#but at my least successful i was more has more understanding more nuance and more insight into the trials of my friend and ppl like her

[firefly-fez]

hank and john i love u, ur doing amazing sweetie but do u have any idea how hard it is to sound professional and respectable when im emailing charities about the p4a. i am trying so hard to make this sound like a lucrative promitional opportunity and then i have to say ‘worldsuck’ with a straight face. like its a great term and it captures the impossible persistent reality of suffering and injustice like no other but. buddy. it dont exactly have a professional flair. i am trying to establish myself as a humanitarian advocate and honestly nerdfighteria is, like, a genuinely good foundation for that kind of advocacy and volunteerism but it’s a little like i am trying to build on an admittedly very sturdy steel frame that also happens to have a million little smiley face stickers all over it. like. this isn’t technically impeding me but i am concerned im going to raise some eyebrows.

[mauesartetc]

Redesigning Helluva Beelzebub

Hoo boy, roll up the sleeves for this one.

The Original

In my review of Helluva Boss 108, I mentioned that Beelzebub's character design put me in mind of how some DeviantArt kid's fursona might look. And... Yeah I stand by that statement. The most likely reason I can figure Viv Medrano wanted her to be dog-like was to make a reference to her Die Young music video, which featured an anthro wolf singing a Kesha song (for context, Kesha herself voiced Beelzebub and co-wrote a song for this episode).

But for those who are unaware, Beelzebub's traditional depiction looks nothing like this.

Really the only visual similarities the Helluva version shares with the Infernal Dictionary version are the insect wings, six limbs, and the crown thingy over the head. (At least I think that's a crown-? Kinda hard to tell on both counts.)

Bee's eyes get somewhat more insectoid later in the episode, but that feels like a cop-out. Wow, her eyes and colors changed. Totally a bug demon, right?

They had the same problem in Hazbin Hotel with Katie Killjoy, who's allegedly supposed to be a praying mantis but barely resembles one, even after her transformation.

I understand the desire for fresh takes on old figures, and taking creative liberties so the new interpretation doesn't feel generic. But the changes should at least make sense. By now it's pretty clear Viv couldn't care less about representing Ars Goetia demons faithfully, as demonstrated with Paimon, Andrealphus, and now Beelzebub. You could slap completely different names on these characters and it wouldn't change a thing. I posted this meme a while back but it's never been more relevant:

On top of that, what reason could there possibly be for the design to be this damn complex? Why did she need so many markings on her face? Why did she need so many layers of hair? Why did she need flowing goo for her hair, tail, and body, each requiring dedicated effects animation?

When it comes to a hand-drawn production, less is more. Any superfluous details on a character just make unnecessary work for the animators.

Anyway, here's what Viv has to say about it.

Alright, I'll admit: The lava lamp bit is a little clever. Basically it works as a regular stomach does, but on demonic steroids. But it wouldn't look so much like Viv's making this up as she goes if we'd seen Bee's stomach performing its intended function in the episode. Let her chow down on a giant piece of food (maybe that cotton candy she's been handing out-?) and swallow it, and let Loona (and the audience) see it dissolving in her transparent belly. As a general rule, if it's not shown or explained in the work itself, it's not canon. Like I've said before, Viv: Elaborate on the nuances in the story you're telling, not on social media.

Also, "Her ears are designed after beehives"? Wh...Wha? Ma'am have you ever seen a beehive.

(Hell, even if you told me the ears were inspired by the generic cartoon beehive we're all familiar with, I wouldn't have guessed. There's a difference between being subtle and being vague.)

I can kinda see it in the overall shape, but that's a very specific design inspiration that wasn't clear at all in the design itself. Same with the "animal trainer" thing: I never would have picked up on that if Viv hadn't pointed it out. If a character design doesn't visually convey all the necessary information, it's not a successful design. Show, don't tell. There's a communication breakdown between what Viv's telling us and what Bee's design shows us.

(It's possible she actually meant "Her ears are designed after honeycombs", but even then, each compartment has a specific pentagonal shape that's not coming across at all here.)

I also find it interesting that Bee and Loona have almost the exact same body type. Of course Viv's pretty infamous for samebody syndrome, but it's actually unnerving how similar these two are.

Might this be a reference to Vortex's "type"? Is this foreshadowing a relationship with Loona? Am I overthinking this? Yeah, probably. Viv's demonstrated a clear preference for tall, skinny body types over the years, so it's safer to assume that's the explanation. It's all aesthetics. It ain't that deep. Occam's Razor and all that.

Finally, Bee how the hell does your shirt work.

The Concept

So at this point it seems most logical to lean into the "bee" thing for the redesign, and scrap all the canine elements. As for the blobby hair and tail... yeeeah let's nix those too. We're going for a streamlined version that's easier to animate. And because I ignored the ringmaster look for my redesign of Asmodeus, it only makes sense to do the same for Bee's animal trainer vibe (what little there is) for the sake of consistency. I know this version of Hell has a circus theme with its highest-ranking demons, but there's never been an in-universe explanation for why that is.

Let's look at actual bees, then. A quick peek at Google has informed me that certain insect species have smaller, "simple" eyes (also known as ocelli), in addition to their compound eyes. In bees, this manifests as a triangular grouping of three beady eyes on top of the head.

In her Helluva Boss episode, Bee's full demon form has three eyes, which could be a reference to this triangular arrangement, plus her regular form has two spots on her forehead in addition to the third eye. So it's possible Viv actually did research for something. Pleasantly surprised on that front.

Next, the body. I've noticed that some folks find Bee's skinny body type refreshing, as the sin of gluttony is too often personified with fatness. And that's fair. That's valid. But consider this:

Imagine any Vivziepop character saying that about a chubby person. Imagine the series sending the message that fat people can be sexy too, and that they have worth outside of their appearance, enough for at least one character to consider them girlfriend material. That they're valued and appreciated regardless of this culture's beauty standards (which we know nothing about since the worldbuilding is as thin and flimsy as tissue paper, but whatever). Imagine if this show finally had a fat female character who wasn't relegated to the background. Don't know about y'all, but that would be refreshing to me. And when you take into account all the fat-shaming of a character who isn't even fat, portraying a fat character as attractive would be a nice change of pace for this show.

Now let's talk about clothing. In the episode, Bee's clothes show off a lot of her body, with a cutout crop top and short shorts. We can take a similar approach for the redesign (something that still shows off her chest, belly, and limbs, in keeping with the extroverted "party girl" persona), but that perhaps includes more queenly elements.

The Redesign

Because this is a redesign, many elements were already in place, but I still had to figure out how this character would look as a bee. Here's where the preliminary sketches came in. Lots of trial and error in this process.

Wrestling with this character's face got a lot easier once I realized I could mold it into a pentagonal shape akin to a honeycomb compartment. It took a few tries, but at last, I had a final sketch.

All that was left to do was test out some color combinations.

I tried a few different approaches, but in the end, this is the version I felt worked best.

I used many of the colors from the original, but pushed the orange much harder since orange is the symbolic color of gluttony as a sin. And overall it gives Bee a nice honey-ish look rather than the generic black and yellow we already see on so many bees in cartoons. I thought the colored outlines on her clothing would add a soft, feminine touch, as well.

And just for kicks, here's a quick sketch of her giant form, inspired by the Infernal Dictionary drawing of Beelzebub.

