the RP world and have fun in the way they want to play, as long as they’re having fun! So yes, and no, it really depends and I guess criticism comes with trust between two mutuals.

Do you like questions, which help you explore your character?

I’m a sucker for these questions! I’m often surprised by a lot of them, and it allows me to explore topics I didn’t think about!

If someone disagrees to a headcanon of yours, do you want to know why?

Like the criticism part, it depends on the way that person is talking to me! We can all have different opinions regarding characters, it must remain genuine. Sure we can have two points of view, that’s even amazing! But it doesn’t mean I will change my headcanon, because this is the way I like to see my muse :) People needs to respect my own creativity, as I respect theirs when it comes to their muses, it’s simple.

If someone disagrees with your portrayal, how would you take it?

I just block and don’t care anymore. We can’t all get along for sure, and I’m too old to actually change the way I want to portray my muse, and also... too experimented on the RP world to turn it into something toxic again. You don’t like it? That’s alright, let’s just live our lives in peace, there’s no point in continuing interacting and seeing each others. Nothing personal! Just having some peace :)

If someone really hates your character, how do you take it?

You can hate Enel, it’s absolutely normal to find him arrogant and despicable, but people need to draw the line between ENEL’s actions and ME as a mun. I’m not him, I’m writing how he WOULD react to something, so I don’t want to suffer from people’s hate towards me, or disappointment I guess if the RP relationship doesn’t go the way they want/hope? I have an EXTREME tendency to really separate my RP passion and my real life thanks to former experiences, which means I’m definitely able to play with my muse with a completely detached set of mind (it’s actually the only way for me to play villains XD). I’m perhaps not the best partner to interact with if RP gets under your nerves too much, or if you take things too... personally. Because actually, I have no more patience for this...

Are you okay with people pointing out your grammatical errors?

I don’t mind, because english isn’t my first language in the first place! I’m always trying to write readable contents, and even if I have a good level in english, mistakes happen so... I really don’t mind if someone corrects me!

Do you think you are easy going as a mun?

I’m easy-going, an extrovert for sure, it’s easy to actually reach me, and it’s easy to talk to me. I won’t pretend though that I don’t have my flaws! Sometimes I’m not in the mood to talk on discord or here, and I have the terrible need to withdraw into myself after a long day at work. Though, I love interacting with people, musing, talking about everything!! I’m always up to share a chat! :)

That’s about it, congrats for filling out!

➸  Tagged by : @seraphiixa​ (thank you ma’am!)

➸ Tagging: @chillin-at-partys-bar​ @kingofdesert​ @godsnaturalenemy​ @mightyxsprout​ and whoever is interested!

[chiibinomonodamon]

Let’s Clear Up Some Misunderstandings about ZackRay, SHALL WE?

Yes, I think we shall......due to all this idiotic discourse going on here.

*Note: I cannot speak for ALL ZackRays but I do believe from my interaction with many of them, they have similar feels. What I’m posting here however? This is coming from my own personal feelings.

1. “Shipping ZackRay means you support pedophilia.”

A: F*CKING NOPE....first of all, let’s get into what “shipping ZackRay” means, for me, okay....

Yes, I ship ZackRay. I referred to it as a Platonic Until Legal Love”. Which seemed to give people the misconception that “it’s waiting for a child to turn 18 so they can consent to sex”.

THAT IS NOT WHAT I MEANT.

Perhaps that was a very poor choice of words. Ugh. So let me explain in more detail:

I feel that Zack’s feelings for Rachael will remain platonic until she grows older and then it is possible for romantic feelings to be slowly realized over time.

Because let’s get one thing straight; I don’t think we can deny:

Issac Foster is not able to recognize what love actually is, even by the end of the series. Nobody has taught him this. He’s not emotionally mature enough to understand it. Yes, I think he feels it towards Ray subconsciously. He feels something. He knows he cares for her in a “I would be glad if you did not die/ I don’t think I can live without you” kind of way. But he hasn’t thought of it outside of that. Therefore, if he is not aware of a romantic attachment, he can’t really act on it, which cancels out (God forbid) any type of sexual feelings he would have towards her. Which cancels out “waiting until she’s legal”. Which I agree, is messed up. Ick. Btw I hate Usagi Drop’s ending. A lot.

So if you’re under the impression that I’m expecting Zack and Ray to suddenly start making out right after the last scene, uh NOPE, I’m not. What I ship...(what a lot of people ship) are those possibilities far....FAR....into the future where Zack eventually understands that Ray is the only person he wants to be with....for the rest of his life. Period. And what exactly is wrong with two consenting adults agreeing to be with each other? That’s right.

NO-THING.

It’s not wrong just because he knew her when she was a young teenager. He was not looking at her in that way. She was simply important to him as a person. And if she were to try to kiss him or something while she was young, his response would likely be “WTF ARE U DOIN”. An appropriate one, yes. XD

I was ALSO referring to my own feelings when talking about PULL. In other words, I don’t really approve of sexual ZackRay content unless she is portrayed as an adult. Mmkay....moving on.

2. “ZackRay shippers look for porn of the ship while Ray is still a child”

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO. THAT IS GROSS. NO THANKS, I REJECT.

3. “ZackRay shippers think adults being with kids IRL is okay.”

..........whatisthisIdon’teven.

Hey, is Zack your favorite character? Yeah? THEN YOU MUST THINK SERIAL KILLERS IRL ARE REALLY COOL!!! YOU WANT TO BE ONE, RIGHT? KILLING PEOPLE IS GONNA BE YOUR HOBBY TOO, RIGHT?

..........uh......see how idiotic that sounds? Don’t you just love being accused of that shit? Yeah, it’s really fun, isn’t it?

4. “ZackRay shippers are horrible, spiteful people who attack antis for disliking their ship”

Okay, there is a difference between “disliking a ship” and “opening attacking strangers online”. You don’t like our ship? Fine, I can respect that. Let us go our separate ways and not speak of this matter again.

DON’T.

GO.

LOOKING.

FOR.

FIGHTS.

Don’t call people out on social media posts. Don’t reblog their posts and publicly ridicule them. Don’t reblog their art and insult it. Don’t mention their names, don’t bully them, don’t TRY TO GET OTHERS TO BULLY THEM. This is sick. This is just wrong. I have recently found out that kids under 18 do in fact ship ZackRay. Which means when you attack, stalk, and harass them on tumblr, YOU COULD BE EMOTIONALLY HURTING A CHILD. Ironic for all the antis going “PROTECT TEH CHILDREEEEENZ!” Yes, protect them from your toxic attitude, how about?

