#anyway! these are all my subjective opinions as a critic

[lesbianclaryfray]

no one asked but here’s my potentially controversial ranking of nmt episodes:

abstinence camp

watcher world

honey queen

perky’s buds

forever and always

killer track

jane’s a car

the witch in the web

daddy

the hatchetfield ape-man

yellow jacket

(hey, melissa)

time bastard

[aeide-thea]

i got to thinking again about an aspect of a book which had troubled me, and which remains the pea in the otherwise heaped-high bed of my enjoyment,* and decided to actually investigate a question i'd originally posed only rhetorically, namely: had any of my fellow tumblrinxs voiced similar objections? having gone back through the main tag with some care, i now feel reasonably confident saying that (1) no, they did not, and in fact (2) very, very few people who posted about the book in a searchable way expressed anything other than squee. which—entirely possible all critical discussion has been relegated to the fan discord that apparently exists, which would be depressing; but the alternative is that it's not happening at all, which would be even worse. has a fannish mode of (un)critical engagement been so thoroughly drummed into readers that even when they're reading original, professional fiction, they still feel compelled not to say anything at all, if what they have to say isn't wholly, insipidly Nice?

like, i fully understand, and have ultimately been convinced by, the arguments as to why it's generally inappropriate to post unsolicited critique of identifiable fanworks in spaces where their authors might potentially stumble on said critique and be wounded by it; but if we're getting to a point—or maybe we arrived there ages ago, and i'm only just noticing—where some combination of fannish training and authorial mingling on social media is discouraging public debate about even professional work... oof. i'd love to have ready an eloquent defense of the importance of unfettered public reaction to, and thoughtful analysis of, art, but it's late and i'm tired and honestly all i've got rn is: fml. f all of our increasingly-milquetoast ls, tbh.

⸻ * (one man's amusing absurdity is another man's ditty played on a dogwhistle.)

[trans-leek-cookie]

someone talking about the ways media and common tropes/depictions of things that are either explicitly or implicitly linked to marginalized people are demonized and presented badly is not a fucking opportunity for you to flex how you're doing it Differently And Better

[elkian]

I've seen a lot of takes about the Hbomb video - here's a link; he's also done some similar works criticizing Allen Wakefield (accidentally instigated the prime anti-vax movement while trying to scam people) and Tommy Tallerico (similar vein to The Video, of plagiarism/credit theft).

I've also enjoyed some of his teardown videos, but my real favorites are his Why FNV Is Genius (and Here's Why) and Pathologic Is Genius (And Here's Why), which lead me to buying and playing (some of) Pathologic 2.

One thing worthy of note is that he specifically requests that nobody start a witch hunt over the subjects of his videos. He is an opinionated person and his righteous indignation is very entertaining, but I've never seen him seriously suggest people harass any real human beings. Suggestions to do so after watching the video have been made by the viewers and are explicitly condemned by Hbomb himself in the video. Just saying.

But more to the point is how he ends the video: he decides to cap it off with a reel of suggested viewing for people who create the kinds of things Somerton allegedly made himself, focusing on queer creators.

Here's the playlist linked in the video description:

I don't doubt other people have shared this already, but it hasn't crossed my dash, so I thought I'd give it a mention. It's a really nice way to end a video that, while focusing on informing the viewers and warning people of potential scammers essentially, does have a negative tone at times because he is, well, tearing into someone's monumental career of plagiarism.

The playlist links to videos by Alexander Avila (who was himself plagiarized by Somerton), Matt Baume, Lady Emily, verilybitchie, RickiHirsh, Shanspeare, Khadija Mbowe, hazel, Herby Revolus, Maggie Mae Fish, Kaz Rowe, Kat Blaque, Lily Alexandre, max teeth, drapetomania, Kameno -o, Lola Sebastian, Princess Weekers, CJ The X, Jennie Geist, Mia Mulder, Nick DiRamio, Sarah Z, Rowan Ellis, and finally Maven of the Eventide.

(I have chosen to spare my wrists and sanity by not hyperlinking those names because the playlist is literally right there.)

Fun facts: this list, which apparently also has nonbinary and trans artists on it, contains 0 names I am already familiar with. I don't spend a lot of time on Youtube outside of very specific needs, but this still makes for a good opportunity for me to familiarize myself with work from others in the community.

Anyways, I just think that's an extremely cool way to end a four-hour-video that, while extremely entertaining, is a bit of a down to watch and realize how easily extremely unmotivated people are stealing others' work and making bank off of it. That's all I had to say, goodnight.

[genericpuff]

the last few episodes of persephone moping around have felt like less of a self-reflective moment for her to grow and change and more rachel griping about criticism and surrounding herself with yes men

this isn't gonna be in any way a formal essay like my usual sort, more of a slam post honestly, so fair warning that i'm gonna be a little salty here

EPISODE 263 SPOILERS AHEAD!!!!

but seriously, it's been a pity party of greek proportions because this constant "woe is me" shit with persephone that's constantly met with "no queeen you're amazing and perfect" has been going on for DAYS (real time and comic time)

literally every episode since the comic returned has had some segment of either persephone or hades (or both) being upsetti spaghetti over their current situation because oh nooo persephone made the deal with erebus and had to sacrifice something. even though they both knew that was gonna happen and yet she did it anyways. so she just continues to lock herself away in her mansion and spout adorkable quips while her husband, mother, and colleagues deal with the mess she caused.

and of course there's the constant inclusion of apollo spitting straight facts about persephone being a terrible queen and person, but of course because it's apollo saying it, it's not meant to be taken as gospel, essentially clapping back at the words of the critics who call out persephone for being a shitty and toxic protagonist by putting those words into the mouth of a literal rapist.

and yeah episode 263 had a lot of the same shit, to the point that you could literally swap out the names of the characters and the words they were speaking and it applies exactly to rachel and the corner she put herself in u.u it's been a thing for a while now that apollo has just felt like a mouthpiece for LO criticism but as mentioned by users within the subreddit during the discussion of this newest episode, it's never felt more apparent than now.

so yeah enjoy this satirical text edit of a sequence from the newest FP episode, which I honestly can't tell is meant to satirize the critical community or Rachel's reactions to the critical community because the weird reality this comic and its community exist in has just become that wack that it's hard to believe it's not directly from The Onion sometimes LMAO

