#but I had to get it off my chest as well

[70s-show-diary]

My one (and only) post about That '90s Show

I used the weekend to watch season 1 of That '90s Show. I ultimately decided to watch it for Red and Kitty, and because I couldn't justify forming an opinion without having first given the show a chance. That being said, as most of my thoughts about the show aren't the most positive, and because I want to respect the fans who enjoyed the show, I decided to compile what will likely be my one and only post sharing my thoughts on the show below the cut.

I will say this: I didn't hate the show as much as I thought I would. I enjoyed the humor and the effort they made to maintain a similar tone and vibe to the original show. Of course, Red and Kitty were the highlight of the show, and I enjoyed seeing them as grandparents. I enjoyed seeing the appearances made by the original cast as well (with the exception of Jackie, but more on that later). I even enjoyed seeing Eric and Donna as parents. The new kids were okay, too. They certainly don't have the same chemistry and dynamic that the gang from the original series had, but when you are limited to ten episodes per season, there's not much you can do to really develop characters and their relationships. With more time and devotion to developing these characters, I believe that I could grow to like them more.

The problems that I had with the show are the exactly the problems that I expected to have, and it all stems from the very existence of season 8 of That '70s Show. I do not consider the end of season 7 and any of season 8 to be canon. In my happy bubble, Jackie and Hyde never break up (or make any of the other poor choices that followed), Eric didn't have to travel across the world and break-up with Donna to find a path for his future, Kelso didn't destroy his future as a cop, and Fez didn't become a creep. I grew up with these characters, consider them my friends, and hate what season 8 did to my friends. (I care waaayyy too much about these fictional characters, but I digress.)

Therefore, I've never entertained the idea of a reboot/spin-off series because I knew better than to hope that a spin-off series would ignore season 8. A spin-off that would've attempted to fix these mistakes, while just as unlikely, still wouldn't have been good enough (for me, at least) because I like to pretend all of that unpleasantness never even happened.

Real world circumstances made me even more wary of a spin-off series. AK and MK being married in real life was a sure sign that Jackie and Hyde would never get back together in a spin-off series. But the real nail in the coffin was the despicable and unforgivable actions of DM. With that, I knew Jackie and Hyde were essentially over and we would never see Hyde again. (Don't get me wrong, I am more than relieved that T9S does not associate with DM, but the loss of the character Hyde was tough for me).

So really, it's not entirely That '90s Show's fault that the futures that I had hoped for these characters was unrealized. However, there is a difference between not getting what I want for these characters and completely disrespecting and destroying these characters who are beloved to me (and so many others who have connected with them for years and years). I would've accepted whatever future T9S offered for these characters had they done it in a way that respected the growth and development that they made in the '70s. Jackie being with Kelso instead of Hyde? Fine. But give me a good reason for it. Not the absolute garbage that is Jackie cheating on Fez with Kelso (of all people!) and going on their second marriage. Eric and Donna having a child (and naming her Leia) essentially as soon as Eric came home from Africa is just not something I believe the Eric and Donna from T7S would have done. (I do however, accept this with a grain of salt, because the entire premise of T9S hinges on Eric and Donna have a teenager in the '90s). While Fez finding success in his salons was cute, him not having found love since Jackie cheated on him also didn't sit right with me. And while the best choice...the only choice was to not include Hyde, what I've read about the decision to have Hyde basically drop off the face of the Earth and cut off all ties to his found family is probably the most disrespectful thing that they could have done to write off his character. All that is to say, I could've taken anything except the blatant disrespect that they gave to my friends.

What I wasn't expecting was the sense of heartache that I would feel watching That '90s Show. As I previously stated, for years now, I never held out for a faithful reboot/spin-off series. But watching this show...it really makes me mourn the spin-off that could've been in a perfect world. I truly loved seeing Red and Kitty navigate a household of teenagers again, but this time as grandparents. My heart squeezed when Kitty hugged Eric in the first episode and when Donna and Eric did that cute head-shove from the original series. I couldn't help the smile when Kelso burst in with a "buuuurnnn!!!" in true Kelso-fashion after all these years. Fez's "I said good-day" in his commercial and rivalry with Fenton. Kitty throwing a birthday party. Red's grumpiness. Kitty's signature laugh and Red's muttered "dumbass" comments. I've seen every episode of T7S (with the exception of season 8) so many times that I have entire episodes memorized, down to the timing, hand gestures, and inflections. So seeing my old friend's back in their elements, doing these things again but in new scenes that I have never seen before was certainly... surreal. But none of that nostalgia is worth letting T9S destroy my friends and destroy all their growth and character development. All it has done is make me mourn the faithful spin-off that will never be.

