#because what story isn’t

[biceratops7]

Something I’ve noticed is that people tend to see solution seeking attempts as blame and entitlement when the problem was caused by yourself, and the thing is, this mindset is really only accessible to those with neurotypical privilege. I have an executive function disorder and struggle to understand social rules, so I’m sorry but if I just rolled over and “accepted the consequences” of every small oversight or error I make, I literally could not survive.

[otaku553]

Haha

[bohemian-nights]

People really are missing the point of a character like Nettles. Being the a non-Valyrian dragonrider is what makes her different(in every positive definition of that word) and helps to serve a larger purpose in this story.

Valyrian blood is not special. It’s not needed to do great things. No one is special because of what family they happen to be born into.

A non-Valyrian Nettles shows that we are more than the circumstances which we are born into. Our birth, our names, and our very blood does not define us. Our actions are what do. We can overcome so much and rise to become absolutely extraordinary with a little bit of determination, patience, and a dash of help along the way. Nettles exemplifies that to the fullest extent.

She's more than a Black Valryian. She doesn’t have to be Valyrian. She shouldn’t have to be Valyrian.

She’s a survivor. She’s a final girl. She’s a Black low-born girl likely without a drop of dragons blood that tames a wild dragon with patience that killed countless others who had dragons blood. She survived the Dance where others high and low alike fell and perished to become a firewitch to the Burned Men.

Her legacy is immortalized in the history books(and by the Burned Men cause they still worship her) as one of the last(if not the last) dragonrider(s) before Dany all without having any known Valyrian ancestry.

[puppyeared]

The garment, worn by those in good standing with Hyrule royalty, has been reworked with the latest improvements, such as a new shoulder guard.

[ofbreathandflame]

With the rise of booktok/booktwt, there's been this weird movement against literary criticism. It's a bizarre phenomenon, but this uptick in condemnation of criticism is so stifling. I understand that with the rise of these platforms, many people are being reintroduced into the habit of reading, which is why at the base level, I understand why many 'popular' books on booktok tend to be cozier.

The argument always falls into the 'this book means too much to me' or 'let people enjoy things,' which is rhetoric I understand -- at least fundamentally. But reading and writing have always been conduits for criticism, healthy natural criticism. We grow as writers and readers because of criticism. It's just so frustrating to see arguments like "how could you not like this character they've been the x trauma," or "why read this book if you're not going to come out liking it," and it's like...why not. That has always been the point of reading. Having a character go through copious amounts of trauma does not always translate to a character that's well-crafted. Good worldbuilding doesn't always translate to having a good story, or having beautiful prose doesn't always translate into a good plot.

There is just so much that goes into writing a story other than being able to formulate tropable (is that a word lol) characters. Good ideas don't always translate into good stories. And engaging critically with the text you read is how we figure that out, how we make sure authors are giving us a good craft. Writing is a form of entertainment too, and just like we'd do a poorly crafted show, we should always be questioning the things we read, even if we enjoy those things.

It's just werd to see people argue that we shouldn't read literature unless we know for certain we are going to like it. Or seeing people not be able to stand honest criticism of the world they've fallen in love with. I love ASOIAF -- but boy oh boy are there a lot of problems in the story: racial undertones, questionable writing decisions, weird ness overall. I also think engaging critically helps us understand how an author's biases can inform what they write. Like, HP Lovecraft wrote eerie stories, he was also a raging racist. But we can argue that his fear of PoC, his antisemitism, and all of his weird fears informed a lot of what he was writing. His writing is so eerie because a lot of that fear comes from very real, nasty places. It's not to say we have to censor his works, but he influences a lot of horror today and those fears, that racial undertone, it is still very prevalent in horror movies today. That fear of the 'unknown,'

Gone with the Wind is an incredibly racist book. It's also a well-written book. I think a lot of people also like confine criticism to just a syntax/prose/technical level -- when in reality criticism should also be applied on an ideological level. Books that are well-written, well-plotted, etc., are also -- and should also -- be up for criticism. A book can be very well-written and also propagate harmful ideologies. I often read books that I know that (on an ideological level), I might not agree with. We can learn a lot from the books we read, even the ones we hate.