5. “ZackRay shippers create content that is harmful because pedos can use it to groom children.”

And the antis seem to be under the delusion that they are SUCH special snowflakes because they were groomed this way; no guess what, ZackRays are also humans (despite what you may think) and have fallen victim to the same shit. Also, news flash, anything can be used as a grooming tool. YES, ANYTHING. And there are WAAAAAAAAAAAAAY more harmful ships out there (THAT ARE CANON) than ZackRay. I’ve been an anime fan for a long ass time. You think I don’t know about all the lolicon kiddie porn? You think I don’t know about Boku No Pico? THAT’S the shit you should be worried about kids and pedos finding. Not that I think fiction is really going to increase child rape crimes. If someone is intent on harming a child, they will. Reading or seeing fanart online isn’t going to influence that. They have a psychological disorder, unnatural addiction, and a lack of morals. These issues are rooted far deeper than just seeing stuff online. Getting rid of that stuff will change literally nothing. The only way a pedophile can change is to get professional help. And schmucks ranting online about how fans shipping is bad is NOT professional help. It’s certainly a professional waste of time.

6. “If shipping ZackRay is a groomed victim’s way of coping with that trauma, that’s unhealthy.”

STOP.

Are you a psychiatrist? Are you an expert in dealing with rape victims? Have you examined this individual you are criticizing?

No?

Then f*ck off. Every person is different. Every story is different. This is a stranger on the internet; who the f*ck are YOU to tell them “that coping method is unhealthy”? You don’t know their life story. You don’t know what works for them. Do you think everyone with anxiety copes with it the exact same way? Depression? Eating disorders? I happen to have an anxiety disorder, myself. Recently a friend of mine informed me that she was also diagnosed with one. I told her my symptoms and I told her what I did when I got an attack.

Guess what?

What she experiences and what I experience are as different as f*cking night and day. I was trying to be a helpful friend but it turns out I was not able to help her at all. I thought I could because I thought I was experienced. But I’m not. It was a real eye-opener.

So don’t generalize people that way. You know nothing about what they went through. Get off your f*cking high horse.

Conclusion: These six misconceptions were the most problematic ones I can think of. Now some Q and A:

Do you draw NSFW ZackRay?

No.

Will you reblog it?

No.

Do you write NSFW fanfics?

No. I’m really not into sexual stuff at all and would be terrible at writing it.

Do you support people who do?

People have the right to draw and write whatever tf they want. Censorship is bad. Just don’t harm anyone IRL. Please.

Where do you draw the line at romantic ZackRay content YOU draw, write, or reblog?

Cuddling, chaste kissing, hand-holding; absolutely nothing worse than what you’d see in a Disney movie. Romance-wise. I got nothing against Zack swearing like a sailor the way he always does. xD

Do you ship ZackRay because of their ages?

*bangs head on wall*

No, I ship them because of who they are as individuals and how they act when they are together.....you know, like a normal person.

Thanks for reading my long-ass rants.

Feel free to PM me, ask more questions, send me hate mail, whatever. I’ll probably just print out your hate mail and use it as toilet paper though...if I didn’t already block your ass. :’D

[thelearningcat]

I just rewatched the Ugly Truth and I feel like I need a bath.

I will preface this by saying, I watched this when it came out and enjoyed it. I didn’t think it was an amazing romance, but I enjoyed it for the romantic trash I often enjoyed. 

Rewatching it, post-women studies, post-academia, post-growing up and experiencing real relationships, it’s disgusting on so many fronts. 

All the critiques it appears to almost try to criticize, it instead holds up and applauds. 

We have this strong, capable, good at her job, smart woman who is a producer despite being a woman and somewhat young being completely undermined at every term by the men above her at her job and the man she’s supposed to be in charge of. This is nothing to say with the constant sexual harassment, degradation of women, and overall sexist message it constantly purports. 

Hell, Hitch somehow manages a better message than the Ugly Truth. Hitch at least had it turn out that the woman they were trying to lie to liked the guy who was lying better for all the things that were 100% him rather. The Ugly Truth quite literally proved the misogynist right and then rewarded him with our protagonist. 

Maybe this doesn’t come to a surprise to anyone else. I haven’t watched this film probably since 2012 or so, so it has been a hot second. I’m almost scared now to watch The Proposal, because that was a movie that came out the same year that I also liked. 

How in the hell two women could have written this movie is beyond me. At every second it felt terrible and degrading. 

I watch a lot of romantic trash that had terrible messages to women, but they usually at least have some redeeming qualities or empowered women. Not the Ugly Truth. There is literally nothing. No moment in this movie qualifies as redeeming. The love interest learns no lesson to be nicer, the woman isn’t given power over her career, the third wheel love interest doesn’t turn out to be a nice guy, there are no kind and supportive friends, and there are no funny moments that don’t involve the humiliation of the female protagonist I’m supposed to be rooting for.

To end my rant, let me propose how to fix this travesty, if only because it’ll make me feel better to imagine how I would write it better:

Abby takes control of her job and shows she knows better than the assholes who are always just ignoring her clear brilliance and ability to think on her feet. This has to happen for me to feel vindicated for what she has to go through with producing the Ugly Truth. There are three ways I see this going. Option 1: she quits in the end. Instead of Mike quitting or in lieu of him quitting and being told she has to find his replacement, Abby quits instead, declaring she deserves a workplace that values her talent. We are given one reason she stays at a small local network, but it’s not a good enough reason to prevent her from really going somewhere in my opinion, especially not at least to a different network than the trash place she works at. Option 2: there are massive protests against the Ugly Truth, and Abby leads the charge to instead turn the network around to be a feminist dream workplace. I do not buy for a second that 98% of women would like the Ugly Truth. Sure maybe the white women who voted for Trump would like watching it because they’ve been brainwashed to think toxic masculinity is chill, but the rest of us, and even a lot of those women, would disgusted either by the sexism or the non-Christian discussions. Ideally, the networks higher ups would be fired and Abby would be given the reigns to turn it around. Option 3: She turns the Ugly Truth around. By sheer brilliance. She brings in feminist women and men who could counter and argue against Mike’s Ugly Truth. She brings in academics who can show scientifically that Mike’s perspective is wrong. The Ugly Truth turns into a show breaking down the ugly truth about toxic masculinity and the patriarchy. This one is probably my favorite since it lends itself to really enabling Mike to be a better person so he can be a love interest. This is a romantic comedy (or its supposed to be at least), so I’m fine with some acceptance of a love interest. 