Conclusion

The canon version of this character exists in the form she does for no reason than to stroke her creator's ego. "Hey guys, remember when I animated that Kesha fan video? Remember how cool that was? Wanna see me foist this unnecessarily-complex character design on other animators while I take a victory lap?" I wouldn't mind so much if Viv animated any of this herself, but she didn't. I could almost excuse this if she had no animation experience and didn't know how much work it requires, but she does. The self-aggrandizing entitlement is just off the charts. But a nonsensical design is leagues better than a stolen one, so... brownie points for that, I guess.

[paper-mario-wiki]

hi, i'm not the person who asked you about the life update, but could you elaborate on how being a creator means to live in a world of ideas instead of the real world? i'm just really curious about your reasons for quitting, specially because i want to create things in the future (not necessarily streaming, but anyways), hope you have a good day!

i'll be talking mostly about streaming for the sake of this answer, but this is similarly applicable across a wide range of platforms:

the job of the streamer is, effectively, to be the life of the party every single day. your goal is to be the person that has something interesting to talk about, and is quick with a joke, and has nuanced understandings of certain things, without actually obtaining any sort of "expertise" in anything lest you alienate viewers. short of having a stated goal for a stream, the only goal of the streamer is to let people relax with a voice they enjoy, saying things they like hearing. you can become very strong in different aspects of streaming, like in the production, or as someone who focuses more on a skill they've honed like art or speedrunning, but the demographic of streamers which pulls, by far, the most significant viewership, is personality based streamers.

this becomes more complicated when, for example, you are very interactive with chat, or you stream with multiple people at once. now, to maintain this charismatic sway you have (the one that got you the job in the first place), you must be able to adapt to and bounce off of other people, as you are now no longer performing alone. naturally, there's a need to not only manage your own flow of consciousness, but also to be at least partially in sync with someone else's.

beyond these complications, you must also consider drawing in new viewership. when i was a streamer, i was quite successful, relatively speaking. pulling 300 viewers consistently is something a very slim amount of streamers can actually do, and even then i was still making under 50k a year, which is not bad, but also not good. in paying for my apartment, my insurance, my travel fare, and all the other stuff that living independently draws money out of you with, i was more often in the red than i was in the green. hence, the need to draw in new viewers, which cannot be done without something eye-catching.

think about this: there are, at any given time, TENS OF THOUSANDS of streamers live in your native language on twitch, and they are all FREE TO WATCH. the attention market is sparse because the streamer market is oversaturated. and considering all of THEM want new viewers too, everyone is constantly refining and improving their craft, which requires everyone to move creatively in tandem with each other lest they get left behind.

if you are a streamer making ass-dollars and ass-cents, it becomes easy to begin resenting people like jerma, solely because everything he touches seems to turn to gold. i personally found it easy to feel very disappointed in myself when peoples projects that seemed so simple would take off. it was a constant "why didn't i think of that!" situation, at least for me. and when you don't have the energy to keep that up, or the social stamina necessary to figure that all out while also being upbeat and happy in front of people near daily, it can become very draining.

what i mean specifically when i say the "world of ideas", is like. there would be times where i could schedule out my failures weeks in advance. i'd be so in my own head about the process, i could see the exact path i could see myself taking that would lead me directly to ruin. how playing games i actually enjoyed would steadily drop viewership, or how focusing on my studies would make people forget about me. and of course this is augmented by my anxiety, i know this is absolutely not the case for every streamer, but that overwhelming feeling of needing to find a new game to play, or a new gimmick to use, or a new ploy to get money that doesn't make you feel guilty even though your source of income is mostly queer and mostly poor young adults and your rent is coming up and you're $200 short but you also just had a fundraiser last month about a DIFFERENT emergency but you cant make it a bummer or else people wont want to tune in so you have to make it something fun like "you laugh you lose!" or "$1 art request streams!" while feeling nothing but anxiety while youre trying to sound like youre enjoying yourself even when youre asking 250 people to donate every 30 minutes or so and nobody seems to want to and chat is moving slowly and. and and.

well, it starts to eat away at you.

[pouralaura]

Sorry, this is probably weird. But my brain is Raphael 24/7 and he and Tav being obsessed with each other. But I was wondering how he’d react to a demi Tav?

He’s crushing and trying to impress for the longest time, and they are completely unphased. Like nothin’, nada. I’m sure he’d be frustrated. But also perplexed? He’s always been able to charm his way with people. So he meets this unmovable person and he’s like ???

But then imagining later on, Tav’s feelings for him suddenly hit them like a fucking train. All of their obsession with HIM hits like tenfold. He is the sexiest being in existence, and they are stupidly in love with him, and they are PANICKING.

I may be the only one who finds this particular scenario intriguing but 😅

Disclaimer: I am not well-versed in demisexuality and this is my first time writing it, so please pardon any lack of necessary nuance here. thanks to @reallyhatethiswebsite for helping me figure out the trigger point! they/them AFAB Tav, Raphael POV.

--

Had Raphael ever, in all of his hundreds of years, experienced such a maddening, tantalizing, mouthwatering proximity to victory? Every hellish fiber of his being thrums in anticipation of his looming triumph. The Crown, so close, its pull so alluring. The augury of his reign launches his mind into a state of utter bliss outside of business hours (and, frankly, often during), a grin on his face and his cock hard as a diamond beneath the quilting of his luxuriously expensive trousers. He is, simply put, so close.

There remains but a single obstacle in his way: a lost, floundering little mouse, so unprepared and ill-equipped for success -- at least, at first. Raphael had been pleasantly surprised at Tav's capability for mortal achievement once they'd gotten their feet underneath them. His respect for them grew as their conquests did; they'd proven an apt ally for many and a fearsome adversary for many more.

Flawed as they are, Tav is perfect for his plan. Raphael has every faith that they will be his savior (in a manner of speaking) now that the time is drawing near. They must succeed. They will. Such a headstrong, belligerent creature; all the sweeter to become the victor -- and, in line with that, to claim himself.

(More on that in a moment.)

He's ruminating on this, as he has near-incessantly in recent months, while strolling back to the Devil's Den from deeper within the city. Maintaining chivalrous relations with his hosts at Sharess' Caress is mandatory; he pauses at the front desk to brush a kiss across the delicate knuckles of the blushing Amira, inclines his head in polite greeting to various good-natured courtesans, and stops to exchange pleasantries with Hoots at the bar before ascending the stairs to his domain of the Gate. Trivial pursuits, but necessary.

(Back to the matter at hand --)

Yes, he will claim Tav himself.

...This point requires further clarification. He will claim Tav as a step to his own conquest. They will fulfill a contract with him. If it happens that they also wish for his claim in a more decidedly carnal way, what manner of devil would he be to deny them? A favor for a favor, after all.

But, alas, they'd proven nearly unmovable in that last respect. It's far from the first time Raphael has experienced, either implicitly or explicitly, rejection of his incomparable devilish charms -- but, to be fair: nearly all of the aforementioned occurrences had been caused by an innate preference for the fairer sex. Their loss, perhaps; but it simply couldn't be helped -- and certainly not a stain on his ego.

(Tav, for what it's worth, however, does not seem limited by such preferences. Near-flawless reconnaissance is a gift and a curse; Raphael is very much aware of their blessedly brief dalliance with the insufferable vampling.)