I just feel like we're getting to the point where people are just telling people to 'shut up and read' and making spaces for conversation a uniform experience. I don't want to be in a space where everyone agrees with the same point. Either people won't accept criticism of their favorite book, or they think criticism shouldn't be applied to books they think are well written. Reading invokes natural criticism -- so does writing. That's literally what writing is; asking questions, interrogating the world around you. It's why we have literary devices, techniques, and elements. It's never just taking the words being printed at face value.

You can identify with a character's trauma and still understand that their badly written. You can read a story, hate everything about it, and still like a character. As I stated a while back, I'm reading Fourth Wing; the book is terrible, but I like the main character. The worldbuilding is also terrible, but the author writes her PoC characters with respect. It's not hard to acknowledge one thing about the text, and still find enough to enjoy the book. And authors grow when we're honest about what worked and what didn't work. Shadow and Bone was very formulaic and derivative at points, but Six of Crows is much more inventive and inclusive. Veronica Roth's Carve the Mark had some weird racial problems, but Chosen Ones was a much better book in terms of representation. Percy Jackson is the same way. These writers grow, not just by virtue of time, but because they were critiqued and listened to that critique. C.S. Lewis and Tolkien always publically criticized each other's work. Zora Neale Hurston and Langston Hughes had a legendary friendship and back and forth with one another's works which provides so much insight into the conversations black authors and creatives were having.

Writing has always been about asking questions; prodding here and there, critiquing. It has always been a conversation, a dialogue. I urge people to love what they read, and read what they love, but always ask questions, always understand different perspectives, and always keep your mind open. Please stop stifling and controlling the conversations about your favorite literature, and please understand that everyone will not come out with the same reading experience as you. It doesn't make their experience any less valid than yours.

[quiddie]

Okay, I see a lot of people talking about Laerryn’s work in terms of the spell Plane Shift. Now I know that’s ultimately my fault because of how I spoke about the remains of the solar bow, but that isn’t what she’s attempting.

Now let me say all this with the grain of salt that I’m not trying to remove all blame from LCS - I know who she is and what I built into her and what she’s capable of and willing to do - but I do think it’s inaccurate to call her uncaring (in terms of the citizens of Avalir) and despotic in her single-mindedness.

First, the Astral Leywright. Simply put, it builds a new leyline road through other planes. Now, Laerryn runs and maintains the engines & batteries, but she doesn’t steer the city. That’s Helmswoman Akami Rowe’s job. That’s the Navigator’s Guild’s choice. *That* is why LCS thinks of it as a gift to the city and to history - it’s an opportunity, not an obligation (or worse, a coercion like Plane Shift would be.) Yes, she’s taken a lion’s share of the energy stored for this Replenishment - but just this once (and what are 7 years to an elf, really?) and the thing she gives back is a new leyline that goes not North or East or South but OUT. (And the solar bow’s planar attunement was primarily to help the AL know the directionality of building a leyline in a new axis.) And Avalir could (not MUST) use it. Anyone can use it.

And sure, maybe the Septarion and the citizens will be too confused or scared to use it at first but that’s fine - the point wasn’t that we have to go NOW, only that this was her one chance to make the leyline at ALL (or at least until the next apogee solstice). So her thought is that the city doesn’t have to understand right now, but eventually they’ll get it and history will remember her fondly for making the road to the next big discoveries a little easier.

Keep in mind, Laerryn is one of the smartest people in the city (e1 “often the most cerebral”) that took a vital but understated job (e1 “no one understands exactly what you do to ask you for anything”) with no laurels attached (e2 her envy when walking through the Magisterium and seeing the resources allocated on their behalf vs. the Court of Workings) so if she wanted glory she could just pick a different job and immediately get the praise her talents would garner. Instead, she dedicated her life to quietly and dutifully protecting the Heart of Avalir, and expanding on the city’s mission statement (travel the leylines collecting knowledge and magic to share with the world).

With all that said, please continue raging at Laerryn’s choices because that’s fun and good and fine and honestly I love watching it. I just wanted to clear up that one fuzzy area.