We need to overhaul these fucking asshole love interests. Mike and Colin are both absolutely terrible and Abby’s interaction with them give me no reason she would fall for either or them or that they would fall for her.  Let’s start with Colin though, since he’s clearly just the trope “boyfriend who causes conflict by existing”. There is nothing special about him. He’s rich and handsome, the protagonist spends most of the movie thinking he’s the one, he turns out to be a dick, and his being somewhere and the real love interest seeing him makes the real love interest go running. I hate this trope. I much prefer the newer(?), less common trope that I’ve seen in some movies where the established love interest is legit nice and things just don’t work out between him and the protagonist for some reason. I want a Colin who says yes when Abby asks him out. I want a Colin who is clearly turned off (to the audience) whenever Abby tries one of Mike’s ploys, but is too nice to just turn her down for them (because he likes her otherwise). I want a Colin who in the end says they should break up because while Abby is great, because she clearly won’t be honest with him. Or that Abby breaks up with saying that she has feelings for someone else and Colin is just like, cool, let’s be friends, I still like your cat a lot. And we get to see them hanging out on double dates in the end scenes. Mike... Mike is just terrible and there’s no way he can ever get the girl without major changes. In fact, if I just got description of them both, I would assume this was a secret “nice man right in front of you when you are chasing after the asshole trope” wherein Abby gets Colin instead. It would be a nice surprise. However, Mike has some interest character elements that lend itself to a potentially fascinating love interest. First off, let’s get out of the way, he has to learn, or admit, that the Ugly Truth bullshit is just that, bullshit. Otherwise, he can stay in the dumpster he lives in. However, putting that aside, there are some questions would might lend to a much more interesting love interest. His relationship with his nephew is one of them. He clearly is super potentially cute to his nephew and sister. He teaches his nephew terrible things, which is unfortunate, but if we fix that? Let’s say instead of Abby hearing him say that it’s awesome girls are already going to him [the nephew], we instead hear him saying that empowered women are the best and sexiest. Earlier in the movie instead of hearing him say that he should be insulting 20 year olds, we hear him say that he should never insult women, they get that enough from assholes who follow his show. If we have it clearly established that he doesn’t believe the things he says through the lessons he gives his nephew, we would have an easy way to show the dissonance while still seeing the cute uncle-nephew relationship.  This also brings up the potential for why he got started on the Ugly Truth. We get a vague comment once (that’s never answered mind you) about how he got hurt before, but that’s bullshit and a cop-out. I instead want it to have started out as a satire, or maybe he was really hurt from a break up- OR he was really angry when his sister’s baby-daddy left her so he went on youtube and ranted about “The Ugly Truth” about love. Basically, we just need some backstory to believe he stumbled on this character, whether because he was telling the truth for a moment or trying to make a joke, but now he’s earning money doing this and he doesn’t really know how to get out. Maybe he never got a degree because he helped his sister earn money (seriously, it’s so easy to milk this relationship he has with his family) or maybe he got one but its in something that doesn’t make money like art and he doesn’t know how to transition from acting to that. Now he’s stuck, and maybe he’s tired of people assuming he’s the character he plays so he stops disputing them. Maybe he’s knowingly using his male privilege because he knows this character gets along with the creeps who run networks. Maybe he’s just bitter in general and has a hard time turning it off anymore.  On the other hand, I would also accept swapping out a lesbian for Mike and have Abby turn out to be bisexual. The lesbian could say all sorts of bullshit to get on TV and it’d make sense considering what men in charge of entertainment expect women to do to get their airtime. 

At least one supportive friend to the protagonist. We get Joy, her friend/employee? But Joy almost just acts to support the idea that somehow women are okay with Mike. Besides getting Abby dates, we see no reason to suspect she’s actually a friend to Abby. Maybe they are trying to say Abby doesn’t have any friends because she put her career over all else, but I find that really hard to swallow. I spend the majority of my time on work and me-time recuperating from working, but I still have friends that I see semi-regularly and a significant other I spend a lot of time with. 

We need there to be a legit sexual harassment claim filed at this workplace and people to get fired. That’s all. 

[lj-writes]

I finished my paper! MLA sources and everything! Everyone feel free to share with your friends who liked TLJ.

Star Wars and Treating Art With Respect

Star Wars: a space opera of undeniable cultural impact. It is unusual not to have heard of Star Wars, let alone seen at least one of the films. Though individually only a select portion of the films are undisputed masterpieces, the collective saga is iconic and enduring. At least, this was true of the original six episodes— the largely praised The Force Awakens was accused of being derivative. But mediocre Star Wars films are nothing new; in the past, the prequel trilogy has been criticized as such. The film that tarnishes the enduring saga is Rian Johnson’s Star Wars: Episode VIII— The Last Jedi. The Last Jedi is a flippant insult to the fanbase, but worse, its messages are terrible and offensive.

The most glaring issue is that of Reylo. “Reylo” is the romantic pairing (colloquially, shipping) of Rey and Kylo Ren, the protagonist and antagonist of the sequel trilogy, by the fanbase. Rian Johnson seems to be a Reylo shipper, as evidenced by his assertion that Rey and Kylo are “two halves of [the film’s] protagonist.” This directly contradicts the previous film, where Kylo Ren was the antagonist. Meanwhile, Finn was Rey’s co-protagonist and harbored mutual romantic feelings for her. In The Last Jedi, Rian Johnson seems to forget this relationship. While Finn is still very much devoted to Rey, she is apparently replaced by the end of the film by a new love interest, Rose Tico. Meanwhile, Rey seems to forgive Ren very easily for torturing her and murdering her father figure Han Solo, and instead tries to redeem him out of implied romantic feelings for him. Though Rey ultimately abandons Ren when she sees he is irredeemable, a connection between them is entertained long enough for Reylo shippers to overtake the fanbase. Reylo sets a horrible example of relationships. Ren has done nothing but abuse Rey. He abducted her, forcefully probed her mind, attacked and wounded Finn, her only friend, and when Ren discovered a mutually non-consensual psychic connection between them, he used it to manipulate Rey into caring for him. One line in the film in particular stands out as something quoted straight from the mouths of many abusers. “You’re nothing,” Ren tells Rey, “but not to me” (The Last Jedi.) Those who romanticize this line do not understand that abusers in romantic relationships lead their partner to believe that no one loves them except their abuser; therefore, should the victim leave the relationship, they would have nowhere else to go. When Rey sees through his lies, she leaves him, and Ren, furious at losing a powerful asset, becomes bent on destroying her. Despite the fanbase’s illusions to the contrary, this is not example of a healthy relationship.