All that is to say that I think I'll be leaving the ''90s behind and returning to the safety of the '70s.

[basslinegrave]

pin-up

b&w originals

[corvidcall]

None Of You Know What Haiku Are

I'm going to preface this by saying that i am not an expert in ANY form of poetry, just an enthusiast. Also, this post is... really long. Too long? Definitely too long. Whoops! I love poetry.

If you ask most English-speaking people (or haiku-bot) what a haiku is, they would probably say that it's a form of poetry that has 3 lines, with 5, and then 7, and then 5 syllables in them. That's certainly what I was taught in school when we did our scant poetry unit, but since... idk elementary school when I learned that, I've learned that that's actually a pretty inaccurate definition of haiku. And I think that inaccurate definition is a big part of why most people (myself included until relatively recently!) think that haiku are kind of... dumb? unimpressive? simple and boring? I mean, if you can just put any words with the right number of syllables into 3 lines, what makes it special?

Well, let me get into why the 5-7-5 understanding of haiku is wrong, and also what makes haiku so special (with examples)!

First of all, Japanese doesn't have syllables! There's a few different names for what phonetic units actually make up the language- In Japanese, they're called "On" (音), which translates to "sound", although English-language linguists often call it a "mora" (μ), which (quoting from Wikipedia here) "is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable." (x) "Oh" is one syllable, and also one mora, whereas "Oi" has one syllable, but two moras. "Ba" has one mora, "Baa" has two moras, etc. In English, we would say that a haiku is made up of three lines, with 5-7-5 syllables in them, 17 syllables total. In Japanese, that would be 17 sounds.

For an example of the difference, the word "haiku", in English, has 2 syllables (hai-ku), but in Japanese, はいく has 3 sounds (ha-i-ku). "Christmas" has 2 syllables, but in Japanese, "クリスマス" (ku-ri-su-ma-su) is 5 sounds! that's a while line on its own! Sometimes the syllables are the same as the sounds ("sushi" is two syllables, and すし is two sounds), but sometimes they're very different.

In addition, words in Japanese are frequently longer than their English equivalents. For example, the word "cuckoo" in Japanese is "ほととぎす" (hototogisu).

Now, I'm sure you're all very impressed at how I can use an English to Japanese dictionary (thank you, my mother is proud), but what does any of this matter? So two languages are different. How does that impact our understanding of haiku?

Well, if you think about the fact that Japanese words are frequently longer than English words, AND that Japanese counts sounds and not syllables, you can see how, "based purely on a 17-syllable counting method, a poet writing in English could easily slip in enough words for two haiku in Japanese” (quote from Grit, Grace, and Gold: Haiku Celebrating the Sports of Summer by Kit Pancoast Nagamura). If you're writing a poem using 17 English syllables, you are writing significantly more content than is in an authentic Japanese haiku.

(Also not all Japanese haiku are 17 sounds at all. It's really more of a guideline.)

Focusing on the 5-7-5 form leads to ignoring other strategies/common conventions of haiku, which personally, I think are more interesting! Two of the big ones are kigo, a season word, and kireji, a cutting word.

Kigo are words/phrases/images associated with a particular season, like snow for winter, or cherry blossoms for spring. In Japan, they actually publish reference books of kigo called saijiki, which is basically like a dictionary or almanac of kigo, describing the meaning, providing a list of related words, and some haiku that use that kigo. Using a a particular kigo both grounds the haiku in a particular time, but also alludes to other haiku that have used the same one.

Kireji is a thing that doesn't easily translate to English, but it's almost like a spoken piece of punctuation, separating the haiku into two parts/images that resonate with and add depth to each other. Some examples of kireji would be "ya", "keri", and "kana." Here's kireji in action in one of the most famous haiku:

古池や　蛙飛び込む　水の音 (Furu ike ya　kawazu tobikomu　mizu no oto) (The old pond — A frog jumps in The sound of the water.)

You can see the kireji at the end of the first line- 古池や literally translates to "old pond ya". The "ya" doesn't have linguistic meaning, but it denotes the separation between the two focuses of the haiku. First, we are picturing a pond. It's old, mature. The water is still. And then there's a frog! It's spring and he's fresh and new to the world! He jumps into the pond and goes "splash"! Wowie! When I say "cutting word", instead of say, a knife cutting, I like to imagine a film cut. The camera shows the pond, and then it cuts to the frog who jumps in.