[thejasontoddarchives]

Batman #650 (2006)

Batman and Red Hood (2011-) #20

Red Hood and the Outlaws (2016-) #25

“Bruce works out so he can carry Jason around like a baby” he is dragging him by the broken edge of the boy’s helmet, knuckles digging into his eyes. He is definitely strong enough to carry him but that’s not the point. He thinks Jason deserves this.

Task Force Z #6 (2022)

Catwoman (2018-) #57

Bruce and his habit of flattening his son onto the ground and standing on top of him like a lion does to its prey, while saying degrading things.

Batman (2016-) #138

And would you look at that. He finally lowered himself to face Jason. After rendering him completely powerless.

[kaiscumsock]

a very stoned evan peters 🍃

[seaglassdinosaur]

I know we collectively agree that Hiccup isn’t romantically inclined, and his getting married and having kids didn’t make sense in the epilogue, but consider: Hiccup getting married for political reasons.

It’s a marriage of alliance, which is recognized both by him and his partner, and they enter it without expectations of romantic involvement. Since they’re now married, they live in the same castle, spend time together, and Hiccup finds he really likes his spouse. They’re funny, get along with his friends, and has the same interests and values. They both probably speak multiple languages. She understands why Hiccup is so dedicated to making the Wilderwest better, and holds similar views. She’s a good politician (her job after all, was to be an ambassador). Hiccup likes spending time with them, and the feeling is mutual. They’re not in love, they have their own lives, but they’re dedicated to each other and eventually decide to raise children. They teach their kids how to train hawks and hunt with dragons, riding, history, the Languages, and all the necessary skills of their world. They’re not in love and they’re happy together.

[jasontoddenthusiastt]

Imo Jason is “irredeemable” by default because I don’t see what he needs redemption from.

[pawfulofwaffles]

Here have this

[frownyalfred]

friendly reminder to newbie smut writers: your sex scenes can be fun, naughty, dirty, playful, intense, etc without choking, spanking, pain play, or other kinks.

those things are great in certain fics, don’t get me wrong! but your smut doesn’t have to be edgy to be good.

vanilla doesn’t mean your smut is bad, or boring. the sexiest, most sensual scenes can be simple, kind, or even humorous.

[even-disco-baby]

YOU — “No. There is still a chance.”

DOLORES DEI — “You think so?” Her voice is weary.

EMPATHY — Everything about her is weary. She is the Innocence of weariness, of heroically borne suffering.

CONCEPTUALIZATION — That is the picture you have painted for yourself, at any rate.

YOU — “You looked back. That’s the memory, the moment, that I can’t stop returning to. You looked back. I had a chance, for just that moment…”

DOLORES DEI — She meets your eye, gaze still forever cast back over her shoulder. Time stops. The stars are stilled, the ocean silent. There is *nothing* beyond this memory. Nothing at all. All of infinity is contained in this single moment when anything and everything was possible.

“Oh, Harry…” She sighs, soft as eiderdown. “We never had any chance.”

And just like that, the wave of time collapses under its own weight, obliterating everything. This moment was six years ago. She is gone from here. Gone, gone…

PAIN THRESHOLD — You cannot leave. There was nothing outside of this moment, and now there is nothing at all. It’s all gone. There is no point. I’m sorry. I can’t do this any longer.

VOLITION — Please, don’t say that…

“Okay. Well, fuck me, then.”

“How would *you* know?! You gave up! You didn’t even try!”

“We *must* have had a chance, at some point… Doesn’t everyone get a chance, if nothing more?”

“How could you say that…?”

DOLORES DEI — “Because it’s true,” she says, matter-of-fact. “There is no moment in time that you can turn back to, no branching paths, no infinity. There is only what happened. I looked back… and then away.” She closes her eyes, turning her back to you.

“The moment ended. *We* ended. That is all.”

SHIVERS — A wave crashes against an unseen shore, ocean spray tickling the back of your neck. You shiver, but no one shivers with you. You are alone in this intersection. Why are you here?