-and as much as i find myself empathizing with the pressure that rachel is surely under right now - no one should have to be subject to the screeching howls of the peanut gallery - i can't help but be reminded of the memes and tweets she's put out that basically outright say "persephone is supposed to be celebrated for being a shitty person, if you can't handle her at her worst you don't deserve her at her best 💅"-

View this post on Instagram

A post shared by Rachel Smythe (@usedbandaid)

-and how often she's ruined her own day looking for critical groups or people with the "wrong opinions" that were minding their own business, or how much she's stifled her own community's attempts to discuss the story openly by having her mods ban anyone with even so much as a question regarding persephone's integrity.

so yeah, as much as i can empathize with her from one creator to another that being under this amount of pressure and scrutiny must be immensely frustrating and exhausting, beyond that one similarity i just can't empathize or relate to this mindset of almost learned helplessness that's taken a firm grip over her writing. this is the story she wants to tell and by all means no one is entitled to make her stop, but if she's gonna keep using her greek myth "retelling" comic that's trying to be "feminist" as a mouthpiece for her own griping over criticisms that are largely on-point and justified - to the point of putting the words of her critics into the mouth of her token villain like she's playing some single player barbie doll "act out that fight that sounded cooler in your head" game - then she's gonna keep getting called out, full stop. i figured she didn't have any nose left to rip off in spite of her face but apparently not.

look, i get it, there are some opinions and behaviors within the critical community that even i'm not on board with. there are people who absolutely take shit too far on both sides of the fandom, and i think both sides need to do more to hold themselves accountable for how they interact with each other, the comic, and rachel herself. i make it a point to keep my shit in my own house, i'm not entitled to rachel's attention and frankly it's the last thing i want because i have a lot of fun here and i don't want that to be potentially ruined or dampened! but if you come into my house and complain about the decorating, then i legitimately don't know what to tell you. i used to love LO and i'm so sad for my past self knowing fully well they're not gonna be able to wholeheartedly enjoy this comic forever due to how manipulative and shitty the storytelling has become. a story that i once connected to as an AFAB who was a victim of assault and abuse and generational trauma.

if persephone being the true main villain in her own story was ever meant to be the point of Lore Olympus, then it's taken way, way too long to get to that point, and rachel herself definitely doesn't seem to be of the mindset that that's what she's become with all of her blasé meme'ing on a plot arc that she's still expecting us to take seriously. persephone was never a very complex character to begin with - being an easy self-insert for the audience and rachel to project themselves onto and relate to - but at least in the beginning she felt like she had so much legitimate potential, she was naive but put her best foot forward and clearly wanted to make a life for herself, made by herself.

now she's just mean. jaded and mean. dependent on the constant validation of others to the point of being manipulative. an absolute shell of a person who can only grow a spine when she's punching down on people weaker than her, completely incapable of standing up to the people who are a legitimate threat to her. it's not empowering, it's not subversive, it's just another pick me story about women pitting themselves against other women and never taking accountability for their own behavior, mistakes, and deliberate actions meant to hurt others, often teetering on the line of straight up narcissism all for the sake of a "boss babe" moment.

anyways, if you want an actual well-written and GOOD scene of an empathetic female protagonist struggling to find their footing in adulthood being called the fuck out for their learned helplessness behavior, go read Tamberlane, it tackles this topic much better through its main character who keeps using her brokenness as an excuse to never do better, it slaps and it's so real.

[real-fire-emblem-takes]

The FE fandom is unfairly criticized for their treatment of main women leads because not enough people factor in how sexist the writing is. Edelgard would get less hate if she was held more accountable. Micaiah would get less hate if she didn't get written out of the final part and awful blood-pact device. Celica and Erika would get less hate if the writers didn't hand them the idiot ball. Female leads are often awful units compared to male counterparts. The male leads always upstage the female ones or are written overall better bc they were unconcerned with making them a sellable waifu. There's definitely sexist people in the fandom, and male characters everywhere get cut more slack, and I'm not denying an element of sexism in all of this, but holding the writers accountable something that needs to get brought up more.

.

Im gonna discuss my opinions on this take now.

Edelgard is held accountable and punished for her actions by literally dying in 3 out of the 4 routes. Like the Agarthans are not blamed for what Edelgard did. She takes complete responsibility and suffers the consequences for starting a war.

Erika giving the Sacred Stone to Formortis because she believes Lyon, an extremely skilled healer and magic user who has been studying the stones will get rid of him through using it is a smarter decision than Ephraim attempting to kill THE DEMON KING ALL BY HIMSELF. Like at least Erika's plan made sense and could have worked if Lyon was able to resist Formortis. People who call Erika stupid for her scene while not doing the same for Ephraim's are hypocritical in this regard.

While SOV is quite sexist in how so many of the women are damseled, Celica sacrificing herself for Mila makes complete sense and is not rooted in sexism because at that point in the game most people believe that they still need the gods to survive and a single human life is worth less than the life of a god. Celica trusted Jedah because to her that was her only choice. What is sexist is her having to be repeatedly saved by men while nothing similar happens to Alm.

I admit I'm being extremely nitpicky with this point, but Erika and Celica both act completely in character when they make their mistakes and therefore are not Idiot Balled. Idiot Balling is when a character acts uncharacteristically stupid and out of character to serve the plot.

Idk about the specifics with Micaiah in Radiant Dawn but yeah it sucks how Ike takes most of the spotlight from both her and Elincia :/

The only female lead that is a substantially worse unit than her male counterpart is Erika. She is an outlier that should not be counted. Celica, Micaiah and Elincia all have utility that Alm and Ike Lack while Edelgard is literally just as good of a frontliner as Dimitri. And Lyn is just as weak as Eliwood.

Character writing is subjective.

You are severely overestimating the importance of waifus and underestimating the importance of husbandos to the franchise. Straight and Bi women play Fire Emblem too.

Also characters who have depth tend to be more popular regardless of their gender. It is profitable to have waifus with layers.

I am not denying that sexism was and somewhat still is a thing in the writing and gameplay of this series; However, the fandom is just as guilty in how female characters are treated - perhaps more guilty in the newest two games where these issues rarely rear their ugly head in the story and the gameplay. The fandom should be held accountable too instead shifting most of the blame on the writers.