But not only does the Reylo ship set a bad example for those in relationships, it also erases Finn, a black male character. In The Force Awakens, Finn is second only to Rey in importance; in The Last Jedi, he is a side character, stepping back to allow Kylo Ren, a white villain, to take his place in the story as love interest and main protagonist. Perplexingly, the fanbase and Rian Johnson seem insistent that Rey and Finn be romantically paired with anyone but each other, hence Rose as a replacement for Rey. This demonstrates clear bias as Finn is written as a main character whose love interest is shown to be Rey. This is most explicitly demonstrated when Finn confesses to Rey that he lied to her and is actually a defected stormtrooper fleeing the First Order, and not a Resistance member fighting it. Despite Finn’s deception, Rey understands completely and pleads with him not to leave her. The scene is heartfelt and clearly romantic, and demonstrates that both characters have equally important arcs. This is a stark contrast to the sequel, where Finn’s feelings for Rey are portrayed as obsessive and Rey’s feelings for Finn are portrayed as nonexistent, until the very end when they share two brief scenes after being separated for the entire film. But not only is Reylo racist, it also sexist. Rey is little more than a pawn for Kylo Ren’s redemption, a plot device that, like all the others in the film such as the Canto Bight sequence, ultimately fails and renders itself meaningless. According to Bust, there are four tests that can determine good female representation:

The Bechdel test (two female characters converse about something other than a man.) The only two female characters to speak in the film, Leia and Holdo, discuss Poe Dameron, failing the test.

The Sexy Lamp test (if a woman can be replaced by an arbitrary object, such as a sexy lamp, she is written sexistly.) As the Scavenger’s Holocron observes, the film is so Kylo Ren-centric that Rey, the protagonist of the film and trilogy, could be removed with little revision.

The Mako Mori test (a character passes for getting their own arc that is not about supporting a man’s arc.) Spectacularly, every major female character in this film fails this test.

The Furiosa test, whose only requirement is that it causes (perceived) misogynists to boycott the film, is the only test the film passes, and it is not even the first Star Wars film to do so.

As observed by Hypable, when similar tests for female characters are applied to people of color, they also fail to pass, save for the inadequate Bechdel and Furiosa tests.

But The Last Jedi isn’t an intentionally sexist and racist film; it actually attempts to be progressive. However, its attempts to be progressive simply cause more problems. Vice Admiral Holdo is a character created to (unnecessarily) replace Leia Organa, the strong female character from the original trilogy. When Poe Dameron, the Resistance’s ace pilot, questions her strategy (which she needlessly keeps secret) and leads a mutiny against her leadership, Holdo is shown to be right and not Dameron. The message is clear: women should never be questioned by men. Never mind the fact that Holdo’s strategy led to several unnecessary deaths. Poe is changed from a competent commander into a reckless hothead to justify Holdo’s actions. In the film’s opening he sacrifices his entire squadron to take out one battleship. This is not even in character for Dameron, who never showed such abandon in his first appearance or the supplementary comics. Poe was portrayed as an experienced leader who cared for the lives of those under his command. In The Last Jedi, he is a young maverick with a Latin temper. This is racist to Poe’s character and a disgraceful portrayal female leadership. The problem is made worse because Leia, who showed exemplary female leadership throughout her appearances in the saga, is pushed aside, put into a coma to make way for her inferior replacement. Meanwhile, Rose Tico, Finn’s newfound friend, is constantly belittling him. She tasers him for deserting (a crime he cannot be guilty of because he’s not actually part of the Resistance.) She calls him cowardly and selfish for wanting to return to Rey (Scavenger’s Holocron.) The film’s novelization says she is “turned off by the weird traitor thing” (Fry,) which shouldn’t be “weird” at all, since Finn betrayed the fascist organization Rose hates, rather than having loyalty issues. In the same paragraph, she takes issue with his “bizzare crush on the friend of his” (Fry.) Not only is this abysmal treatment of Finn, it is a waste of Kelly Marie Tran’s talent that her character is written as jealously toxic and whose main purpose is to separate the female lead from the black lead as a romantic interest. The Last Jedi does more harm than good for progressive values, serving to legitimize the criticisms of mainstream progressivism.

The Last Jedi is an utter disaster of an installment in a great saga, but not only is it poorly written, it is so poorly written it is actually bigoted towards women and people of color, while tearing down men and rich white people to seem progressive. An offend-all piece of cinema, a deliberately divisive film such as The Last Jedi is inappropriate for our current political climate and for Star Wars. One essay is too short to describe in sufficient detail the faults in The Last Jedi and their devastating effects on society. We need to hold our art to a higher standard to avoid intentional or inadvertent racism, sexism, and poor writing. Classic stories such as Star Wars deserve more respect than a film like The Last Jedi gives it. Our stories are our culture, and if our stories are shoddy and offensive, what does that say about our society?

[mimiplaysgames]

What Episode Luna is Going to Be About (Or... how to drastically change a character)

This post is going to be a theory, a critique, and a follow-up of my previous post, Why Lunafreya Can’t Be Fixed. In this previous post, I go into some serious detail about how a character like Luna is not possible to fix based on how the writers have designed her. After the new DLC line-up reveal, I maintain this position, in light of my own three theories about what this episode is going to be about. I do not think that my theories are of tin-hat-conspiracy quality. Professionally, I believe in organic and deeply human writing and storytelling, (I can’t help it, I am classically trained and hold degrees in writing and literature), and I try to maintain this standard in my theorizing. I will discuss what my theories will be about, what this means for her overall character “growth” or “development,” and what this means for the direction of these new DLC from a writer’s standpoint.

TL;DR: Luna is going to get seriously retconned, and this is the only way for the writers to pitch a meaningful story to tell about her.

1) Ghost Luna

I wanted to get this one out of the way because it is the most far-fetched, yet the easiest to tackle from a technical development standpoint (because they do not have to write an alternate reality where she lived, which takes more resources). The statement that her fate is something that “not even death can free her from” really bothers me here. What is the reason to include this statement in the episode description? Ravus goes as far as to mention this in Episode Ignis. Does this mean we are going to play Ghost Luna? How is that going to play out exactly, what are the game mechanics? Are we going to fight pre-demons in the Astral plane? How does this mesh with her ghostly appearances?

Keep in mind that her ghostly appearances have already been retconned in Royal Edition, although there is no indication as to what the limits of her appearances are. Before, it seemed like her appearance was unnatural, hence why she disappears so quickly. In Royal Edition, we suddenly have a talking ghost with magical powers, and no discernible reason why she would disappear then.