English doesn't really have a version of this, at least not one that's spoken, but in English language haiku, people will frequently use a dash or an ellipses to fill the same role.

Format aside, there are also some conventions of the actual content, too. They frequently focus on nature, and are generally use direct language without metaphor. They use concrete images without judgement or analysis, inviting the reader to step into their shoes and imagine how they'd feel in the situation. It's not about describing how you feel, so much as it's about describing what made you feel.

Now, let's put it all together, looking at a haiku written Yosa Buson around 1760 (translated by Harold G. Henderson)

The piercing chill I feel: my dead wife's comb, in our bedroom, under my heel

We've got our kigo with "the piercing chill." We read that, and we imagine it's probably winter. It's cold, and the kind of cold wind that cuts through you. There's our kireji- this translation uses a colon to differentiate our two images: the piercing chill, and the poet stepping on his dead wife's comb. There's no descriptions of what the poet is feeling, but you can imagine stepping into his shoes. You can imagine the pain he's experiencing in that moment on your own.

"But tumblr user corvidcall!" I hear you say, "All the examples you've used so far are Japanese haiku that have been translated! Are you implying that it's impossible for a good haiku to be written in English?" NO!!!!! I love English haiku! Here's a good example, which won first place in the 2000 Henderson haiku contest, sponsored by the Haiku Society of America:

meteor shower . . . a gentle wave wets our sandals

When you read this one, can you imagine being in the poet's place? Do you feel the surprise as the tide comes in? Do you feel the summer-ness of the moment? Haiku are about describing things with the senses, and how you take in the world around you. In a way, it's like the poet is only setting a scene, which you inhabit and fill with meaning based on your own experiences. You and I are imagining different beaches, different waves, different people that make up the "our" it mentioned.

"Do I HAVE to include all these things when I write haiku? If I include all these things, does that mean my haiku will be good?" I mean, I don't know. What colors make up a good painting? What scenes make up a good play? It's a creative medium, and nobody can really tell you you can't experiment with form. Certainly not me! But I think it's important to know what the conventions of the form are, so you can appreciate good examples of it, and so you can know what you're actually experimenting with. And I mean... I'm not the poetry cops. But if you're not interested in engaging with the actual conventions and limitations of the form, then why are you even using that form?

I'll leave you with one more English language haiku, which is probably my favorite haiku ever. It was written by Tom Bierovic, and won first place at the 2021 Haiku Society of America Haiku Awards

a year at most . . . we pretend to watch the hummingbirds

Sources: (x) (x) (x) (x) (x) (x)

Further reading:

Forms in English Haiku by Keiko Imaoka Haiku: A Whole Lot More Than 5-7-5 by Jack How to Write a Bad Haiku by KrisL Haiku Are Not a Joke: A Plea from a Poet Who Has Had It Up to Here by Sandra Simpson Haiku Checklist by Katherine Raine

[silentgrim]

in the nicest way possible y’all are delusional if you think ts4 will get better within the years it’s literally been 10 years with 76 packs and counting worth around $1,200 AND COUNTING plus bugs with each pack release/patch and no foreseen fixes or refreshes… let’s come back to earth for a second

[ofmermaidstories]

after-war AU where dabi lives but is babied by his dad and ends up in some kind of rehabilitation centre that is like, top of the line, more a fancy hotel for the broken rich kids end up there. and you’re in there for (reasons) and dabi’s not interested in bonding with the other assholes, u included, but his anger feels familiar and mirrored to you and anyways in the end you both break out (well you just kinda leave, bc u can just sign yourself out, but dabi’s under tighter restrictions so yeah he does have to break out) and then anyways u both start a bloody crime rampage across the country because dabi can’t stand the idea of going back to a family that he wanted dead (he did. and he didn’t. but he did. and he didn’t) and you’ve never seen yourself living a long life so. whatever. LOL. there’s only one way this rat-run weaving in and out of cities and into the rural parts of the country can end—but maybe somewhere along the way, when you’re lying next to each other in the back of a stolen van and listening to the quiet outside, to him shifting as his hand skims against yours, you think these small moments might be worth it.