Anyway if you read all of this, have a heavenly creature i found recently <3

[hms-no-fun]

I know you said you're cautiously optimistic about HS2, but the newest blog post has me kinda worried. The talk of "fixing the fans broken trust" and how even the new writers don't like a lot of story decisions that were made by the old team seem really off to me, like it's throwing the old team under the bus. I want to expect good things from HS2 but when the people working on it don't seem to like the story as it stands right now it really just seems like they might bend over backwards to appease the shitty side of the fandom. What do you think about this whole thing?

this is in reference to the october 30th 2023 news update on the hs:bc website. i give the date because the news posts don't seem to have individual links atm, so if you're reading this in the future you might have to scroll back.

to your worry that the new team might bend over backwards to appease the shitty side of the fandom, i wrote at length in my prior hs:bc post about why i don't think that's gonna be a problem. i'd also caution against reading too much into what james says about the attitude of the hs:bc team at large, for reasons that should be apparent by the end of this post.

i think it's perfectly reasonable to take a diplomatic position towards a fandom that is historically very hostile to this continuation. a lot of people haven't read the epilogues/hs2 and hate on them anyway because of what they've been told they contain, and refuse to question those received opinions on principle. many who did read them seem to have been inattentive or otherwise needlessly aggressive, sometimes owing to a baffling refusal to accept the premise of postcanon. plenty of others maybe just need a reason to think that homestuck is for them again. for this project to succeed, the fandom at large needs to be given a reason to revisit the epilogues/hs2 from a position of safety and critical distance. i have my own barbed opinions about this state of affairs, but it is what it is.

i understand and to an extent share your misgivings over that Q&A post, but it simply is not james roach's job to relitigate the conduct of the hs2 team. to even broach the subject in more than a general sense would constitute the opening of a massive can of worms, because the truth is muddy. mistakes were made on all sides, some worse than others, and to really contextualize where the hs2 team were coming from you'd need to explain the history of the hs fandom, the leadership of the reddit/discord, the overall tenor of twitter post-2016 and especially leading into/during 2020, the history of pgen and the homestuck renaissance, the lack of PR training or oversight or guidance from anyone at WP, the history of audience hostility in homestuck, and on, and on. for what it's worth, i think that context is essential-- but i don't know that anyone working on this project ought to be the ones to tell it (nor do i think they want that responsibility), and a brief casual Q&A post as a halloween treat is certainly not the place to publish it.

and ultimately, none of that has much at all to do with hs:bc. they are not beholden to or responsible for the choices made by the hs2 team. they have been entrusted with the reins of this story, and with that trust comes their own admitted desire to take it in different directions than what was initially planned. the hs2 team did this to the outline andrew hussie gave them; it's only fair that the hs:bc team has the same leeway over the outline they inherited. acknowledging fault in prior leadership, admitting disagreement over past creative decisions, is an olive branch to a largely skeptical fandom. i bristle at some of this because the hs2 team were my friends and i'm very protective of their work and that moment in history, but that isn't james roach's (nor the hs:bc team's) cross to bear. his choice, as the new public face of homestuck, is to move forward rather than linger on the past. it's good that he's burying the hatchet, frankly. i'm sick of that fucking thing.

love it or hate it, agree or disagree, the hs:bc crew has to exercise diplomacy right now. they've reopened the patreon and want to sustain this project for the foreseeable future, ideally without subjecting the workers to intensely traumatic levels of scrutiny and harassment. this involves clearing up miscommunications, admitting fault, gesturing at shared disagreements over story direction, and otherwise putting on a friendly face for strangers. and let's be clear, i know for a fact that plenty on the original hs2 team had a panoply of disagreements with the choices made in the epilogues! the operative condition here is not unquestioning devotion to / hatred of prior material, but a willingness to build upon that prior material constructively regardless. that's what matters most to me, and i have every reason to believe they're taking the constructive route.

i'll end this saying what i've been saying from the start. the measure of this project's success or failure should be taken in the work itself. if james roach blanket dismissed the prior team, but hs:bc constructively evolved in a way that didn't invalidate or undercut prior material, i'd still consider us oldschool hs2 fans the winners. i wouldn't be HAPPY about it, but the art is what we're all here for, and it's the art that people will remember. i think often about how the showrunners of the tv series LOST insisted from day one until the very end that everything in the show had a scientific explanation, despite the fact that they *always knew* this was a bald-faced lie. they told this lie because ABC did not want to fund a fantasy show and would've canceled it otherwise. some fans to this day decry the lack of scientific explanations in the text of the show, even when you point out that the promise of such explanations was false from the start.

point is, there are material realities to leading a creative enterprise. james roach has put himself in a genuinely dangerous and scary position, a fact that's easy to forget with how casual and welcoming his posts have been thus far. but this is perhaps the single most mismanaged property of the internet age, and there's no walking that back without stepping on some toes. over-correction is expected and probably necessary. if it ruffles your feathers, that's fine-- but let the work speak for itself, and judge it on its own merits. all this other stuff is ancillary and will inevitably fade into the distant fog of time.

[scaryhairywerewolfgirl]

im really interested in the revival of riot grrrl; i think its absolutely possible for it to make a comeback, and i could even argue that it never actually went away...i mean, its definitely lost a bit of its edge, but their are bands coming out in its genre and they keep the spirit alive. anyway, the essential thing for the revival is that riot grrrl fixes its previous mistakes. i hate when people try to trivialize its importance because i do think it made a difference in the small span of time that it was really popular, but the main issues were how whitewashed it was, how it mostly focused on middle/upper suburban women, and how it (in my opinion mostly) centered a lot around reclaiming femininity, thereby neglecting gnc women who don't WANT to reclaim it. i found a cool article on black women in the feminist punk movement--specifically how they made their own movement, sista grrrl riot--and these quotes stood out to me. this ones by musician tamar kali brown:

"Being in this urban jungle, I was a different type of girl. I was hearing what they were saying, but I was living in an environment where people were getting stabbed. Riot Grrrl felt like a bubblegum expression. I was bald, and I would get a lot of negative attention that bordered on violence, so I wasn't in the world of [baby voice] 'You just think I can't play because I'm a girl!'

and this one by laronda davis:

"I never looked at a magazine and thought that that was what I was supposed to look like. On one hand, it's actually kind of liberating to not be what this standard of womanhood is. That standard put a lot of women in boxes, and they spend their li[ves] trying to get out of the box. Black women were never allowed in the box. I wasn't looking at TV saying, 'Oh, that represents me.' I wasn't listening to music telling about my experience. I had experiences that told me I wasn't concerned with these things that the happy songs were about."