Then there is the story arc in this option. A ghost, by normal folkloric standards, will continue to have ties to the earthly realm because of deep-seated regrets, or unfinished business. If she has unfinished business as an Oracle in death (and has the power to make shit happen) then.... why didn’t she do anything for the 10+ years that Noctis was asleep? If she regretted leading Noctis like a lamb to a slaughter, why support him in Royal Edition? All of these options would mean a serious retconning of her by illogical standards.

Now let’s discuss two more believable options...

2) This is a story about her activities during the events of Final Fantasy XV

In other words, this is going to be about what she is doing during the base game. I have already discussed in my previous post that there isn’t much of a story to tell in this aspect, which means that this would require some serious retconning, in light of this sentence: “Her battle to save the one she loves overturns the destiny dealt to the Lucian king.” This statement REALLY bothers me.

First of all, we do not see her make any action to save Noctis from his fate in the game. His fate was to die. She didn’t do anything to thwart this, and IF ANYTHING, egged him on in Royal Edition. This is also emphasized by the fact that she knew he was going to die (I mean really, her crying about never seeing him again, Gentiana talking to her about how Regis cried over the fate of his son, Pryna carrying the prophecy of him dying, etc.). She knew, and she lead him to slaughter anyway (that is not love, btw).

So what does it mean that she wants to save the one she loves, and this overturns his fate/destiny? If we are to keep the canon of the original game, and if this takes place during the same timeline as the game, then this means that she didn’t know he was going to die and has decided to do things behind the scenes that we didn’t know about to stop his fate. Which would be the most bullshit retcon on this list (SINCE SHE KNEW) and quite defiant of the logical understanding of her character and her role in the game. This leads me to discuss some of my intuitive (and possibly my most tin-hat) thoughts about her character development, and how she was built the way she is (from a writer’s perspective). This is where I will strongly criticize the approach that Hajime Tabata has taken with her.

I do believe that Tabata is very sensitive about criticism over Luna. It’s why all of the recent additions and changes to her address her most vocal critics. One of the most vocal criticisms is that she and Noctis are not in love, so he has to hammer away at a dead horse to the point of obnoxiousness (such as giving her the cover of Royal Edition, the repetition and literal spelling-out of her love for Noctis, the update of her train scene with Noctis where Tabata felt the need to make it more dramatic, naming songs attributed to NoctxLuna like “Lost Love,” “True Love,” and “Moonlit Melodies,” etc.), and his marketing decisions that suggest this major role that she does not have in the game (Luna edition of the PS4, song lyrics that mention her, her strong appearance in most official art, Luna edition of the NVIDIA harddrive, and on and on and on...). It’s almost as if her PR is what emphasizes of her importance in the story, because the actual story does a shit job of doing it. Another common criticism of her is that she is evil for leading Noctis to his death without telling him. Keep in mind that Luna is essentially designed to be perfect and free from criticism. Tabata tries to legitimize this by making everyone in the world either adore her, or hold her in high regard. This is not a creator that understands human complexity, and the way he keeps throwing her in our faces and plastering her in all of the advertising, especially in Royal Edition, when she had four minutes of screen time, and when she is still inconsequential, is an ego trip on his part. A writer/creator/director is not supposed to do that. Furthermore, the fact that he felt the need to spell out her love for Noctis is insulting to the player - yes, we can tell that she loves him, we aren’t dumb. Spelling it out doesn’t validate their love or convince critics that it’s real.

I do not think, therefore, that he can tolerate such criticism over her and her relationship to Noctis. Which is another problem with this retcon: if she still knew that Noctis was going to die in this story arc, and decides to save him from it, then she ultimately makes a giant turnaround against her religious indoctrination and defies the gods, which is in strict contrast to what we know of her.

I mean, we are talking about a character who is so involved with her religious indoctrination that she gives a speech to a public, telling them directly that the gods are watching over them, minutes before she wakes one up and it destroys the city and subsequently kills a bunch of people. We are talking about a character whose religious indoctrination is so important to her, that this is THE ONLY THING SHE TALKS TO NOCTIS ABOUT - as children, in her death scene, and in their new reunion. Despite the Astrals’ abuse of the people, she still has delusional blind faith in their protection anyway and in spite of obvious evidence to the contrary, so it doesn’t make sense for her to defy them.

I also think that the development team does not have the resources to address the quagmire that is the Astrals, which is why they have already been retconned. Attributing all of the ills of the world to the Astrals, and blaming them for the Starscourge (being that their falling out was thought to be the cause of it) cannot be an acceptable criticism, because then it means that the development team would have to explain why Noctis would decide to die for them when he was commanded to. They don’t have a good reason for this if the Astrals are depicted as the cause of the whole problem. So the blame was shifted to Ardyn in the 1.16 patch, and Ifrit became more of a sympathetic figure.

And here is where I touch upon another flaw in her overall character design that I did not touch upon in my previous post. Blaming the gods for the Starscourge also puts blame on Luna for having faith in such abusive figures, which is also unacceptable because she is designed to be perfect. It is not acceptable to question Luna’s beliefs because the game paints her to be a character that is righteous about everything that is happening around her, and she has to be correct about the prophecies (and Florence + the Machine’s song “Too Much is Never Enough” hammers this away by saying that Luna is “right” for doing what she did). Nyx is the only character to criticize her and Regis, and she “corrects” him by implying that the countless sacrifices made in Insomnia are needed for the good of the world. The concept, then, that she will defy the gods is very strange. Ravus defies her beliefs, and look what happened to him. The Glaives in Comrades defied the gods by abandoning their king, and are called heretics or the like in need of redemption. You don’t defy the gods, which means that Luna, as their official bitch spokesperson, cannot be wrong. In other words, Luna defying the gods in the canonicity of the original story can’t happen without it being a terrible contradiction.

Which leads me to...

3) This is an alternate reality where Luna is the most retconned

By alternate reality, I can mean different things. She either lives in Altissia, or she makes different choices by defying the gods altogether and not go down the same path that she did in the game (although, defying the gods in this alternate timeline will then open its own can of worms that will have fans debating about their use and purpose in the original...).

This is arguably the easiest way to make her consequential to the plot (for more on her lack of importance to the story of Final Fantasy XV, please read ooc-but-stylish’s post on her plot progression, which is much more eloquent than I can ever hope to be). It is interesting here how her DLC is titled “The Choice of Freedom,” another sensitivity to the criticism that Luna had no actual choice in the game because she behaved as a pawn to the gods, and just kind of did whatever the plot told her to. I address her lack of choice in my previous post, as well as ooc-but-stylish.