[poebrey]

I’m tired of seeing all these caveats on The Acolyte saying that the writing could’ve been better or it wasn’t as good like there’s a need to preemptively defend criticism of it when saying it deserved to get renewed. It was just as good or bad as most of the other star wars live action, none of which in terms of either quality (everything except Andor) or performance has surpassed The Mandalorian.

The Acolyte had a good first season, set the stage for a new direction, was able to build word of mouth and attract new audiences, and by the end of the season was going viral in a way that only Obi-Wan managed to do by bringing in a second legacy character (Anakin). This is now the 4th production including the sequel series that received a targeted hate campaign, by which I’m placing strong emphasis on the words targeted and campaign because both Ahsoka and TBOBF received large amounts of racist abuse.

Star Wars is a stagnant media property, coming off of a widely-panned sequel series (which managed to achieve the rare feat of alienating both the racist and misogynistic parts of the fanbase and just about everyone else in refusing to properly develop the new leads as it re-tooled itself to appease the former.) Just about every actor of color in a leading role has been subject to widespread racial abuse, it frequently undermines its own initiative to focus on female characters, and in refusing to stand by its own IP it’s destroying any long-term plan to revitalize the fanbase before it even gets off the ground, the High Republic era now having years of investment and buildup cast aside.

When all of the following media projects fail because no one has faith in them after how they handled their previous projects (looking at the upcoming Rey-centric Sharmeen Obaid-Chinoy led film) its going to once again be blamed on ‘bad quality, bad production, whatever the racist dog whistle of the season is like the current “wokeism” etc.’ and not an inherent refusal of a company to stand by its own work. This is Star Wars, no one, not even the biggest fans of the prequel films were coming out of theatres thinking this was Oscar-winning high art. What made it work is George Lucas’ refusal to give in to criticism and fundamentally change his own creation, for better or worse, whether it be bad CGI and Jar Jar Binks, or making an annoying little kid named Ani the central protagonist of the first film in decades. That same attitude stood by giving Anakin a padawan named Ahsoka. It should be ushering in a new era of Star Wars, instead half the audience is convinced Lucasfilm hates its own IP.

[ovenproofowl]

a lot of people have said it, but I’m throwing in my two cents just to get it off my chest.

Picard season 3 was . Bad . For a LOT of reasons . It felt like - as many before me have expressed - a self-insert fanfic with the dullest self-insert in history.

Jack Crusher wasn’t much of a character but he could have had some promise if they hadn’t spent an aggravating amount of time having him decree how different he always felt, you guys. Did you get that part? He’d always felt different. That sort of dialogue might have flown if we were dealing with Picard’s adolescent son, but instead we’re dealing with a 24 year old played by a 35 year old who looks every bit his age. (It was a hard 24 years, we must assume.)

The reason that Jack Crusher didn’t work for me personally, though, wasn’t because of how cliché his character was. I would have let that pass much easier if it wasn’t for the big ol’ elephant in the room. And that is simply that :

JACK CRUSHER WAS NEVER NECESSARY

Jack may have served a purpose to the storyline that was presented if only because he was the sole reason there was a Big Bad to be defeated in the first place. Everyone wanted to kidnap him, he brought the old gang back together just to protect him and then later save him from said Big Bad which was also actually .. him. Everything Was About Jack. But I’m not talking about the main plot. I Really Don’t Want to Talk About the Main Plot. Ever. What I want to talk about is what Jack represented that made him so unnecessary:

He was intended to represent Jean-Luc Picard’s only reason to start living.

Personally, that really, really offended me. Picard didn’t need to have a biological kid to have a purpose. In fact, it’s been established time and time again that he wasn’t ever really dad material. More of a... weirdly intense uncle. For a while, he wasn’t a fan of kids at all. Eventually, though, Picard is seen to warm to the idea of letting children within his general vicinity. This starts in TNG and continues on in season 1 of Picard. The Only Categorically Good Season of this whole. show.

In season 1, we see flashbacks of Jean-Luc’s relationship with a young Elnor, how he would read him stories and have sword fights with him. He was an absent father to an adopted child he hadn’t even realised he’d adopted and yet Elnor still fought for his hopeless cause. In much the same way, Picard meets Dahj and then later, Soji. He feels a kinship with these androids because of their connection to Data. He wants to protect Soji becase he couldn’t protect Dahj and Soji even canonically questions whether she should allow Picard to act as her father figure before she begins to remember where she came from. Both of these dynamics were infinitely more interesting and a lot deeper rooted. Soji and Elnor were both young twenty-somethings without parental guidance but found that guidance through Picard. Soji had her connection to Jurati, too, and Elnor had his with Seven and Raffi and that’s what made the whole group so intriguing to follow. They all had interesting connections to each other that had so many avenues to explore.