(article here)

all in all i think what riot grrrl needs to change is its idea of a universal female childhood in their songs that we can all relate to. it kind of sucks to say but really all women do have in common are the stereotypes we're given, and when punk women criticized and defied those stereotypes they really shone; i was reading that people called kathleen hanna writing "slut" on her stomach white feminism and i was like....err. sexualization is something all women are subjected to. i've just been in a bit of a rabbit hole which started when i researched the history of trans people in riot grrrl, then to modern times when i found a claim that kathleen hanna had stopped using the line "all girls to the front" and edited her riot grrrl manifesto, and finally ended here with me thinking "man, riot grrrl's spirit is needed now more than ever, but like we need to make it WAAAAYYY better so it actually works out". the good news is, like i said, it hasn't actually faded out of mainstream consciousness.

i might add on to this in later posts. sorry if it's messy.

[avelera]

The Doylist Argument for Crowley Being An Important Angel (Pre-Fall)

So I just read a great essay on all the arguments for why Crowley is Raphael by @cyan-cirby and rather than subjecting them to attaching my long-winded additions directly onto their post, figured I'd make my own.

(As a quick aside, I do think Crowley was probably Raphael specifically. It's just too big of an omission of archangels that People Have Actually Heard Of to include Gabriel and Michael, and then jump to lesser known archangel names like Uriel, then totally obscure names like Sandalphon while skipping Raphael, a goddamn Ninja Turtle of well-known archangel names. And I don't think Crowley was Lucifer because Satan is already a character and Neil point-blank said Satan and Lucifer are the same person, otherwise it's too confusing (never mind other evidence like that Crowley referred to Lucifer in the 3rd person in S1, but I digress).)

Anyway! There's plenty of fantastic essays like the one I shared above that go into the fresh new Season 2 evidence for why Crowley was Raphael or at the very least important and high-ranked before he Fell. But I'm a fresh (and still primarily) denizen of the other Neil Gaiman Recent TV Show Adaptation of The Sandman so I want to delve into why Crowley was An Important Angel because that's just how Gaiman writes.

- Crowley is the more Gaiman-y of the two characters and Aziraphale the more Pratchett-y. I’m not making this up from nothing, Pratchett and Gaiman have taken photos and done promotions for the Good Omens book where they modeled themselves that way and basically cosplayed those characters respectively.

- I'm a Pratchett Super Fan first and foremost and can say with some authority that Pratchett tends to write Normal People. Even his Special People are Normal People who have to put their socks on one at a time in the morning. However, his Normal People do Special Things. That's the point. He truly believes, deep down in his bones, in equality and it shows in his portrayal of his protagonists as normal people who rise to an extraordinary occasion.

-Aziraphale is Pratchett's angel in Good Omens and it follows from that that Aziraphale is a Normal Angel doing extraordinary things (defying Heaven’s will to save the world). It aligns with Pratchett's general writerly sensibilities that his angel who saves the world is just a normal low-ranked angel, nothing special by birth, who is fussy and imperfect but nevertheless rises to the challenge to do incredible things in a comedic way. That's how Pratchett's protagonists work.

- Gaiman writes Special People. Dream/Morpheus and the other Endless are born Special People. Rose in Sandman learns she is born Special. Shadow in American Gods learns he was born Special.

- Gaiman very often writes about protagonists who are mythological and/or magical and thus who are super powerful by birth. They are generally only limited either by their own emotional immaturity or by Cosmic Rules.

-Gaiman has also, on more than one occasion, inserted a character who rather resembles him and mirrors his sartorial choices of wearing all black into the story as a protagonist and then made them a Cool Character. Not a criticism, just sayin’, Dream/Morpheus and Crowley come from the same era in his career.

My point is, Crowley is the Gaiman character so, in my opinion, especially when you combine this hunch with the new lore additions in S2, there are some past authorial choices and sensibilities that lead me to believe that with sole creative control of Crowley’s arc and character background, as well Pratchett’s tacit collaborator blessing since this is Gaiman’s Character, we’re going to see a default to old habits and a continuation of this trend because authors are people and they tend to have their way of doing things.

Which is why I think we're going to learn that Crowley Is Special By Birth (being an archangel), super overpowered (like Dream), and only limited in achieving what he wants by Cosmic Rules and being emotionally stunted.

[homestuckconfession]

As a Jake liker who isn’t super interested in Dirk or DirkJake, this cannibalism stuff is starting to get really annoying. Like I get it if you just like it, and I respect alternative interpretations, but canon Jake wouldn’t eat people. Like full stop he just wouldn’t. Why the hell are people seriously factoring this into their analysis of him? The only things that support it as a headcanon are extremely subjective and could also be used to justify things like basic relationship anxiety and whatever what have you. And that’s fine!!!! But I’ll admit, going to my favorite characters tag and seeing it become full of untagged gore of some other guy is grounds for annoyance.

I saw people say that you shouldn’t criticize it as the interpretation is based on an acearo reading of affection/their relationship or whatever, but honestly as an acearo person I don’t see it and I don’t think that’s a valid justification for as to why your headcanon should be exempt from people getting annoyed with it. It’s like the new Davekat in the sense that people who are mischaracterizing the relationship feel entitled to be able to have their fun in a public space and not suffer any type of scrutiny. I’m sorry but you can’t love gore and think it’s super hot and sexy, and then become immediately uncomfortable whenever people detached from you see it and voice grievances with having to see/interact with it. You’re literally posting it public for all to see, and as such the public is allowed to go back to their own corner of the internet and post their opinions of that publicly. You don’t get to police that just because it makes you upset that people don’t think that Jake having attachment issues constitutes people eating.