I do believe this is also a reaction to fans’ desire for her to be selfish (which is strange - it is already selfish of her to not tell Noctis anything, which she had many chances to do so because they shared a notebook). People were expecting her and Noctis to defy their fates because they were unfair, and find another way to bring light back into the world. If the option to defy the gods is what fans want though, then they are asking for a retcon. I have discussed the possibility of putting Luna in a catch-22 in my post, where she is changed beyond what is already understood of her.

This kind of suggests that if we were to make her consequential to the plot, and take action that would seriously change the events of Final Fantasy XV, then this means that she will be changed to the point where we stop recognizing her as the Luna we know, and change into a completely different Luna (and not in the organic-character-development-way).

Looking back on my previous post, I realize that Kingsglaive Luna was very reckless and suicidal, which makes no sense in comparison to Game Luna, who is concerned about completing her role as Oracle (nor does it make sense... how does losing Regis and Insomnia mean that she lost everything if she knew that Noctis had already left? If she died being so reckless, wouldn’t that mean that she can’t do her duty?). Anyway, I am trying to say that if she changed that much, and being that she will continue to change so much, we will certainly have a third Luna in our hands, as opposed to a character learning throughout her journey and making changes to her own priorities.

I said in my previous post that it is not possible to develop Luna for proper character development, and I do believe that this option is the only way to attempt this. This doesn’t help her apparent uselessness, however - if she is still inconsequential to the original plot of FFXV, then this retcon does not justify it, nor will it fix her. 

This option also supports the concept of coming close to a grand finale that supports an idealized ending for the characters, although it will take the most work. This option would therefore be the build-up to the payoff that will then become Episode Noctis (meaning, Episode Luna is going to put all of the alternate new plot into place that Episode Noctis will solve).

So then, here are the common themes that address all three options...

Her relationship with Noctis will still need some serious work, and spelling it out isn’t good enough. There’s a good reason why there are so many Nyx and Luna shippers out there - it is because they have what fans interpret to be sexual tension between them, and they collaborate with each other. I have already discussed in my previous post why a relationship between her and Noctis will not add to her development because it isn’t possible to develop her based on her character arc. At the same time, I do not believe that putting more time and effort into building their relationship will make much difference, because then it continues to repeat certain things that we already know: one, that she is obsessive over Noctis, and two, that she cannot exist outside of Noctis. The former means that her relationship with Noctis is toxic and abusive: rsasai has an amazing post about why this relationship is psychologically damaging, and making them more romantic is not going to change this. I do not believe that the writers will have the resources to address their most pertinent problems, either. 

And shall I repeat that she cannot exist outside of Noctis? Holy shit, every single official description of her is tied to Noctis, from game manuals, to the official website, to the movie description, to the Ultimania. The idea that Episode Luna is therefore necessary to her character development is a bit too optimistic in my opinion, considering that it is truly going to be about Noctis anyway.

Furthermore, fans are optimistic because Terada will be directing these new DLC. This is fair, and yet, unfair. Yes, Episode Ignis was amazing. However, I cannot attribute writing credits to Terada’s involvement because Ignis’ story arc was already decided before Episode Ignis went into production - it has to be, in order to start the actual pre-development process. What can be attributed to Terada is the alternate ending... which most of us can agree has a serious degradation of writing quality in comparison to the main storyline, and seems like it was rushed.

I also have to emphasize that I personally believe that Episode Luna, and therefore, Episode Noctis, are going to be the alternate reality that the developers are alluding to. Which means that my initial post about her being un-fixable, and having no story to tell, is essentially on point. They didn’t have a story to elaborate about her in the canonical storyline, so they were forced to write up an alternate ending in order to make sense of her character and bring in some development. When you contrast these two vague episode descriptions with the detailed ones of Episode Ardyn (yay!) and Episode Aranea (as long as Ravus is in it, I’m good - but no, seriously, what is lacking in Ravus’ development is knowing what exactly his relationship was with the empire), then it really pushes my belief that Luna and Noctis will be the alternate reality.

All in all, she is still a mess, and retconning her like this will not decrease her controversial standing in the fandom.

[hansexpression]

David Foster Wallace’s commencement speech at Kenyon College, 2005

(If anybody feels like perspiring [cough], I'd advise you to go ahead, because I'm sure going to. In fact I'm gonna [mumbles while pulling up his gown and taking out a handkerchief from his pocket].) Greetings ["parents"?] and congratulations to Kenyon's graduating class of 2005. There are these two young fish swimming along and they happen to meet an older fish swimming the other way, who nods at them and says "Morning, boys. How's the water?" And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes "What the hell is water?"

This is a standard requirement of US commencement speeches, the deployment of didactic little parable-ish stories. The story ["thing"] turns out to be one of the better, less bullshitty conventions of the genre, but if you're worried that I plan to present myself here as the wise, older fish explaining what water is to you younger fish, please don't be. I am not the wise old fish. The point of the fish story is merely that the most obvious, important realities are often the ones that are hardest to see and talk about. Stated as an English sentence, of course, this is just a banal platitude, but the fact is that in the day to day trenches of adult existence, banal platitudes can have a life or death importance, or so I wish to suggest to you on this dry and lovely morning.

Of course the main requirement of speeches like this is that I'm supposed to talk about your liberal arts education's meaning, to try to explain why the degree you are about to receive has actual human value instead of just a material payoff. So let's talk about the single most pervasive cliché in the commencement speech genre, which is that a liberal arts education is not so much about filling you up with knowledge as it is about "teaching you how to think". If you're like me as a student, you've never liked hearing this, and you tend to feel a bit insulted by the claim that you needed anybody to teach you how to think, since the fact that you even got admitted to a college this good seems like proof that you already know how to think. But I'm going to posit to you that the liberal arts cliché turns out not to be insulting at all, because the really significant education in thinking that we're supposed to get in a place like this isn't really about the capacity to think, but rather about the choice of what to think about. If your total freedom of choice regarding what to think about seems too obvious to waste time discussing, I'd ask you to think about fish and water, and to bracket for just a few minutes your scepticism about the value of the totally obvious.