Unfortunately, the show decided to more or less write Soji and Elnor out of the story come season 2. Elnor was killed off for the majority of the season and only brought back by Q intervention in the last episode. Soji wasn’t even a part of the story at all. And do you know what’s sad about that? What’s really sad? Season 2 was trying to sell us the exact same message as season 3. That Picard needed a reason to live. But, like, not that reason. Not the reasons he’d already been given in the form of his found family with his Romulan and android adopted children, or even the rest of the La Sirena crew. No no no, we can’t have that, better get rid of them. This time, Laris is the focal point. Picard had been avoiding a romantic relationship with her because of a never before mentioned dark history surrounding his mother’s suicide. Because, sure, at this point, why not? While we’re at it, let’s also kill off Rios in the most slap-in-the-face out of character way possible and fling Jurati at the Borg for good measure just so she won’t be around for season 3. Her character development into the Borg Queen was pretty intriguing, but we’ll totally ignore that they even exist post her departure, just for funsies. Oh, and Soji and Elnor? Best not mention them at all come that third and final season. Otherwise, people might get the crazy notion that Picard already had a reason not to hunker down and die at the vinyard at the tender age of 104.

Season 3 picks up where season 2 leaves off in that Picard is now in that aforementioned romantic relationship with Laris. Except, no he isn’t because he immediately gets an emergency call from his ex and literally never sees or talks to Laris ever again. There wasn’t even a throw-away line or implied reference to her, but by now I’m sure you know the reason for that.

That’s right, folks. Because if we were allowed to remember Laris and what she meant to Picard, then we might just remember that other thing. Say it with me now!!

JACK CRUSHER WAS NEVER NECESSARY!!

In summary, there were so many brilliant options to give Picard for signficant found family dynamics, but the show just wasn’t interested in any of them. Season 3 wanted a Picard who had given it all up, who was ready to die because he’d never had a family to pass on his legacy. They wanted him at his lowest so that we’d all rejoice to see him return to the TNG crew. Don’t get me wrong, I’m a massive TNG fan and I could rave about the fan service and nostalgia porn for hours on end. If season 3 had stood alone as a singular unconnected event, it might even have been passable as a warm hug from old and beloved characters with some fun new spins to their stories along the way, juust so long as you didn’t squint too hard at the actual attempt at plot writing going on in the background.

But the fact of the matter is, Picard season 3 came far too late into the game. Season 1 held the building blocks to something new and interesting. By the end of season 2, it was becoming clear we were never going to see those blocks stand. By season 3, those blocks were just scattered headstones in a graveyard.

They teased us with the potential new show of Captain Seven and her Number One Raffi Musiker and that might have just been okay. . .

. . .If the La Sirena Crew had been allowed to be a part of that future.

In closing: Picard season 3? Too little, too late, mate. 👎🏻

[irritablepoe]

y'all have to know that when i write "wednesday" i pronounce it "wetness day" in my head to know how to spell it

[greensaplinggrace]

Alina didn’t choose to have her powers taken from her and she didn’t intend for them to be lost. You can’t say Alina chose her ending when the ending was deliberately forced on her without her consent, and she is actively upset by this.

It has been said before and I will say it again:

Alina explicitly wants her power in the books. She has conflicting feelings on it, which is normal, but does on multiple occasions admit to herself as well as others that she likes the power, that she wants it, and that she does not wish to lose it.

This is not due to a lack of conceptualizing Alina liking her powers and Alina’s greed for power as separate things. This has nothing to do with Alina’s greed. Outside of Alina’s greed for power, she comes to love this part of herself she neglected all her life because she was raised by people who could not understand her and who taught her to be wary of her own people and culture, so much so that she subconsciously avoided dealing with who she actually was.

Equating Alina’s power with her greed is exactly what those oppressing grisha do in justification for their hate crimes. You are using the same logic as a cast of people set on genocide and oppression. Not to mention the direct connection between grisha being based on jewish persecution and how the thing that defines grisha is equated with greed, which is a highly common antisemitic depiction of jewish people.

Alina is the ethnic jew raised by goyim. She is the repressed queer child of homophobic parents. She is everybody who only got to realize and express themselves after finding and connecting with their community late in life.