Jade has more overt “cannibalism” themes with her grimbark form and her intense desire to feel a connection, Davesprite is portrayed as a prey animal in comparison to her. Kanaya literally eats people actually in canon due to being a rainbow drinker. But no, DirkJake, the DaveKat of fandom intellectual types, is the true cannibalism ship. Because everything alpha kid related always has to loop back to everybody’s favorite white boy. And please don’t analyze or think critically about that phenomenon, because it might introduce others to alternate perspectives which is practically violence on tumblr or something.

Anyway tldr; I’m usually just mildly annoyed that I can’t consume content of one of my favorite characters without having to sift through the most ooc torture porn of the guy he’s most commonly shipped with, but now I’m pissed off that they’re pulling a “you can't handle messy queer art that's nuanced and explores dark subject matter” when they’re literally talking about self indulgent DirkJake yaoi. At this point I’m asking you to please get over yourself and accept the fact that not everyone has to agree with you.

.

[timemachineyeah]

Ready for my hot take?

The Last Airbender (2010) was ultimately a force for good.

It was a terrible, terrible movie. Adapted from a very popular show.

ATLA was at the height of its fandom. And it was a toxic fandom. Ship wars and mocking each other and general anger were pretty hard to avoid, even when carefully curating your fandom experience.

And then this very bad movie came out and we all had a common enemy.

No, my point is not that the movie temporarily united a divided fandom against a common enemy, though it did do that. And I think that helped.

My point is everyone agreed the movie was bad.

And fandom’s favorite thing to do, then and now, is to morally justify their taste.

Not just fandom. Critics. Analysts. We love to pretend there is a deep meaningful truth underneath what we do and don’t like. (There isn’t, but that’s okay).

The fight against the whitewashed casting was the first time many people had heard of the history whitewashing in Hollywood. The campaign against it gained mainstream press coverage.

But in a kind of, “Are these criticisms right? Is Hollywood racist? Or do they just hate fun? You decide!” way.

As someone going “uh, this is super racist”, it was both frustrating and eye-opening to learn how not mainstream that take was.

Before the movie came out, arguments about the whitewashing were heated and divided. Who says these characters have to be Asian? Maybe they just cast the best actors! Why does everything have to be about race? I had these conversations both online and in person.

But then people actually saw the movie and it sucked.

And they were pissed off about it. They felt a moral outrage at how badly their beloved show had been adapted.

But that’s a subjective moral outrage. After all, how bad of a crime is making a bad movie, really? But racism? That’s a real moral failure. One you can point to to buoy the opinion you already want to have.

After the movie came out, people defending its whitewashing basically disappeared. It was fun to dunk on the movie, and no one wanted to defend it any more anyway. The irony of things like it butchering the pronunciation of Aang’s name under the guise of “authenticity” while casting a little white boy to play what is clearly a Tibetan Monk was just too delicious a hypocrisy to lay at its feet.

Basically, accepting that the characters were Asian and Indigenous, and that it’s bad to cast white actors to play characters of color, was thrust into more popularity by the movies other failures.

People who hadn’t been privy to these conversations before the movie came out went to see this movie, had a terrible time, and were predisposed to accept criticism of it. So they were fully in a perfect mood to be given a lesson in Racism and Representation 101. And public consciousness spiked.

The organized effort to move the needle of popular discussion around casting in Hollywood would likely have actually been stymied if the movie had been good cinema. People would not have wanted to hear legitimate criticism of that really good movie they just saw.

Obviously the best outcome would have been both a good movie and an appropriate cast for said movie. A blockbuster action adventure family film led by an entirely poc cast that was critically acclaimed good entertainment in 2010 would have been incredible.

But that was probably never likely. Let’s be honest, sticking the landing on that adaptation was always going to be tricky (though I certainly never expected it to be THAT bad). And if it had been a flop and had an Asian cast, the 2010 media analysts would’ve blamed the casting.

So all things considered, the outcome we got was probably one of the better ones? If you do racist casting, then being a catastrophic failure on every other level is probably for the best. Then we can blame the failure on the racism, and Hollywood can seriously sit back and ask itself, “should we… at least talk about… being less racist? Maybe?”

And then they go on to whitewash a bunch more movies, but at least going “dude that sucks” is a way more mainstream response afterwards.

[beedreamscape]

VERY LONG POST EXPLORING C3 AND WHY SO MANY PEOPLE MIGHT NOT LIKE IT/MY PERSONAL GRIPES WITH IT.

I ended up exploring a bit of that Reddit community of critical role fans (not the main one) where they basically gather together and commiserate how much they hate C3. It's frustrating to read because at some point you can tell they make no effort to engage positively with the campaign and have a penchant for hating anything about it.

But, from the perspective of someone with very little emotional connection to the past campaigns, I kinda get why C3 feels so different and, in my opinion, it's all about personal stakes for the characters.

As writers, we constantly hear that we must give the characters something personal to care about so that the reader may care about the plot - yeah city-destroying laser beam is a big stake, but if main character's loved one will be used as a sacrifice to the aliens to activate the laser beam unless they do something, the tension doubles.

And with a shallow look over the arcs of the past campaigns, especially the fans' favourites, a pattern I find is of those with heavy personal stakes:

People often point the Briarwoods arc as a favourite. It's not just about bringing down the powerful Briarwoods, it's about avenging Percy's family and bringing his beloved Whitestone back to its past glory, all mixed with the fighting of personal demons.

We also got Vax'ildans overarching arc with the Raven Queen and Scanlan's with Kaylie and his self-worth/discovery in the party.

In campaign three, the struggle of Fjord getting over Uk'otoa's influence and turning to the Wildmother, rediscovering himself. Bright Queen's Favor with freeing Yuza, uncovering Nott's past, grappling with their preconceptions of the empire and the dynasty, and meeting Essek. Losing then Recovering Yasha from Obann. Traveler Con.

This post about the first third of the C2 comparing it to C1 explains quite well how M9 is driven by the party's personal stakes over any obligation to any institution.

Not only personal stakes that build the value of the campaign, but places that grow as their own: Whitestone, Emon, Zephrah, Xhorhas, the Menagerie Coast, Zedash, etc.

That's what's missing from Campaign 3: anchors and personal stakes.