Such hopes for mutual understanding on levels to-be-determined had been dashed, indeed, until a particular point of curiosity earlier in the week, when Tav and their ragtag gang of unappealing ruffians had met him upstairs at the Caress following his confrontation with the inestimable Kith'rak. Voss had left, and Raphael had snapped his fingers to shield Tav and their party from the detestable illithid shouting about in their heads --

The devil had watched figurative clicking cogs turn between the little mouse's ears for several seconds as they processed the assumedly blissful silence he'd fleetingly gifted them.

"I don't...hear anything." Tav's voice had been quiet. Surprised.

"You are, as always, welcome." He'd smugly spread his arms, inclining his head in a mock bow. "My favorite future client deserves nothing if not the very best I can offer."

There were no differences in how he'd behaved on this occasion, but the way Tav looked at him after his effortless momentary aid was far more layered than during any previous encounter. And, if he was correct -- colored by the hint of a blush, one that he could smell before he could see. The scent of blood rising to their cheeks, dusting their pretty countenance with just a trace of something. A crack. A break.

Perhaps.

Delicious.

He nears the door of the Devil's Den, and...stops.

There is a familiar scent in the air; one he did not expect to be greeted by upon his return to The Office. It's them.

His little mouse is inside. Must have climbed through a window, leapt across rooftops to reach the one opening he leaves regularly and intentionally unwarded for just this precise possibility.

(Korrilla, behind his back, raises her eyebrows at this deliberate lapse in security each time it's included in his instruction. She's lucky he doesn't snap the bones in each of her toes one-by-one.)

Cautiously, he wills the hellish locks to open. Carefully, he presses long, tanned fingers to the door's handle. With deliberation, he pushes into the room.

It takes him two point three seconds to register that Tav is not only in the room, but on their back on the rich, plush red duvet-covered bed, propped up on their elbows, staring straight at him with the loveliest blush dusted across the apples of their cheeks. He steps stiffly into his domain, letting the heavy wooden door close and lock behind him with a decided click. Another seven point eight seconds to close the distance between them (he slinks across the room slowly, like a cat); a full nine seconds, once he's arrived at the bedside, to drink in Tav's nakedness from head to toe -- well, except for the whipped cream adorning the tips of their breasts, if one could call that any sort of coverage. And -- ah. An amber liquid filling the divot of their belly button.

His mouth curls up into a satisfied little smirk. They have been paying attention.

"Are you here to accept my offer, little mouse?" Raphael finally asks, low and warm and purring.

He watches them swallow. Breathe. Follows the red flush as it spreads, heated, down their neck, between their cream-laden breasts, around their liquor-filled navel, all the way down to the lovely pink of their vulnerable, exposed, undeniably glistening sex.

"I am not. At least, not yet." In a contrast to their blush, Tav's voice is strong and level as they continue despite Raphael's responding sneer. "I am here to make one of my own."

"And what, pray tell," the devil bites out, voice tinged with the familiar mix of irritation, intrigue, and damning arousal this creature heralds within him, "might that be?"

"I'm inclined to accept, but only following further discussion." They grin. "But over dinner, here. And...you'll need to do something about my --" here they motion to the confectionary disaster writ upon their flawed, mortal body, beneath him in every way -- "current state."

He'll play along, if only to ease the tightness in his trousers.

Less than ten minutes later, when Raphael is laving his forked tongue along the underside of Tav's breast, lapping up the last of the cream and holding himself back from spilling onto the sheets beneath them, he thinks: I am in control.

Tav moans as he bites; as he presses his face between their thighs, a ragged whine bubbles up from his throat, hot and needy.

They'll be mine yet.

[andrea-lyn]

I know so many people have shared their own sentiment about the watcher situation and I'm basically jumping into an overfilled pool, but I literally can't stop thinking about this one from the business side of things, so pls have some ramblings. behind a cut bc boy did this get long

All of this is just armchair observations as someone who's been in marketing, optimization, and had my fair share of budget-strapped projects over the years, and who is currently working on strategies to drive growth via marketing:

If it's purely about money - before any of this, they should have exhausted their existing options. Maybe hire a dedicated marketing person to develop a growth and content strategy around Patreon to drive value. Beyond that, use that marketing person to drive awareness campaigns to get people to Patreon with a goal to 5x your Patron count, because there was definitely untapped potential there

If it's about content - every artist has their right to make what they want, but when you start asking people to pay for it, now you have to do your research. Do a survey with a substantive response rate to understand if people even want the shows that you want to produce. Again, you have a right as an artist to produce what you want, but asking your fanbase to pay for things that they don't want is a lot. This is when you need sponsorship help (or seed money and tbh, I'm not ruling out that they don't have some of that behind the scenes). I saw a comment that summed it up really well that when Buzzfeed was paying for Worth It, there was a small thrill of seeing them spend a company's money, but now it's the subscribers money. At that point, if you actually want to be marketable and successful, you need a pulse on what people are willing to pay for vs want for free. If you're spending all your money on high production values for shows that maybe 10% of your audience want, it's wasted resources

I won't speak to the staffing levels because there's likely a lot of nuance there, but I will say that there are probably workflow and resource improvements that could've been done to at least make the staff levels more efficient. This comes down to someone in a process role, which might have been done! Obviously I don't have a peek under the hood and I know they've discussed restructuring before, but this is a matter of scale and goes back to the second point -- there's a lot of 'if we build it, they will come' mentality here, but again, if you're not building what they want ... no, they won't, especially when Dropout and Netflix and Disney+ and other subscribers are building right beside you.

If they were dead-set on this, then should have hired a marketing/PR person to plan this launch for them. Dropout, anecdotally, is an example I go back to. I still remember seeing the stings at the end of videos about it and I remember going 'hey, I'm not going to pay for that' for years. But they were deliberate in their strategy of posting content, they didn't immediately shove behind the paywall, and they built up a catalogue with content that it did then make sense to pay (and a reasonable rate for the value!). The abrupt launch without a content plan to communicate value was an odd choice. I also think that survey I mentioned before should have delved into willingness to pay so they could actually understand where the ceiling kicks in and where no matter how much people want to pay that might not match up with what they're willing to. You'd get your average price there and then you could realistically do a workback schedule to understand the content you can produce, which could have then be used to create a content pipeline

Honestly, I think it all comes down to them wanting to pursue their dreams and more power to them. I love that they have a mission statement to make television quality videos -- but here's the thing, you have an existing audience and given the reaction, it's becoming clear that your mission statement and your audience's core wants of your product don't align, which means that something has to get sacrificed ...and unfortunately, in this case, I think it's the goodwill of a large portion of the audience that gets the knife because I really don't think this one's getting walked back

Like I said earlier, I do have some suspicions that maybe there's seed money or financial backing in this from investors (they solicited this in the past), but they've lacked a clear strategy around growth and marketing to buffer their finances in the past and it doesn't fill me with a lot of optimism that things will change because they're behind a paywall. For those who intend to subscribe, I think it's great and I think that it proves that yes, there is going to be an audience for them -- it's just always a question of numbers and whether that audience is their target to break even. I had suspicions their big announcement was this and I was honestly planning to subscribe too until I saw the price point and the lack of future scheduling news. Unfortunately, given the amount of subscriptions I already have, it didn't make sense, but if it were cheaper and there was a more robust content plan, I probably would be there too.