“Why can’t *I* end?! Why can’t this all just stop? Please, make it stop…”

“Ended? I’ve barely even started! I got a chance to start completely over as somebody new! I don’t need you anymore! You’re just dead weight to me now.”

“No. That wasn’t the real ending. We’re a part of something so much bigger than this intersection, telling a story that encapsulates all of history! There’s *more* to this, it *means* something.”

“Then… What am I supposed to do now…?”

DOLORES DEI — “No, Harry.” She turns back to you again now, and she looks… sad.

“We were not metaphors. We were people. Our narrative was not intelligently designed. It simply followed the patterns of history, because those are the only patterns we *know.* We tried to create something new, but we failed. There is no narrative reward for our failure, no satisfactory ending. There is only the immutable past and the unknowable future.”

RHETORIC — There is no assurance of what is good or deserved or what may bring relief. There is no assurance of punishment, either. There is no assurance of anything. Not even of a future. I don’t know what to say to make this bearable.

VOLITION — Even so… As long as you live, *something* is promised. Can you live with that?

I can’t, I just can’t do this anymore…

I can. It’s enough.

I don’t know. I just don’t know.

I can at least try for a little longer…

VOLITION — That’s all I ask. That’s enough.

[nightswatchdisbandmentera]

Yes, Jon Snow is the typical fantasy protag, which may not look that special in a series that’s full of subversions and deconstructions. But it’s in his being the archetype that makes him special. Jon exists to bring meaning back to fantasy. GRRM spends an entire series tearing fantasy apart and bringing it all crushing down. Young Griff, Quent, Sansa, Jaime, Theon, and so many others are examples of that. But Jon is there to build it back up. To remind us why we even have stories of hidden princes, and valiant knights and heroes, and magical chosen ones in the first place. Jon is the existence of fantasy, the perseverance of it, the validity of it. He’s not perfect, no. No one is in this series, and not one person is meant to be. But we shouldn’t think that Jon’s inclusion in this series is out of form for GRRM. He’s absolutely making a point through Jon. “Stereotype” and all.

[queer-reader-07]

it is so vitally important to me that aziraphale and crowley not only love each other but choose to love each other.

i don’t want it to be fate. i don’t want it to be god’s will. i want it to be a conscious and continuous choice.

i want aziraphale choosing every day of his goddamn existence to love crowley and all that he is. i want aziraphale choosing to love crowley not in spite of being a demon, but because he is a demon. i want aziraphale choosing to love crowley’s curiosity and creative wonder. i want aziraphale choosing to love crowley’s love of plants and gardening.

i want crowley choosing to love aziraphale’s passion for books. i want crowley choosing to love aziraphale’s desire to do things the human way even if he could just miracle it. i want crowley choosing to love aziraphale’s angel-ness because it is a fundamental part of him.

i want aziraphale choosing to love everything about crowley and vise versa. and i want it to be a very conscious and intentional choice.

it being fate negates the entire point of the story. good omens is a love story between an angel and a demon, yes. but that’s not all that it is. it’s a story about two occult/ethereal beings who choose humanity over the great plan. two beings who choose the world over armageddon. and they make those choices because despite it all they have chosen to fall in love with the world and with humanity.

it only makes sense that they choose each other. that they choose their love. it being fate or god’s will ruins the foundational pillar of their relationship. that they choose each other over and over and over again. year after year, century after century, time and time again. they always choose. they choose the arrangement, they choose saving the other from harm, they choose lying to protect the other.

it is always a choice. and it better stay a choice or i am going to be so devastated.

[leonstamatis]

also like. in general. there’s a lot of blaseball fic published in the time since s24 with <10 kudos. i bring that number up because i assume that means not many folks have seen them. it’s been pretty quiet on blao3 for a hot minute! so…

if you have any blb writers you have been fond of in your time as a fan, whether that was coronation or expansion or way back in discipline, check their ao3 profiles. chances are they’ve kept writing and there’s a lot more for you to read. the writers have never made a habit of stopping when the game does. branch out and explore the stories they’ve told, now that the sim won’t be giving us any more. and be sure to leave kudos and comment when you do!