Bells Hells doesn't really care about anything! We're entrenched in the Ruidus plot ever since we learned what ruidusborn means in the beginning of the campaign and yet, what does that mean to them? It was the subject of Imogen's dreams and afflictions but what else? The main victims of it will be the gods, but they repeatedly state how much they don't care for the gods and are in doubt if losing them would be bad anyway.

In a certain perspective, I don't blame them - the plot has grown so massive and subjective, while they haven't - they're still level 10 nobodies against a god-eating moon-shaped monster and the insanely powerful guy that wants to free it.

Bells Hells doesn't care for the places they walk through! Only two members of the party are actually from Marquet! Imogen and Dorian. And both are running from their past! so they don't even want to be there! Ashton hates everything about it and all the others have no reason to cling to it.

Jrusar was such a great city with great dynamics that were only half explored and they don't seem to care to return to it even though so much goes unexplored. Yios meant nothing nor did Heartmoor or the Taloned Highlands (and its apparently juicy political intrigues nobody cared to explore) and barely a mention of Ank'harel or the Silken Squall.

WHY do we keep going back to Taldorei???

Marquet as a whole goes mostly unexplored and underused in the campaign and it's so upseting.

Bells Hells have nothing to lose! They hold no personal stakes to the plot, most of them don't have families and those that do feel like something so distant and impersonal, no place or city they love or feel connected to, the only thing they owned (the very valuable skyship rip) they destroyed with barely any consideration. Their morals feel like the only thing at stake and even that feels already lost.

C3 is pulling too much from past campaigns. From the moment they first contacted the VM people, it felt like a mistake, and every appearance since has felt so much like fan service (especially bc specific fan favourites are the recurring appearances, no variety). The time spent in Whitestone, the connections to Delilah, everything with Keyleth, etc.

This last one, in particular, contributes to that group of NPCs feeling, always revolving around some other character struggle - who cares what is going on with Bells Hells when Vax's trapped in an orb and Keyleth is half dying, and Caleb is in an anti-magic collar, and Trent is probably loose, and this character and that character...

We haven't spent proper time with C3-exclusive NPCs excluding Nana Morri since episode 50! No Lord Eshteross or Xandis or Ira or Jiana Hexum or the Green Seekers or Milo. It was so special to me having Dancer and Imahara Joe around even if briefly.

And Lord Eshteross death left such a huge gap in the dynamics of the party with the world. I think it was premature, especially because the thirst to avenge him (which I suppose was meant to fuel their hate and intention to kill Otohan) lasted so little and from there on out began the heavy and meta-gamey (and personally, OOC) relying on VM characters.

The ticking clock on the apogee solstice strained much of the campaign and brought this looming fear of 'if we don't take care of it nobody will so we can't waste time', therefore the alternative paths and personal arcs fell to the sidelines in favor of the elephant in the room, so it felt like several episodes of dragging towards this event, then the peak of ep 50-51, to re-start the drag of post moon beam.

Guest PCs are a whole other can of worms I'm not ready to explore also bc it entails a lot, but it's a shared sentiment that people miss Dorian and what he brought to the table.

On a personal view, the Hellcath Valley was my favorite arc. Bassuras felt so tactile and real and gritty, we had a clear objective of infiltrating the Paragon's Call and retrieving Armand Treshi, Deathwish Run, the mystery of Dusk unveiling into Yu, Fearne's parents encounter, Ira, Imahara Joe and reveals about Dancer and D., first FCG nervous attack, Otohan battle and Laudna's death. SO MUCH.

Special mentions to everything Jrusar and Shade Creepers, Heartmoor and the Museum, Savalirwood, and the time spent on the Silver Sun.

I miss these small-scale objectives, I miss the C3 NPCs, I miss Marquet, I miss turning our eyes to these character tensions and exploration, I miss the one-on-one talks, the unity they shared in those dire moments.

I can't wait to leave the Predathos plot and all the repetitive discussions within it behind.

This doesn't cover everything (interpersonal relationships are a whole other spectrum of discussion) but a few things I feel puts an obstacle towards people liking this campaign when comparing the past ones.

[fuutaprotectionsquad]

you guys ever think about how. how in the beginning of Milgram, Jackalope was like "you can vote however you want, you can vote someone innocent just because you think they're pretty. it doesn't matter." And despite how hard we (or atleast me, but i imagine most of us) try to vote objectively and not succumb to the bias he expects of us, we do. Our votes are all biased because fundamentally, law and sin itself is built off of emotion, which is the root of bias.

And thats what causes such a debate in the Milgram fandom over verdicts: bc even though we think we're thinking logically, we're not, we are biased. Our biases don't overlap, though, and thats why we can't agree with each other. And on top of that, we are rigid in our biases. We are stubborn, we refuse to see subjective things from other points of view, because we can't. Opinions are hard as fuck to change.

Hence why the Amane debate, despite infuriating me, is subsequently my favorite. Neither side is right or wrong, no matter how much I think I'm right or other ppl think they're right. Its subjective what age is too young to be held accountable for your crimes, its subjective whether or not you should be blamed for the abusive ideologies you were raised under. And I could rant all day about why I believe one thing or the other, and I can get really mad at people who disagree, but its subjective. Just as the sole fact that Amane's cult teaching are bad is also subjective. Murder being bad is subjective.

People trying to change the prisoners' opinions using their verdicts is biased just as voting them based on our own opinions is also biased. We are trying to force our own beliefs and opinions on prisoners who have different ideas of whats right and wrong.

Es cannot see any of this. Most of the prisoners do. We see it mostly with Yuno, Fuuta, Amane and Kotoko, who criticize/take advantage of Es' god complex. Meanwhile, Haruka and Mahiru invite Es to decide for them (i think haruka does??? i dont fully remember). Muu and Shidou are both initially opposed to it, but become more willing to follow Es' verdicts because it benefits them. Even though Shidou's a little hesitant to see himself as innocent, he starts to. Kazui attributes Es' verdicts to a lack of knowledge on his situation, with the ideology that only his opinion on it matters, because he's the only one who knows the full story. Mikoto's kinda just confused (understandably). And don't ask about John idr.

Anyway I could rant for hours about how the specific prisoners act towards Es in regards to their verdicts + milgram fans' voting ideology + the philosophical undertones of milgram. Technically i did cuz this took 2 hours to write. But. maybe another day.