[lostyesterday]

To be completely honest, I personally find Michael Burnham to be an infinitely more interesting character than Christopher Pike, and I have difficulty understanding why so many people seem to have the opposite opinion. Burnham has a well-developed arc over the course of Discovery, going from uncertain and traumatized ex-convict who doesn’t know who to trust to commander desperate to redeem herself to successful and self-fulfilled captain with a circle of close friends and an unwavering hope for the future. Over the five seasons of the show, she deals with intense feelings of guilt and responsibility, and her perfectionism and at times unhealthy commitment to her mission. She makes mistakes and comes to new understandings about herself and the world. I absolutely admit there are flaws in the writing of Discovery and issues with Burnham’s arc, but I found her story very compelling in every season and I think she’s a fascinating character.

Meanwhile, Pike’s major arcs so far have been concerned with: 1. An ableist storyline about how horrifying it is that he’s going to become disabled in the future, and 2. Figuring out how to balance personal/romantic relationships with being a captain. Obviously from my phrasing I take major issue with that first arc and I think it’s been handled about as poorly as it possibly could have been in both Discovery and SNW – depicting becoming paralyzed as a fate at least as bad as death without any nuance or self-awareness. In theory, I might find a character arc centered around questions about the inevitability of fate interesting, but SNW does extremely little to explore such questions and instead just reminds the audience over and over how terrifying it is that Pike is going to become disabled and there’s nothing he can do to stop it. And his eventual acceptance of his fate has nothing to do with realizing that being disabled isn’t actually a fate as terrible as death, but rather realizing that if he changes his fate Bad Things will happen, and therefore he just has to accept it. I do not find this interesting. As for the second arc, and I admit this is a personal preference, I find it to be the most boring possible arc for a Star Trek captain. I don’t care about his relationship with Batel (I frankly don’t think SNW has given me any reason to), and I don’t find the idea that both of them being captains makes it so hard for them to spend time together at all interesting.

It’s not that I take issue with any individual person liking Pike as a character (people can like whichever characters they want, of course), it’s just that I personally struggle to find anything of interest in how his character has been written so far. And of course I know that racism and sexism play a large part in general fandom preferences and white male characters are almost always going to get preferential treatment on average, but I will never not find it confusing that a giant bunch of the fandom looked at a character I find to be one of the most boring in all of Star Trek (and certainly the most boring captain), and decided they liked him more than the character I would easily call the best in NuTrek.

[425599167]

The decisions in Fallout: New Vegas contain a lot of nuance, but I'm always able to find a resolution I can be happy with, except when it comes to the Brotherhood of Steel. They have me at a bit of an impasse. This is one situation where my default solution of "sneak attack critical headshots" won't help. The Brotherhood's individual members are among the least hateable of the factions, but they are collectively horrible and I don't know how to avoid fighting them.

Veronica is my favorite companion and the Brotherhood becomes a constant threat to her, she is rightfully terrified they are monitoring her to preserve their secrecy, but she wouldn't want me to destroy them. Also, I'm against mass murder as a general rule. That rule is negotiable if the entire faction is trying to kill me, (e.g. Legion, Fiends, Ghost People) which the Brotherhood isn't... yet. Only a few of them tried to kill me. They destroyed a Followers of the Apocalypse outpost, of which I am a respected member. Since I go the Wild Card route with an army of robots, plus all the advanced tech I brought from the DLC locations, the Brotherhood is going to attack New Vegas at some point. House and Yes Man both predict this, and they're proven correct in endings where the Brotherhood basically become high-tech raiders. Yes Man says they'll want to blow him up, and I will not let that happen, Yes Man is my favorite right below Veronica.

I repaired Helios One and deactivated its weapon system (after fighting through robotic defenses left behind by the Brotherhood, thanks for that), gave ED-E's data to the Followers instead of the Brotherhood, and took control of Hoover Dam. If you don't have Veronica in tow, your first interaction with the Brotherhood will be them strapping a bomb collar to your neck, and for all their talk about how crazy Elijah was, that's his standard approach. The Brotherhood aren't as relentlessly cruel as the Legion, but every interaction builds them up as dangerous to everyone, and an inevitable threat to a Wild Card Courier specifically. Their main protection is that I don't want to make my bestie sad. Not only do I like Veronica, I share her goals and her success is an indicator of the Mojave's future. If Veronica is sad, that means I am failing.

Even if I don't involve myself, the Brotherhood will only grow more desperate and dangerous. I didn't complete the mission to replace McNamara with Hardin because that would be stupid of me, but if the situation continued, Hardin would probably attempt a coup anyway, then more Brotherhood members will die from infighting. Then Hardin would pick fights with local factions, probably beginning with the Van Graffs. It won't accomplish anything since the Van Graffs in Freeside are only one outpost and their company doesn't just salvage energy weapons, they understand the technology and can manufacture their own. Now the Brotherhood has yet another enemy, one that can match their weapons. Sure would be unfortunate if someone sold the Van Graffs a prototype pulse gun Veronica feared could destroy the Brotherhood. Actually, that's probably a bad idea unless I can make the securitrons EMP-proof.

Eventually, the bunker's air filtration systems will break down on their own. Parts can be found in the vaults, the Brotherhood can handle Vault 11, but Vaults 3 & 22 would definitely cost them a few people. I could also get the parts, then never return them to the Brotherhood, making it even harder for them to locate replacements. Eventually the bunker would become uninhabitable and they'd evacuate. That's better than killing them all, but not by very much. Yeah, I won't kill them, I'll just make their home unlivable, force them to leave, then repair the bunker later and claim it for myself. I don't feel like the good guy.

My knack for underhanded strategies really shined when I retrieved the holotapes of dead paladins to demoralize McNamara, then took the mission to deliver the scouts' reports, killed the scouts (one died in a crossfire with Legion assassins), then never continued the quest so the lockdown remains. I feel kinda bad about that, but who's gonna tell McNamara? Obviously not those scouts.

One option I thought about was using pulse weaponry to wreck so much of their power armor and energy weapons that they can no longer maintain their armed forces. That might be wishful thinking, and I don't have any plan for what to do afterwards. I don't want their destruction or surrender, I want them to leave New Vegas alone. A written apology to Veronica, signed by every member of the Mojave chapter, would also be appreciated. I'd fix their air filters in exchange for that.

In theory, I could try and befriend the Brotherhood, but the whole point of Veronica's quest is they will not course-correct under any circumstances short of imminent destruction by the regional superpowers. Even the truce with the NCR is conditional on returning salvaged power armor. It doesn't matter how nice I am or what I do to help, they will not let me share advanced tech with the wasteland, and that's been my ultimate goal through all this. I'm not giving up on that to appease these guys.

This is one of the plot threads where post-ending theories can get interesting and gutwrenching, because the best option is "hope their society collapses on its own before I'm forced to kill or be killed".

[steampunkforever]

Dune Part 2 is once more proof that Denis Villeneuve is an incredibly calculating director. And it should be good. He's been storyboarding Dune since the 80s. Of course Zack Snyder also released a film recently that'd been his passion project since before he was making movies, and Rebel Moon sucked, so that's clearly not a metric for success, but you get my point.