A story about a persecuted minority hunted because of what makes them different ending with your main character, who is a part of that minority, losing that piece of themselves and being forced to assimilate, is incredibly problematic. And anybody who makes this criticism about “Alina choosing” forgets that Alina is a character who’s only choices are those made for her by the person who wrote her.

Another thing that people constantly misrepresent is that Alina is not happy to be stripped of her powers at the end, and explicitly expresses sadness, grief, rage, and anger about the loss of her powers. This is separate from her finding happiness despite her grief, but the grief never goes away. Which means that anybody saying she was happy to lose her powers or chose to do so is factually incorrect. Her agency is stripped from her in the end.

She doesn’t get to choose the peaceful life because the peaceful life is chosen for her. This is not a natural ending to a meaningful character arc of self realization. This is the regressive and brutal shafting of a character who’s arc was abused at every turn, and who’s actual development was walked backwards. Not because of her powers but because she is prevented from ever finding peace with her powers by the narrative.

She doesn’t have to fight a war ‘because of her powers’. She has to fight a war because her people are fucking oppressed. Laying the blame on what makes her different instead of the people who have singled her out because she is different indicates a severe lack of understanding in regards to racism, persecution, and oppression.

Her powers didn’t become so corrupt that they failed her in the end. She didn’t see the consequences and choose peace to avoid them because she wasn’t allowed to see anything at all. Her path was decided for her before she could even look down the other.

People focus on Alina and her powers because that is the story. It is a story about realizing something crucial about yourself that has been kept from you and repressed your whole life. It is an incredibly important story to tell. It is a coming of age story about self realization and self actualization and finding agency after a life where you realize you had none.

Blaming Alina being grisha for why she is stripped of her grishaness is fundamentally flawed argument. If the greed for power was what was supposed to be punished, then she would only have lost that which she sought in her greed. And if a balance needed to be reached, then there would be just as many sun summoners as shadow summoners in the world. Because she lost more than that and because of the discordance in thematic symbolism, the message becomes a punishment not for “greed” (which shouldn’t have even been the message in the first place for a plot and setting like this), but for something else. It becomes a punishment for her being grisha and coming to love and accept herself for it. It becomes a punishment of reveling in one’s difference. It becomes a statement about living outside of the boxes society tries to place people in. It becomes a message about oppression and assimilation on the side of oppression and assimilation.

The most important criticism about the ending will always be about the framing of Alina losing her powers. Alina choosing peace and love over power as a message would only have been able to work if Alina had been able to choose it. And to do so she would have had to choose it when she still had her powers. That is the only progression her developmental arc of “choosing peace and love” could have taken if it didn’t want to become regressive and strip her completely of her agency.

[carnivalcarriondiscarded]

yk, its weird being Way Too Aware & In Control of yourself bc technically i believe im having a panic attack. but somehow i am Very Unbothered by this, bc i know whats happening and its illogical. my body's having an overreaction and i couldn't be fucked to join in

[blee-bleep]

me when the most hateful, conservative, classist, batshit narcissistic and fatphobic old woman i know in my whole life dies (she was my grandma):

[magicicephoenix]

i need to go pound joey drew into a pulp RIGHT NOW

[narwhalandchill]

its been like. nearly a year (How.) already but i cannot lie theres Still a part in the back of my brain occupied with and being thoroughly entertained by the way that childes confirmed 4.0 complete self-awareness over waking up the narwhal at 14 recontextualizes some key liyue things leading to some very funny self indulgent scenarios in my head

like yes chili is old news its basic please excuse me for predictable popular ship crimes (do NOT however associate me w the crimes of fanon against their actual range. theyre peak to Me) but i just keep replaying the imagery of zhongli and childe back on their homoerotic Professional Working Relationship bullshit where their flirting passed the jkjk unless treshold of even remotely plausible deniability like 8 exorbitantly priced business dinners ago and theyre just like. doing that whole song and dance now neither committing to a move except zhonglis presently feeling moderately conflicted (but nonetheless fairly unfazed at) by the prospects of actually developing some sort of a thing for the harbinger hes supposed to puppet master into executing the major story climax of his 67-step retirement plan bc he turned out to be quite the strangely charming ginger specimen (to His weird fucking 6000 year old tastes at least. they deserve each other) with some fascinating life ambitions he cant help but be enraptured by.