Here's another didactic little story. There are these two guys sitting together in a bar in the remote Alaskan wilderness. One of the guys is religious, the other is an atheist, and the two are arguing about the existence of God with that special intensity that comes after about the fourth beer. And the atheist says: "Look, it's not like I don't have actual reasons for not believing in God. It's not like I haven't ever experimented with the whole God and prayer thing. Just last month I got caught away from the camp in that terrible blizzard, and I was totally lost and I couldn't see a thing, and it was 50 below, and so I tried it: I fell to my knees in the snow and cried out 'Oh, God, if there is a God, I'm lost in this blizzard, and I'm gonna die if you don't help me.'" And now, in the bar, the religious guy looks at the atheist all puzzled. "Well then you must believe now," he says, "After all, here you are, alive." The atheist just rolls his eyes. "No, man, all that was was a couple Eskimos happened to come wandering by and showed me the way back to camp."

It's easy to run this story through kind of a standard liberal arts analysis: the exact same experience can mean two totally different things to two different people, given those people's two different belief templates and two different ways of constructing meaning from experience. Because we prize tolerance and diversity of belief, nowhere in our liberal arts analysis do we want to claim that one guy's interpretation is true and the other guy's is false or bad. Which is fine, except we also never end up talking about just where these individual templates and beliefs come from. Meaning, where they come from INSIDE the two guys. As if a person's most basic orientation toward the world, and the meaning of his experience were somehow just hard-wired, like height or shoe-size; or automatically absorbed from the culture, like language. As if how we construct meaning were not actually a matter of personal, intentional choice. Plus, there's the whole matter of arrogance. The nonreligious guy is so totally certain in his dismissal of the possibility that the passing Eskimos had anything to do with his prayer for help. True, there are plenty of religious people who seem arrogant and certain of their own interpretations, too. They're probably even more repulsive than atheists, at least to most of us. But religious dogmatists' problem is exactly the same as the story's unbeliever: blind certainty, a close-mindedness that amounts to an imprisonment so total that the prisoner doesn't even know he's locked up.

The point here is that I think this is one part of what teaching me how to think is really supposed to mean. To be just a little less arrogant. To have just a little critical awareness about myself and my certainties. Because a huge percentage of the stuff that I tend to be automatically certain of is, it turns out, totally wrong and deluded. I have learned this the hard way, as I predict you graduates will, too.

Here is just one example of the total wrongness of something I tend to be automatically sure of: everything in my own immediate experience supports my deep belief that I am the absolute centre of the universe; the realest, most vivid and important person in existence. We rarely think about this sort of natural, basic self-centredness because it's so socially repulsive. But it's pretty much the same for all of us. It is our default setting, hard-wired into our boards at birth. Think about it: there is no experience you have had that you are not the absolute centre of. The world as you experience it is there in front of YOU or behind YOU, to the left or right of YOU, on YOUR TV or YOUR monitor. And so on. Other people's thoughts and feelings have to be communicated to you somehow, but your own are so immediate, urgent, real.

Please don't worry that I'm getting ready to lecture you about compassion or other-directedness or all the so-called virtues. This is not a matter of virtue. It's a matter of my choosing to do the work of somehow altering or getting free of my natural, hard-wired default setting which is to be deeply and literally self-centered and to see and interpret everything through this lens of self. People who can adjust their natural default setting this way are often described as being "well-adjusted", which I suggest to you is not an accidental term.

Given the triumphant academic setting here, an obvious question is how much of this work of adjusting our default setting involves actual knowledge or intellect. This question gets very tricky. Probably the most dangerous thing about an academic education—least in my own case—is that it enables my tendency to over-intellectualise stuff, to get lost in abstract argument inside my head, instead of simply paying attention to what is going on right in front of me, paying attention to what is going on inside me.

As I'm sure you guys know by now, it is extremely difficult to stay alert and attentive, instead of getting hypnotised by the constant monologue inside your own head (may be happening right now). Twenty years after my own graduation, I have come gradually to understand that the liberal arts cliché about teaching you how to think is actually shorthand for a much deeper, more serious idea: learning how to think really means learning how to exercise some control over how and what you think. It means being conscious and aware enough to choose what you pay attention to and to choose how you construct meaning from experience. Because if you cannot exercise this kind of choice in adult life, you will be totally hosed. Think of the old cliché about "the mind being an excellent servant but a terrible master".

This, like many clichés, so lame and unexciting on the surface, actually expresses a great and terrible truth. It is not the least bit coincidental that adults who commit suicide with firearms almost always shoot themselves in: the head. They shoot the terrible master. And the truth is that most of these suicides are actually dead long before they pull the trigger.

And I submit that this is what the real, no bullshit value of your liberal arts education is supposed to be about: how to keep from going through your comfortable, prosperous, respectable adult life dead, unconscious, a slave to your head and to your natural default setting of being uniquely, completely, imperially alone day in and day out. That may sound like hyperbole, or abstract nonsense. Let's get concrete. The plain fact is that you graduating seniors do not yet have any clue what "day in day out" really means. There happen to be whole, large parts of adult American life that nobody talks about in commencement speeches. One such part involves boredom, routine and petty frustration. The parents and older folks here will know all too well what I'm talking about.

By way of example, let's say it's an average adult day, and you get up in the morning, go to your challenging, white-collar, college-graduate job, and you work hard for eight or ten hours, and at the end of the day you're tired and somewhat stressed and all you want is to go home and have a good supper and maybe unwind for an hour, and then hit the sack early because, of course, you have to get up the next day and do it all again. But then you remember there's no food at home. You haven't had time to shop this week because of your challenging job, and so now after work you have to get in your car and drive to the supermarket. It's the end of the work day and the traffic is apt to be: very bad. So getting to the store takes way longer than it should, and when you finally get there, the supermarket is very crowded, because of course it's the time of day when all the other people with jobs also try to squeeze in some grocery shopping. And the store is hideously lit and infused with soul-killing muzak or corporate pop and it's pretty much the last place you want to be but you can't just get in and quickly out; you have to wander all over the huge, over-lit store's confusing aisles to find the stuff you want and you have to manoeuvre your junky cart through all these other tired, hurried people with carts (et cetera, et cetera, cutting stuff out because this is a long ceremony) and eventually you get all your supper supplies, except now it turns out there aren't enough check-out lanes open even though it's the end-of-the-day rush. So the checkout line is incredibly long, which is stupid and infuriating. But you can't take your frustration out on the frantic lady working the register, who is overworked at a job whose daily tedium and meaninglessness surpasses the imagination of any of us here at a prestigious college.

But anyway, you finally get to the checkout line's front, and you pay for your food, and you get told to "Have a nice day" in a voice that is the absolute voice of death. Then you have to take your creepy, flimsy, plastic bags of groceries in your cart with the one crazy wheel that pulls maddeningly to the left, all the way out through the crowded, bumpy, littery parking lot, and then you have to drive all the way home through slow, heavy, SUV-intensive, rush-hour traffic, et cetera et cetera.