Right on the heels of releasing the phenomenal Sicario, Villeneuve got the keys to Dune. This is a moonshot take the money and run opportunity. I love this type of film. One of those "They may never let me do this again" movies like Magnolia or (to a lesser extent) Apocalypse Now! that build on previous success to sucker studio funding for something you really want to do. Usually this involves jumping to it and spending as much money as possible before accounting changes its mind about sending all those blank checks, but Denis was just as calculating as ever with it.

Adapting two more scifi properties at differing scales was the right idea for this, both allowing for more time to develop Dune and for Villeneuve to find his footing with less ambiguous science fiction (considering that my friends who watched Enemy barely understood it to be about aliens). Villeneuve is calculating. His steps are measured, and I've yet to see a film of his that feels outright rushed.

I think that this is in part due to Villeneuve's understanding that he is (at least up until the release of Dune) not part of a generation of directors who get whatever they want. This generation of director has been waning for a long time, but Nolan and Tarantino really mark the last generation of directors allowed to experiment on blank checks no matter if their last film flopped. Zack Snyder is also technically ranked among them but his decade-long slump is clearly an outlier. Villeneuve has to put out solid movies to earn the right to take creative risks, and Dune has clearly been another measured step in his film career. Which is to say that Dune Part 2 is fantastic.

I have a deeply nuanced relationship with Dune screen adaptations, so do note that there is some bias here, but regardless, this is a wonderful film. Did I wish they'd stuck to their guns and shown Alia for real? Did I kind of hope they kept it to just two films instead of the projected 3+ that are sure to come? Am I still outraged that they didn't recast Sting? Of course. But when it all boils down, this film is a science fiction accomplishment that you SHOULD go see.

The set design, sound design, acting, and cinematography were all top notch. There was rarely anything in this film I did not love (read: Timothee, my archnemesis). Of particular note were Pugh, Ferguson, and Bardem's performances. Bardem's Stilgar was an absolute delight, and I found myself losing the fact that he was acting in his performance. The plot, spectacle, and inclusion of Christopher Walken all sold me on the film.

Another detail that was clear evidence of Villeneuve's extremely calculated process was Zendaya's role as Chani in Part 2. Chani (largely sidelined in the books after showing up partway) is positioned as sort of the soapbox character to remind you that colonialism is bad at predetermined intervals. And while this is certainly not a choice I would've made for the character (I prefer to do my soapboxing in different parts of the text) I can't help but find that I didn't hate Chani's direction in the film. This is in spite of the fact that I detest Soapbox characters (except for in Spike Lee films. Love you Spike Lee) and find their usage lazy. Somehow it works for me here, even if it could've been more subtly rolled into the narrative. Man I'm really reaching for nitpicks, I should go back to demanding they show me a creepy toddler Alia.

Anyway if Sting was the one fighting Timothee's Paul that twink would get stabbed to death so hard you have no idea.

[flythesail]

Discussion on grief in the mentalist from season 1 through 2x08:

Grief is found in and central to most stories. Yet the mentalist is unique in its approach in that it often takes a factual one. Jane knows grief intimately after the murder of his wife and daughter. That event changes him and shapes how he approaches his work with the CBI. Take this scene from 2x09, for instance:

Maddy, daughter of the man killed: "Whatever you're selling—pass. Funny. What are you, a moron? My dad just died."

Jane: "Yes. My condolences It happens. You'll learn to live with it. Not for, uh, a while, but in the end, you will."

Jane is quick and to the point. For those reasons, his approach is often viewed as off-putting. You would expect someone to be more considerate when speaking to someone who has recently suffered a loss.

Yet, nothing Jane says is incorrect. Fathers do die. You do learn to live with a loss because that is the only way to move forward with your own life.

Jane's facts come from the perspective of someone who is further along in the grieving process. He knows these things to be true because he has been through this himself.

On one hand, this allows him to complete his role more effectively. The sooner he gets the necessary information, the sooner he can solve a case. If someone shuts him out due to their grief, he cannot help them. A closed case will serve the healing process better than one that goes on and on.

On the other hand, Jane's factual approach to grief is his way of being considerate. It's a fact that platitudes will not bring someone back from the dead. Nothing will. Not grief, love, nor guilt.

Look at how he answers the question of a grieving wife in 2x05:

Lilian: "Do you think they know how we feel? The dead, I mean... How sorry we are... How we wish things could be different? Do you think they understand?"

Jane: "No. Sorry."

If Jane said yes, Lilian would feel better, wouldn't she? Yet, Jane will not lie or, at least, give an answer he does not believe to be true himself.

To understand this, it's essential to understand Jane. In his work as a psychic, he would have told Lilian yes. Supplying the grieving with the answers they want to hear is how he made a name for himself.

But, that success put the spotlight on him for his work on the Red John case too. When Red John kills his family, Jane is left to grapple with the domino effect behind that. If Jane didn't lose sight of what really mattered, get caught up in fame and wealth, his family would still be alive. If Jane never lied, there would be no fame in the first place.

Now, Jane's role in the deaths of his family is more complex than that because that's an internal perspective. A perspective that puts the blame on Jane, when really, Red John is the horrible murderer who kills because he chooses to. Jane is not the first guy to get a little over his head with fame and wealth. It's two individual ideas, but it's impossible to ignore the overlap when you are Jane and your choices are a variable. Self-blame is in more ways than one, inevitable.

Jane wishes things could be different too for his wife and his daughter. He likely wants nothing more than a do-over. But the fact is—he will never get one. He knows that, so he won't lie to himself either.

Notably, Jane still acknowledges the nuance in facts. For example, in a conversation he has with a young boy who recently lost his mother, Jane begins by making sure the boy knows his mom can't come back. A fact:

Oliver: "My dad is sad because you guys can't find who [killed my mom]. But I don't mind about that. I just want her back."

Jane: "She can't come back. You know that, don't you?"

Once the boy tells Jane he does, Jane offers some advice:

Jane: "You know what I noticed you're really good at that could help you right now?... You could make-believe she was here and do whatever you like."

Jane then goes on to reveal he talks to his wife all the time that way. The boy can talk to his mom too. It does not change anything, he cannot bring her back, but it is something he can do.

Prior to this, one could argue Jane's factual approach to grief contributes to a denial of comfort. This poses the question, what is the harm in believing something false if nothing changes anyway? Perhaps, this is Jane denying himself comfort because he blames himself for the deaths of his wife and daughter. Or, perhaps it is simply a result of his realist nature. If he knows something to be false, there's no comfort to be found in it. But, there is less harm in pretending if you still acknowledge what it really is: a changer of nothing. It says a lot about Jane as a person too, that he extends this advice to a child. Loss will always be difficult, but facing it as a child comes with its own unique hardships. Here is something he can do to make it a little easier.

Now, in terms of nuance, it's a necessity to discuss Sam Bosco's death, one of the closest deaths of the series as of 2x08. Upon his death bed, Bosco tells Jane:

Bosco: "Red John makes mistakes. This proves it. You will catch him. Do me a favor. When you catch him, don't arrest him. Kill the son of a bitch."

Jane assures Bosco he will, as killing Red John is what he's been planning to do all along. This is, of course, to Lisbon's disapproval. She believes they should go about it the proper way (read as: following protocol) and let the justice system do its thing.