[r4zberrygirl]

drunk in love

tooru oikawa x female! reader, post timeskip/olympics arc, fluff,

cw: drinking, reader wears a dress and is shorter than oikawa

an: my formal apology for dragging oikawa so hard in my last oikawa fic lol. also my formal apology for skipping over the entire speak now tv and jumping into 1989 i got swamped with school but i'll def write some stuff eventually :) -raz

ᴺᴼᵂ ᴾᴸᴬᵞᴵᴺᴳ : "Slut!"

ᴠᴏʟᴜᴍᴇ : ▮▮▮▮▮▮▯▯▯

You and your boyfriend have been steadily dating for a little over two years now, but you decided early on to keep things under wraps. It's not that Tooru was ashamed of you or anything even close to it, in fact he wanted to show you off after every win, and talk about you in every press conference, and take you out after every practice. It’s just that you didn’t want to be put under a new spotlight. You knew how fans of his could be and you did not want to become their new subject of criticism. If fans of his had even an inkling that he was with another woman they would be picking apart her every little move from the last nine years and writing detailed reports on why he should be with someone better. Of course not all of his fans fit under this category, some really were just fans of his because of the talent he possesses, but there was enough to still make you uneasy when in public with him. It really only took one night to convince you to go public with your relationship. 

The Olympic Argentinian team was hosting an event for the players and their partners to let loose after the Olympic games. There was food and drinks and the venue overlooked the beach. You adorned yourself with a fitting white dress and heels that brought you just a bit closer to Tooru’s lips. You really looked stunning and it was easy to tell your boyfriend thought the same. 

A couple hours into the party you started feeling your drinks and stepped outside to admire the view of the moon bouncing off the water and illuminating the beach below. You leaned against the railing with your glass for a few moments before Tooru joined you outside. 

“The view looks nearly half as good as you do mi amor,” Tooru smiled cheekily, reaching out to tuck a strand of hair behind your ear. You smiled at him before turning back towards the view. Tooru stands next to you with a hand around your waist, “What are you thinking about, love?” 

“I think I want to stop hiding our relationship,” you said and Tooru’s eyes widened. 

“Really? You mean it?” 

“Yeah, I’ve been thinking about it for a while now,” you admitted shyly.

“Are you sure? I mean I don’t mind keeping you all to myself a little longer,” he teases, “but if you really want this then I’d be happy to show the world the beautiful girl who's been keeping me at my best.” Tooru kisses your temple and smiles, “What made you change your mind?” 

“I think I’m just realizing that you only get to be young once and what we have is real and beautiful and we shouldn’t hide it because of others… I remember when I first noticed I fell in love with you I felt like a teenager all over again. You were all I could think about, I would sit in bed and daydream about our future. And now we're living our future together,” you rattle on as your face flushes and ears heat up. You think about how his fans will react before finally deciding their opinions on your life won’t matter in the long run. Tooru is yours and you are his, it’s nobody’s business but the two of you. 

“Do you want to post something now? Management might have my head in the morning but we could blame it on the drinks,” Tooru chuckled and looked at you. A tipsy smile graced his lips as he reached for his phone in his back pocket. 

“Yeah, why not? We’re dressed up nice anyways. And if I get criticized, I think it’s worth it this time,” You looked up at him with a sappy smile, feeling the outcome of the drinks you had earlier as well. Tooru feels more secure in your relationship now than he ever has been, knowing that you’re willing to take the risk even though you could face some backlash from his followers. Later in the night, your boyfriend posts a picture of your hand holding whatever cocktail you've been sipping on with no explanation other than the caption, “drunk in love.” Then he mutes his notifications, nothing could ruin this night for the both of you. You left the event with hands intertwined and made sure to smile bright for the paparazzi that had shown. On the ride home you think about how you’re positive you made the right choice in a partner. You really couldn’t have found someone better suited for you. At the same time, Oikawa thinks about the shiny ring he’s had tucked into the back of his nightstand since your first date together.

[genericpuff]

Why is the art so unappealing in lore Olympus now Persephone looks like a highlighter and maybe it’s just me but the proportions like the fingers in arms are soul over the place I don’t think they used to be this bad. Am I just looking at it with nostalgia or am I crazy ?

Honestly, nostalgia does play a huge part in it, even to this day there are times I look back on old S1 panels and go-

Actually here's a great example that literally just happened yesterday in the ULO Discord that nearly had me on the floor LOL This is from Episode 70:

Like I didn't even believe that that was real until I was told what episode it was from and I was just. Astounded and flabbergasted. The over-shading of the blanket that just makes it look like a really bad edit. Insane.

And yeah, there are a lot of old panels that hit different now that the rose-colored glasses have been removed, crushed, and thrown into the trash compactor.

I think that's why it makes it all the more amusing when people come into my inbox and ask me "wait, why did you like LO to begin with?? It's always been ugly as shit, I think you're just romanticizing it" because like... there's something to be said about art and subjectivity, even if something is ugly to one person doesn't mean it isn't beautiful to someone else. It's why I try not to be too mean towards the fans of this comic for still enjoying it, because while I definitely have strong opinions about how "LO has gotten worse" and what kind of following Rachel has cultivated (cough cough), there are also just as equally valid arguments that LO has never begin good to begin with that I can't necessarily disagree with now that I'm looking back on it with a more critical eye.

That said, there's tons of media that I enjoy that is objectively awful. Like y'all, you don't need to take my opinions about a dumb pink x blue fantasy romance comic seriously, I like Starfox Adventures-

Like yeah it's a badly made rushed piece of shit that was developed right on the ass end of Rare's glory days and was really an original IP (Dinosaur Planet) that got Frankenstein'd into a Starfox game so it could "sell better" for Nintendo, but I don't give a fuck, I love Starfox Adventures and some day I wanna be in the top 10 speedrunner leaderboards for it, which I know doesn't mean much because no one is speedrunning Starfox, but I do and no one can take that away from me dammit-

Anyways. Lore Olympus has, in many regards, always had "bad art". But "bad art" can and should still be enjoyed by those who find joy in it.