but because hes still 100% Locked In on his entire plan zhonglis also just . simultaneously dual wielding his coy-ass "i like you and am taking it slow to Savor this developing relationship (Also bc of the Geo Archon Shaped Elephant In The Room) except am old as shit so my languid sense of time inadvertedly Automatically turns my behavior into an equivalent of the dark souls boss of playing hard2get" act (cue "waddup im ajax 24 and im in fucking agony with this hot funeral consultant". Yes they live like this) AND also meticulously theorycrafting like 12 moves in advance for his 6d chess play of leaving the most subtly crafted trail of breadcrumbs behind for the tsaritsas 11th to follow into the intended & completely "Coincidental" idea of unleashing the one particular sealed sea deity that zhongli Specifically wants momentarily released for his sweet 6k retirement party and graduation test for the nation hes helicopter parented for 3.7k years .

like. this is zhongli we r talking about the guy Absolutely has it planned out down to a fucking art like he has an entire branching path dialogue tree planned and memorized like its a visual novel for every possible way he can conveniently namedrop osial in a non-suspect way and also that he just happens to be sealed right over there across the harbor (what a coincidence!) and also to slip in the intel about the latent power of the sigil of permission etc etc. like zhonglis just out there doing all this massive galaxy brain computational work simultaneously while infodumping on an academic level about whichever subject childes latest random comment of amicable small talk happened to remind him of because in his helicopter parent in remission mind its Absolutely Critical that the idea about releasing osial occurs Completely organically in childes mind it Has to he Cannot risk revealing anything . (hes in remission not in recovery guys.) so like here we are. he requested notes from the tsaritsa Personally on the character of her 11th just to ensure every move was painstakingly crafted to draw him Specifically to the intended conclusion without risking revealing his true identity .

except. the thing . neither he. nor the tsaritsa . would have been informed of . is that this simply isnt childes first fucking rodeo waking up an eldritch city sized sea creature . and he is very well aware of this fact . he woke that beautiful wonderful beloved huge fucking narwhal up by himself had his brain chemistry Immediately and Irrevocably rewired as a direct consequence do you fucking think hes somehow stopped thinking about that singular moment for even a second since then???

yeah . thought so.

so what actually ends up happening in reality is theyll be on another definitely-serious-business-not-just-a-date and zhonglis going to get down to like dialogue selection part 10 of the 86 step conversation tree at Most where hes only beginning to like Vaguely allude to the key pieces of information involved but it turns out Because Hes That Guy (TM) And Has Been There Done That Before childes basic pattern recognition and sense of irony simply proceed to kick in Way ahead of time and hes Immediately perking up like Hey wouldnt it be really fucking funny if i wake up an eldritch sea beast Again . like just in case. as a last ditch effort .

and zhonglis just sitting there seeing the gears turn in his head as they enjoy their cringe fucking picnic (bc they just stare at each other intently like that nowadays its a thing. being in a room with them by this point is essentially a human rights violation) and is just completely fucking flabbergasted and lost on how in the hell childes speedran his way to that conclusion at what amounts to barely a 13% completion rate in his whole overkill fucking plan (just 1 of 3 contingencies btw) and its like yes he has his intended outcome but also precisely 0 idea on how the fuck said outcome was reached the way it was this fast . like hes still winning its His plan thats well underway and ahead of schedule but How

(pov: ur selling the concept of waking up destructive sea creatures to the guy who woke up a celestial body eating cosmic whale at 14)

anyway its truly beautiful i absolutely detest these two and have prime liyue AQ hijinks nostalgia now thank you for the lore drop that allowed this to become canon in my head hoyo

[mad-hunts]

did i ever tell you all how barton's kids fully found out that he fears being left alone / abandoned? because i feel like they definitely had suspicions that that was something he really didn't want to happen before for a while, but barton never expressed it in a very overt way, if that makes any sense. that is, until he had somewhat of a delirium-based breakdown when he was REALLY sick with pancreatitis. which i estimate was around whenever matilda and louis were around fifteen years old.

because there is a chance that whenever you have a fever around the 103-106 mark that you will experience hallucinations and delirium + some people just seem to be more suspectible to it than others in general. and in the worst of the fever, barton had this super vivid dream about his kids leaving him, and he just woke up SOBBING from it. i mean, he was ugly crying because of it and begged them not to leave him. which is actually really kind of sad whenever i think about it. i honestly was thinking about writing a drabble about it because he didn't only just beg them for that — he said some things that, although it might not seem like barton would ever say them, sounded genuine.