So when Lisbon later asks what Bosco told Jane, he lies:

"He told me to look after you.... He said that if I didn't look after you, he'd come back and haunt me."

Lisbon just lost her old partner. She is grieving. What is the one thing Jane never does? Lie to a grieving person.

So, why now?

First, telling Lisbon the truth will only further upset her. She already disapproves of Jane's intent to kill Red John. Jane is protecting Bosco's dying wish and his own plan.

Second, if he tells her the truth, what happens? An argument, Lisbon shuts down, and/or shuts Jane out. Right now, Lisbon needs a friend. Jane could believe she should not be further distressed by a topic he knows has caused friction in the past.

What he tells Lisbon affirms that Bosco cared for her. It affirms Jane cares for her too, and in typical Jane fashion, even has a small joke at the end to lighten a difficult reality. He's easing her grief, not adding to it. As he and Lisbon grow closer, the choices he makes will only affect Lisbon more.

Nevertheless, what if Lisbon's perspective has changed? She has a deeper tie to Red John now, a more personal one than being linked through Jane or because she's worked parts of the case in the past. Jane is not taking the risk to find out. But with Lisbon adamant that revenge is not the answer, it's worth recognizing the duality that exists in both of these characters within their unique roles.

In 2x05, Lisbon says: "All the misery and the pain that I see every day...I lock it down because I have to be calm and rational because that's my job." Granted, she is acting in this scene. Yet, to assume she is pulling this idea from somewhere suggests she and Jane are more alike than they first appear.

Lisbon is angry on the inside, yet must control any anger to go about her job "the right way." Jane is angry too, he seeks revenge. Lisbon feels what Jane does, but will not act on it because she does not view the vengeance he seeks to be the right way to go about justice.

What does Jane expect to gain from revenge? Lisbon does not believe revenge is the solution, much like Jane believes lies should not solve grief. It's possible revenge is a lie Jane allows himself to keep in regard to what it can offer. Meaning, whether he seeks to kill Red John because death is deserved, or if it's the chance to do for his family now what he couldn't do then too—alleviating some of his self-blame.

2x08 then becomes the exception to Jane's rule and upholding of his own belief. He's protecting his plan for revenge. He's protecting Lisbon too.

[jinxed-sinner]

Maybe I'm being delusional and giving Alastor too much benefit of the doubt but I don't understand why so many people seems convinced that Alastor is the most evil character in the HH universe. Sure if we take into consideration only the hotel he is, but outside of that he doesn't seem that bad. Even at his lowest moments (his past as serial killer, his killing of the overlords, his manipulation of Charlie, that scene with Husk in the hallway in ep 5) there still is some sort of nuance to his action. I do feel like, as of right now, he has been the most self-centered character in the show but that doesn't make him the most evil. I would argue that the Vees, Adam and Lute are worse, because at least Alastor was said to have somewhat of a moral code when. Not saying that this makes Alastor a good person or that he is incapable of being cruel or that in the future he won't have his evil moments, but for now calling him the most evil character in the show feels excessive.

This has been my view of Alastor since I first watched the show honestly, and every time I analyze him (because I do that more than can possibly be healthy) it just strengthens that. Sure, he's an asshole, but he doesn't physically attack people unless he's given a reason to. He seems to prefer getting into verbal spats over getting physical, and even the scene where Husk confronts(?) him is mostly Alastor just verbally taking his frustration and anger out on Husk (which still isn't okay but it's not as bad as a lot of people make it out to be). Like every time he's shown to get physically aggressive in the show, there's a reason behind it, and that reason is fascinating considering he claims to not care about the hotel's success; every time he gets physical with anyone, he's protecting the hotel.

When he attacks Sir Pentious and takes down his blimp in the pilot? He's protecting the hotel. When he uses a similar strategy to fight Pentious in Radio Killed the Video Star that he used in the pilot? He's protecting the hotel, because Pentious blew a hole in the wall of it. When he fights the loan sharks in Dad Beat Dad? He's protecting Mimzy and the hotel, and then he tells Mimzy she's no longer welcome at the hotel because she "deliberately brought danger on this place". When he fights Adam in The Show Must Go On? He's protecting the hotel.

He doesn't attack unless he's provoked, even verbally. He might make some mean comments here and there (such as pointing out Charlie and Vaggie's failures) but in general, he's just an asshole, he's not actively evil.

Going back to the fact that he kicked Mimzy out of the hotel, up to that point he's been parading around this attitude of "I don't care about the hotel's success, all I care about is the entertainment value it can bring me!" even specifying that he doesn't care if the hotel succeeds or not. The idea that the hotel would inevitably fail is why he showed up to the hotel in the first place. Alastor's willingness to kick out Mimzy tells us two things:

He's willing to listen to advice from other people (as it is Husk who advised him that Mimzy was trouble; this also actually implies that he values Husk's input, as much as he acts like he doesn't), and

He cares about the hotel a heck of a lot more than he lets on

He's just currently in a position where, whether it's pride or something else, he can't admit to anyone, let alone himself, that he's started caring, and that is part of what spurs on his mental breakdown in Finale:

This place reeks of death, there's a chill in the air And I barely escaped being killed by a hair "Great Alastor, altruist, died for his friends" Sorry to disappoint, that is not how this ends

Not to mention, he looks terrified when he sings "Great Alastor, altruist, died for his friends" and angry the rest of his part of Finale. I don't think he's angry about the fact that he almost died defending both the hotel and the hotel's staff and residents; I think he's terrified about both how perception of him would change if it got out, and what it says about him. Those first four lines of his part of Finale imply, to me at least, that he is how he is as a defense strategy, potentially from trauma (and I do personally think it was born from some kind of trauma, very likely from when he was alive and very likely from his childhood). When that defense mechanism cracks, he panics.

His self-centered behavior is likely a defense mechanism he learned in life, because if fanon is canon and his dad was abusive? He likely learned in that environment that if he wasn't self-centered, he won't survive or he'll be easy to take advantage of, and this benefits him in Hell because he doesn't just make deals based on his own self interest for no reason; in Hell that's a requirement for survival. One misworded deal or contract and his life could be turned upside down. It makes complete sense to me that he does deals on a basis of "How can this benefit me?" because when you're making a binding contract involving your soul, you need to be careful with your wording. Even if it's not a defense mechanism he carried over from life, it's very possible that it's a defense mechanism from whatever deal he found himself in. If that deal was misworded, and that's why he's in the position he's in, I wouldn't blame him for getting self-centered with anything.

There is so much more to Alastor than just him being a sadistic asshole and I hate that people don't acknowledge it. Alastor being a sadistic asshole is one part of a larger puzzle. I'm not saying my interpretation is right, but I am saying that there are so many hints that Alastor isn't as horrible as people act like he is and I think it needs more acknowledgement. He's capable of connection, as seen with Rosie and Niffty. He doesn't just physically attack people because he thinks it's funny (that's what the sadistic jokes and mocking are for). He's far from one-dimensional and too many people ignore it.

Alastor is morally gray, not morally bankrupt.