And in LO's case, the world it existed in when it launched was a lot smaller than it is now - more specifically, the world of Webtoons. We can look back and see how 'bad' LO looks and reads now because there are genuinely way better comics surrounding it. It was unique and refreshing and experimental back then... now it's just "that stupid blue and pink comic for horny teenagers".

In most cases I would consider that "cringing in hindsight" feeling a good thing because normally it means something has grown and that it seeming "bad" in hindsight would mean that it's outgrown itself and moved onto bigger things. But LO has the more unique problem of "its current stuff is shit and it's making us want the old stuff more, even if the old stuff wasn't good either". In that regard, LO is closer to being like Harry Potter. Remember when The Cursed Child came out at the height of Rowling being exposed for being a TERF and even people who liked Harry Potter didn't like The Cursed Child because it was just objectively worse overall (with or without Rowling's bullshit attached)? It made a lot of people go back and re-read / rewatch Harry Potter with a more objective lens and go "wait a minute guys, I think we only adored these books so much because we were 12 when we read them". Often times it's the good memories we have surrounding certain things that make us have the opinion about them that we do.

Of course, LO is definitely not as politically weaponized as Harry Potter is, so that's where that comparison ends. But my point is that LO is definitely in a situation where it's been riding off the same privileges it had back in 2018 - having an 'experimental' art style while also utilizing tropes and characters that were VERY popular at the time (remember that 2017-18 was when Tumblr was at its height of H x P "Hades was a chill accountant guy who wore socks and sandals and didn't cheat on his wife like Zeus did" fantasizing) - and thinks that those same tricks and tropes will still work today.

Because of this, the art in LO really, really hasn't aged well, even the stuff that we look back on fondly. But I think it's the panels that we specifically think of when remembering "old LO" - the ones that stuck in our memories the most - that are the ones that make us miss or just not care about the panels that don't look good (the panels that make people question why we ever liked it to begin with).

We liked it because of how it made us feel to look at panels like these-

Those genuinely wonderful panels that we think back on the most don't exist separately from the bad panels, they exist in spite of them. Even if we can look back on panels like these and pick out problems in the lineart or the proportions or the color travelling outside of the lines, that can't and shouldn't change how those panels made us feel at some point or another. And that's why when people ask me "why were you even into LO in the first place" I don't have any one answer, because I can't fully explain how something made me feel to justify why it's good to someone who can see from the outside - without rose-colored glasses - that it evidently isn't. It's very much a "you had to be there" type of thing.

Unfortunately, nowadays even the 'best' LO panels in S3 still don't come close to what the S1 panels accomplished - because for many of us, the rose-colored glasses are gone, we can't appreciate the good among the bad because we know now how bad it truly is and so the good just feels like wasted attempts at trying to recreate something it can no longer be. It "came back wrong" so to speak.

LO came back just regular. But our journey to resurrecting it changed us to such a degree that even its closest intimacies are now foreign to us. Sorry dude.

This is still probably one of my favorite panels out of the entirety of S3 for being as close to "old LO" as I've seen since S2, and even it feels like a mistake, an accident, how could a panel like this exist in S3 when so much of it is a dumpster fire? It's like a flower growing in the ruins of an apocalyptic wasteland.

But wasn't that always the case? Isn't that 'always' what LO has been, since the very beginning? A poorly cobbled together mess of writing and panels that, every now and then, manages to leave an impression that makes you feel something? Did we ever truly know LO? Or have we just been relying entirely on an idea of it that we've built up in our heads that when it does do exactly what it's evidently always done (even if not made apparent until looking back on it in hindsight) we think it "came back wrong"?

[thisisntevenmyfinalblog]

I like Hazbin so far, but I do feel like we could’ve gotten a show with a lot more nuance and depth and less jokes about SA if it was written by someone other than Vivziepop, because let’s be honest… the best parts of Hazbin Hotel and Helluva Boss are fanmade or written by other people

For example, the song Addict is honestly one of the most iconic and popular songs related to Hazbin Hotel, but it’s a fan song.

The Helluva Boss Pilot was better than Hazbin Hotel’s Pilot (subjective) because it was actually written by someone else.

You can still like HH and HB just fine, I don’t care, but people keep defending Vivziepop like she’s this saint who has done no wrong, and attacking anyone who says anything critical abut her.

Anyways, Hazbin is okay. It’s kinda average, but it’s still enjoyable that I wanna keep watching. I love Sir Pentious, hate how he was treated in Episode 6, and hey, if I get sent death threats or smth I might as well say all my opinions right now so you all can get them out.

The writers don’t know how to write women like Vaggie or Cherri Bomb

Alastor is overrated and overhyped. He could use more personality, and more screentime doing ominous and tricky things, instead of just “shows up, says threatening line, refuses to elaborate, leaves”

People in heaven acting just as bad as people in Hell (like Adam) is not a good or unique take. Good Omens has done it, and they’ve also done it better. I did like that Adam leading the exterminations was something that not everyone knew about, but I don’t think Sera should’ve known about it either. Idk exactly, but I would’ve gone about it in a different way.

Bringing back the writing women thing, I also think Charlie’s writing can be handled a little poorly from time to time. The only thing keeping her afloat for me is that she is to Rapunzel what Hellsa is to Elsa.

I hate Mimzy’s design. I don’t know why.

Actually kinda liked Lucifer just being a weird dad, but he’s should have a better redemption arc before all that.

Not Hazbin Hotel specific, but why are shows so afraid of having more than 15 episodes in a season now? I know they want to cut out filler because they no longer need to run for a certain amount of time, but honestly? Hazbin Hotel needs more episodes. It needs more time to flesh out its story, and this honestly applies to a lot of other shows whose stories could’ve been great if not for streaming.

Stephanie Beatriz is a great actress so use her better. She did amazing as Rosa Diaz from Brooklyn Nine-Nine, and Vaggie is… (no offense) just another of the badass Latina stereotype. Also, she is an amazing singer, but the super high octave in her and Carmine’s song did not do her voice any justice. It does not need to be that high, you can bring it down an octave or two.

I probably will have more complaints as more episodes come out. We’ll see. I still enjoy watching the show, don’t get me wrong, but it’s not perfect. Receiving criticism doesn’t mean it’s a terrible show, just that it has room for improvement.

If you read this far, thanks. I had to make a blog because I don’t have any other socials to say anything abt it on.