and one of these things was apologizing to them, which... matilda + jack in particular, remember, and it's possible that it kept them up for a few nights. and i don't mean in a disturbed way or anything. i mean, in a ' wow, i can't remember the last time i saw dad be that vulnerable with us before. and if he did mean that he was sorry, then what does that mean whenever he may (or may not) eventually repeat doing what he apologized for? '

so it's honestly something that they still think about sometimes, and barton DOES remember saying them but kind of with a 'haziness' undertone to the memory, if that makes any sense. so yeah... barton's relationship with his children has a LOT of layers to it, and overall, it is very unstable. but he does ultimately seem to be attached to them in his own ' barton-like ' way, which is the best way i could put it because the man's mind is kind of like a labyrinth.

it's hard to navigate his feelings even for barton himself, but he is capable of being at least a semi-decent dad sometimes... but other times? yeah, he can be really cruel and uncaring. and i may sound like a broken record here, BUT the bad overshadows the good, and so he is not someone to look up to in regards to how a guardian should treat their children. however, i just think it's interesting how barton has just completely turned his dynamic with them on it's head before like this.

[bluewinnerangel]

But listen paradise is getting closer every day and he's just gotta get there his own way okay? okay.

[ankhegs-in-my-salad]

I'm not even sure why I'm writing this, but I felt like I needed to get it off my chest.

My wonderful friend @tavyliasin made a lovely addition to this post about how important giving your friends positive feedback can be to people, specifically former gifted kids, and I wanted to chime in with my own addition but it got super long and wasn't even the original point of the post lmao so here I am.

Anyway, we got some awesome insight about how leaving your lovely feedback is especially beneficial to former gifted kids in the previous post. Under the cut - me rambling about why positive feedback means so much to me, the Chronically Mediocre Kid.

Growing up, I was always painfully mid. I worked my absolute ass off to get my passing grades, and I got them for the most part. I wasn't good enough to be told I was doing well and I wasn't bad enough to actually get any help. Got into uni by the skin of my teeth and my degree the same way. I was stuck in middle-of-the-road land and pretty much always have been, with the exception of one notable outlier in my late 20's.

Now, as the name would suggest, us Mediocre Kids are very easy to forget about. We're just kinda there, and there's a lot of us. The NPCs or the studio extras, filling out space in the background of the class.

So how does this tie into writing or art or fandom in general?

For myself, and probably a lot of other people like me, writing in fandom has been the first real time to get that positive validation beyond "congrats you passed! You achieved the bare minimum!" I didn't get it at school (the place where, upon telling my chemistry teacher that I wanted to study chemistry at uni, was told verbatim "but you have to be smart to study chemistry") and it certainly wasn't at uni (where I had to resit a year and where the defence of my dissertation started with the words "the first thing we hated about it was[...]").

God, looking back I wish I had started posting fan fic so much earlier. Yes, comments are few and far between but when you get them? Oh my god.

Now I want to preface this by saying - Yes, I know that "you shouldn't write for validation" and I absolutely don't. I've been writing since I could hold a pen and only started posting stuff for actual humans to read in October. Does my background sound like that of someone who expected to get validation from strangers online? You can bet your arse that isn't why I'm here. It was just an absolutely massive unexpected bonus.

Fan fiction sent me from "congrats on the bare minimum" to someone telling me my silly AO3 story was their favourite thing they'd ever read on that whole website.

Do you have any idea what that does to someone who has spent their whole life being "good enough"? "Fine"? "Passed"? I was never good or bad enough to receive attention. My performance always "unnoteworthy". And that was fine, I always told myself. Because, as mentioned above, I've always been doing stuff for me and me alone. I learned early there wasn't any point in doing it for anyone else. Do you know how it felt to have a complete stranger reach out to me through the Internet and tell me that something that I had done, something that I had created, had a profound effect upon them?

Folks, I fucking cried.

For someone like me, every single comment, kudos, tag, all of it, is incredibly special. Even a comment as simple as an emoji or "loved this". It puts a little piece into a void in me that I didn't even know was there. It makes me feel as though maybe, if I can make one person happy with my writing, bring someone that kind of joy, there is more to me than just "passing grade".

And let me tell you, I'm still not used to it. It's one of the most wonderful feelings. And if you feel it too, don't ever let anyone make you feel bad for "seeking validation" or whatever. We know that's not why we're here, but my goodness if it doesn't make a difference when we get it.

So, to anyone who has ever given kudos, made a comment, left a tag on a post, any of it - thank you. It means more than I think a lot of people could ever know.