[girlreviews]

Review #438: Parklife, Blur

In some ways this review is going to be like the antithesis to the one I wrote for Pulp’s Different Class. In that, this album features songs that are so important to British culture, and individually to my formative years, that I can’t ever be mad to hear them. However, unlike my ongoing and steadfast admiration for Pulp as a band, I have way more complicated feelings about Blur, and about this album in particular. Okay, so some context and education first. Blur had success in the UK with their debut album, Leisure, but had really dug themselves into a financial hole through poor management. They owed the taxman a lot of money. As such, they were essentially forced to go on a long, arduous tour of the US to promote their successful album. In theory this would be great. But it wasn’t great. They were touring tiny towns and venues that had never heard of them. The grunge scene had just exploded out of the Pacific Northwest and literally nobody Stateside had any fucks to give about Blur, British Music, or what they were doing on this tour. The band themselves have described the space and time immediately preceding the creation of Parklife as pretty bleak. Miserable. Oppressive. They felt backed into a corner, exhausted, downtrodden, underappreciated, and homesick.

Where they sort of lose me on this is where they express feeling as if they were shamed for being British and they were resistant to just create a record that adhered to the current trend of music. They returned to the UK with a concept in mind: a quintessentially British album, about British culture, that makes a statement: British music is a thing of its own, and it’s worth your time. I mean, I don’t disagree with that. I just fail to see how grunge being a popular genre at the time meant that they weren’t able to be proudly British, and proudly produce whatever music suited them. Artists make art for the art, and if someone likes it, that’s great. But they were young men at the time and I imagine egos and the lures of chart success influenced their feelings about it. You don’t get into a tabloid frenzied ongoing rift with the Gallagher brothers because you’re a really chill bunch of guys that only care about the music. There’s an irritating overtone of testosterone and national pride that has an icky vibe to it. It’s too easy for it to be co-opted. And it was! And it still is!

So let me just get the following points off my chest and then I’ll work my way through them:

1. Parklife is and was an important record in British music

2. It’s also not Blur’s strongest album by a BIG margin, but it’s managed to persist as somewhat of a defining album for them. I’m glad they shook it off, and we didn’t just get record after record of Parklife from them. That’s honestly how a lot of people would have done it and I can respect their commitment to art as a band: we’re going to do something different than what you just loved, and if you don’t like it that’s a you problem. People did like it.

3. Parklife also paved the way for an obnoxious marketing/PR ploy from the music industry surrounding British Indie/Rock artists, that created a ridiculous craze and wave that was surfed by bands ranging from incredible and deserving, to absolute dogshit. Ladies and gentleman, I give you: Britpop. If you were there you know what it was like, and you understand all the nuance and resentment surrounding it as a “genre”. We’ll get into this more later. In hindsight it all worked out okay and we live in a world where – at least to my knowledge – you can appreciate and criticize both Oasis and Blur for their talents and their fuck ups without it representing some massive class and cultural divide. This was absolutely not always the case and it was, for some reason, a really big deal, and it mattered to everyone, a lot. Blur or Oasis? I was 7 turning 8 years old at the height of this manufactured-turned-real rivalry, and it genuinely caused me stress. As a child! I loved them both. But I felt forced to choose. I chose Blur. I understand how ridiculous it sounds, but I wish I could go back in time and refuse to choose. It mattered, and it also really didn’t. They don’t sound similar enough to compare or compete? So why did we have to? But WE DID. It was on the news. It was the biggest thing going on at the time. It dominated the papers. Bookies were taking bets on who would be #1 between the two of them. Blur won that battle with Country House. I don’t think anybody won the war. I think everybody got bored, gave up, and went home.

So Blur kicked off Britpop with their return from this grinding US tour and they made a full blown concept album about being British. And it was good. But all of a sudden there was just this… Overwhelming influx of bands who were banking their success solely on this “being British”, thing. It had a look, it had a sound, it had a style, it had a location. The same thing happened with the Indie wave in the early/mid-2000s. It’s so annoying to me though. You end up just having to sift through a whole bunch of fucking garbage to find the stuff that is legit, and would be legit with or without the “scene”. Parklife is legit. It’s just responsible for the aftermath and onslaught of bullshit. Is that their fault? No, but they definitely participated in it all for a bit. There was a lot of great music that technically fell under the Britpop genre, but essentially looking back most of it isn’t Britpop – because that was just made up. It was just good music from various genres, and they all happened to be British artists. That’s not the same thing. It was just a music industry scheme and boy howdy did everyone buy-in.

The song Parklife, is pretty genius, still. Damon Albarn, unable to commit to the concept with a cockney accent, enlisted well-known British actor, Phil Daniels (of Quadrophenia fame) to deliver the lyrics. This was both creative and super novel. People went pretty nuts about it. They still do. It’s got the same pull as Common People. If you want to see an entire nation lose their shit over a song – you might stick on Parklife. It’s just deeply entrenched into the fabric of British culture and it’s as if it was from the moment it was released. It just is. I actually saw Parklife live at Reading Festival when I was 16 or 17, and they brought Phil Daniels out. The most memorable thing about the whole thing, was that Damon Albarn fell off the stage. I guess the most surprising thing about the wider record, is that you expect it to be more of Parklife the song. And it actually isn’t. It’s just a Blur record, and a not bad one at that.

It's just so weird how a regular album took on this entire life of its own, turned into a cultural phenomenon, and produced this era of music that for better or worse is part of history now. Some of the subsequent singles from subsequent albums honestly seem like they were more “Britpop” than a lot of the tracks on Parklife. Maybe they were running with it for sometime to bank on its success, but ultimately they grew tired of it too and changed directions. I’m glad.

I guess the other thing about Blur, is the individuals its made up of. They’ve been indie darlings forever. Graham Coxon was a nerdy little weirdo, he left and came back. I think Britpop almost killed him if I’m being honest. Damon Albarn was a pretty-faced front man and has gone on to produce some absolutely insane albums for other artists and with other bands. He’s got something, that’s for sure, but it’s not always good. Some ego and misogyny always sort of leaks out and it would make my life easier to enjoy his creative output if he just kept his mouth shut. He seems to have a problem playing nice with successful women and insists on tearing them down publicly, only to be forced to admit that he hasn’t actually worked with them, met them, talked to them, or even listened to the music that he is loudly criticizing. That’s fucking annoying, but, is also par for the course regarding male opinions being inexplicably important and accepted even absent of any actual valid perspective or input. Damon, you have a lot of great things to say with your music. That doesn’t mean you have to say something, about everything, all the time.

Alex James, floppy-haired and handsome bassist, for a time was the biggest darling of them all – attracting praise for being so quirky and unique by establishing a cheese farm. Over the years, I have come to suspect he’s really just hidden in plain sight and really what you get with him is a basic man, with basic opinions, who loves some attention. I can’t ever really quite put my finger on it with him but there’s something deeply off putting about his whole persona. I’ll just say it. Whatever image he puts out and however quirky and cool he makes himself out to be: he’s just a fucking Tory, man. With that comes everything else: classism, racism, misogyny and fucking over everyone worse off than you, so long as you get yours. But hey everyone, who cares right? He makes cheese! Isn’t that so weird and kooky? He’s gotta be a cool guy! It was this exact fucking line of thinking that allowed Boris Johnson to take advantage of the comedy panel show circuit for years and years and years, elevating his reputation among liberal young voters. Everyone thought Boris was a funny joke, so let’s vote for him! He goes from MP, to London Mayor, to high-ranking cabinet member, to the fucking PRIME MINISTER. And it wasn’t a funny joke then, was it? So let’s pay attention to the things people actually say and do, and not just the music that they make and the cheese they produce. The other guy in the band, whose name I can literally never remember – Dave Rowntree – he’s just the drummer, who brought nothing to the band visually, and was just sort of along for the ride. Seems like a nice enough guy, it’s just that nobody cares.