Everyone here has done this, of course. But it hasn't yet been part of you graduates' actual life routine, day after week after month after year.

But it will be. And many more dreary, annoying, seemingly meaningless routines besides. But that is not the point. The point is that petty, frustrating crap like this is exactly where the work of choosing is gonna come in. Because the traffic jams and crowded aisles and long checkout lines give me time to think, and if I don't make a conscious decision about how to think and what to pay attention to, I'm gonna be pissed and miserable every time I have to shop. Because my natural default setting is the certainty that situations like this are really all about me. About MY hungriness and MY fatigue and MY desire to just get home, and it's going to seem for all the world like everybody else is just in my way. And who are all these people in my way? And look at how repulsive most of them are, and how stupid and cow-like and dead-eyed and nonhuman they seem in the checkout line, or at how annoying and rude it is that people are talking loudly on cell phones in the middle of the line. And look at how deeply and personally unfair this is.

Or, of course, if I'm in a more socially conscious liberal arts form of my default setting, I can spend time in the end-of-the-day traffic being disgusted about all the huge, stupid, lane-blocking SUV's and Hummers and V-12 pickup trucks, burning their wasteful, selfish, 40-gallon tanks of gas, and I can dwell on the fact that the patriotic or religious bumper-stickers always seem to be on the biggest, most disgustingly selfish vehicles, driven by the ugliest [responding here to loud applause] (this is an example of how NOT to think, though) most disgustingly selfish vehicles, driven by the ugliest, most inconsiderate and aggressive drivers. And I can think about how our children's children will despise us for wasting all the future's fuel, and probably screwing up the climate, and how spoiled and stupid and selfish and disgusting we all are, and how modern consumer society just sucks, and so forth and so on.

You get the idea.

If I choose to think this way in a store and on the freeway, fine. Lots of us do. Except thinking this way tends to be so easy and automatic that it doesn't have to be a choice. It is my natural default setting. It's the automatic way that I experience the boring, frustrating, crowded parts of adult life when I'm operating on the automatic, unconscious belief that I am the centre of the world, and that my immediate needs and feelings are what should determine the world's priorities.

The thing is that, of course, there are totally different ways to think about these kinds of situations. In this traffic, all these vehicles stopped and idling in my way, it's not impossible that some of these people in SUV's have been in horrible auto accidents in the past, and now find driving so terrifying that their therapist has all but ordered them to get a huge, heavy SUV so they can feel safe enough to drive. Or that the Hummer that just cut me off is maybe being driven by a father whose little child is hurt or sick in the seat next to him, and he's trying to get this kid to the hospital, and he's in a bigger, more legitimate hurry than I am: it is actually I who am in HIS way.

Or I can choose to force myself to consider the likelihood that everyone else in the supermarket's checkout line is just as bored and frustrated as I am, and that some of these people probably have harder, more tedious and painful lives than I do.

Again, please don't think that I'm giving you moral advice, or that I'm saying you are supposed to think this way, or that anyone expects you to just automatically do it. Because it's hard. It takes will and effort, and if you are like me, some days you won't be able to do it, or you just flat out won't want to.

But most days, if you're aware enough to give yourself a choice, you can choose to look differently at this fat, dead-eyed, over-made-up lady who just screamed at her kid in the checkout line. Maybe she's not usually like this. Maybe she's been up three straight nights holding the hand of a husband who is dying of bone cancer. Or maybe this very lady is the low-wage clerk at the motor vehicle department, who just yesterday helped your spouse resolve a horrific, infuriating, red-tape problem through some small act of bureaucratic kindness. Of course, none of this is likely, but it's also not impossible. It just depends what you want to consider. If you're automatically sure that you know what reality is, and you are operating on your default setting, then you, like me, probably won't consider possibilities that aren't annoying and miserable. But if you really learn how to pay attention, then you will know there are other options. It will actually be within your power to experience a crowded, hot, slow, consumer-hell type situation as not only meaningful, but sacred, on fire with the same force that made the stars: love, fellowship, the mystical oneness of all things deep down.

Not that that mystical stuff is necessarily true. The only thing that's capital-T True is that you get to decide how you're gonna try to see it.

This, I submit, is the freedom of a real education, of learning how to be well-adjusted. You get to consciously decide what has meaning and what doesn't. You get to decide what to worship.

Because here's something else that's weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship—be it JC or Allah, be it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles—is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It's the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. On one level, we all know this stuff already. It's been codified as myths, proverbs, clichés, epigrams, parables; the skeleton of every great story. The whole trick is keeping the truth up front in daily consciousness.

Worship power, you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. But the insidious thing about these forms of worship is not that they're evil or sinful, it's that they're unconscious. They are default settings.

They're the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that's what you're doing.

And the so-called real world will not discourage you from operating on your default settings, because the so-called real world of men and money and power hums merrily along in a pool of fear and anger and frustration and craving and worship of self. Our own present culture has harnessed these forces in ways that have yielded extraordinary wealth and comfort and personal freedom. The freedom all to be lords of our tiny skull-sized kingdoms, alone at the centre of all creation. This kind of freedom has much to recommend it. But of course there are all different kinds of freedom, and the kind that is most precious you will not hear much talk about much in the great outside world of wanting and achieving.... The really important kind of freedom involves attention and awareness and discipline, and being able truly to care about other people and to sacrifice for them over and over in myriad petty, unsexy ways every day.

That is real freedom. That is being educated, and understanding how to think. The alternative is unconsciousness, the default setting, the rat race, the constant gnawing sense of having had, and lost, some infinite thing.

I know that this stuff probably doesn't sound fun and breezy or grandly inspirational the way a commencement speech is supposed to sound. What it is, as far as I can see, is the capital-T Truth, with a whole lot of rhetorical niceties stripped away. You are, of course, free to think of it whatever you wish. But please don't just dismiss it as just some finger-wagging Dr Laura sermon. None of this stuff is really about morality or religion or dogma or big fancy questions of life after death.

The capital-T Truth is about life BEFORE death.

It is about the real value of a real education, which has almost nothing to do with knowledge, and everything to do with simple awareness; awareness of what is so real and essential, so hidden in plain sight all around us, all the time, that we have to keep reminding ourselves over and over:

"This is water."

"This is water."

It is unimaginably hard to do this, to stay conscious and alive in the adult world day in and day out. Which means yet another grand cliché turns out to be true: your education really IS the job of a lifetime. And it commences: now.

I wish you way more than luck.