If you’re interested in making more sense of this review, I will recommend that you turn your attention to Netflix series This Is Pop which does a pretty decent overall rundown of Blur, Oasis, and the Britpop era. It’s not perfect, but it’s pretty good, and I appreciate that it gives a voice to the women in that music scene at the time, who were treated like shit and had to deal with all of the masculine national pride shit that came along with it all. It’s pretty clear from listening to them: Oasis, literally didn’t give a shit – about anything – and that was pretty hilarious. Blur, despite being genuine talent with good music to offer, bought into the hype and acted like a bunch of pricks publicly. They were all pricks, it’s just some of them were more authentically pricks than others. Ha.

I guess all I can say is this: I love Blur, and I hate Blur. I don’t know that I’m inclined to agree with Parklife’s inclusion in the Rolling Stone Top 500, but I can also appreciate that I’m talking from the inside and the majority of listeners didn’t also absorb the cultural moment as it was happening. If you happened to be there, you know it was all kind of nonsense. It’s kind of wild watching documentaries or reading write-ups of a particular time in music that you were actually present for in real-time. Like how I imagine people who were at Woodstock, or when Bob Dylan went electric, or the original British Invasion of America with the Beatles. It was a whole thing, and if you were there, you remember.

[houseofzoey]

Overall Thoughts on the House of Night Series

By my standards, this series failed in basically every way possible - except monetary success.

The characters are poorly developed, the majority of them fulfilling shallow archetypes or offensive stereotypes with minimal nuance or meaningful exploration. This is true even of major characters, particularly Damien, Stevie Rae, Shaunee, and even Aphrodite.

Much as Aphrodite is beloved by haters and fans alike for her hardships and ability to actually tell off Zoey on occasion, she's ultimately just the lovable bitch/mean-girl-turned-best-friend trope and sees little thoughtful development. We're told that she changes, such as when she declares that she doesn't want to be like her mother and opts not to mix Xanax and wine - but then she's back to the same "substance abuse for laughs" shtick in the next book. Aphrodite's only actual, consistent change is that she stops hating Zoey and considers her a close friend. But otherwise? She's still a quintessential mean girl. She insults people for how they dress, looks down on the poor, bickers and picks fights with everyone, and - oh yeah - is racist, ableist, and queerphobic. Because it's "funny".

Personally? I think Aphrodite is one of the most despisable characters in the series, specifically because a) she has all the makings of a great character with huge potential for complexity and development, b) we're told she goes through incredible growth and change without really being shown it, and c) she's a raging bigot and that's meant to be funny/charming.

I've talked at length about how Zoey, Kalona, and Neferet are giant disappointments as characters, so I won't harp on that here. The main takeaway is that P.C. Cast doesn't know how to establish interesting, nuanced characters, and she certainly has no idea how to develop the cardboard cutouts she does introduce.

It doesn't help that this series has so many characters. A lot of them introduced once and then promptly forgotten. Remember Hannah Honeyyeager? Red? Montoya? Ant? Enyo? Sappho? Kaci Crump? Yeah, I don't blame you if you can't recall more than one detail about any of these characters - if you can even remember anything about them at all.

I can understand wanting to make the series feel well-populated, seeing as it is set in a school in a major city. But there are ways to do that without it feeling like the author just picks fifteen names out of a hat at the beginning of each book and throws them into the text at random intervals. The end result is that the HoN doesn't feel well-populated; it feels cluttered.

The overabundance of meaningless characters leads to other problems, too. Namely... well, names. One great example of this is Shaunee Cole having a thing for Cole Clifton. That's ridiculous, especially because no one ever comments on it, despite this being the exact sort of oddity that these characters would banter about for at least a page. P.C. Cast just didn’t notice she did that. There's plenty of other examples of identical or extremely similar names throughout the series, such as:

Zoey's brother Kevin and Detective Kevin Marx

Erik and Erin

Neferet the person and Nefertiti the cat

Shaylin and Shaunee

Drew (human) and Drew (fledgling)

Kaci Crump, Cassie Kramme, Casey Young, and Kacie Lockwood (from the Other World spinoff)

Even Damien and Darius are a bit close. The author mixed up their names in narration at one point, and it was never caught during the editing process.

(It's also worth noting that P.C. and Kristin have stated that, if the HoN TV show ever comes to fruition, Shaunee and Erin's names will be changed to Monique and Misty.* Monique is already the name of a Priestess working under Damien at the NYHoN in Loved.)

This is only made more absurd when you remember that every single fledgling and vampyre - all these people who got Marked as teenagers - have complete freedom to change their name to whatever they want. Why are there three fledglings named some variation of Cassie (only Casey is human)? Where are all the kids naming themselves Destiny and Ebony and Serendipity? Why aren't more kids named after their favourite celebrities or characters? You're telling me not a single teenage boy named himself Mike Hawk? Where are the kids who gave themselves four middle names because it sounds fancy, or who made their initials into an acronym?

The number of characters who did something like this is very small: Aphrodite, Jack Twist, James Stark, Venus, and Thor are the only ones I can immediately think of. Frankly, that's absurd.

I know exactly why it's Iike that, though. PC Cast isn't thinking about world-building and internal logic when she names her characters. Instead, she regularly names her characters after real people she knows. Here is a non-exhaustive list of such names:

Shaunee Cole

Erin Bates

Damien Maslin (specifically the last name)

Seoras

Cassie Kramme**

Chera Kimiko

Adam Paluka

Mr. Shaddox

Bryan "Dragon" Lankford

Anastasia Lankford

(On a somewhat related note, both P.C. and Kristin both have multiple self-inserts throughout the original and spinoff series. For P.C., it's Sgiach and Tina. For Kristin, it's Zoey and Kacie. This is mostly harmless - except Tina. Tina is literary brown face, because the white author made her self-insert indigenous, specifically Creek. Otherwise, these self-inserts just end up glorified and coddled.)

This kind of offhandedness and carelessness with world-building plagues the series. It's why historical figures are casually mentioned to be vampyres with no thought to how that would actually impact history. It's why the author says, "yeah, all the best actors and singers are vampyres" but then never considers how different media would look if all the most famous entertainers were nocturnal and allergic to the sun. It's why only a handful of countries have large vampyre populations and many of them (such as Italy and Greece) are known to be incredibly sunny and have long days and long summers, while places like Canada are far less populated despite vampyres being minimally affected by the cold. It's why there's 25 HoNs in the world, seven of which are in the US, while only three are in Asia, one is in Africa, and there are none mentioned in Russia or South America. It's why there's only one HoN in Canada despite it being an enormous country that is difficult to travel because of terrain (mountains, wetlands, tundra), weather, and sheer size.

And the thing is, I can excuse Rule of Cool world-building, or world-building that is shallow/poorly thought out. But the execution and context matter. All throughout the text, there's this very clear vibe that the author thinks she has built this incredibly rich, detailed world that is well-researched and grounded in reality while still being fantastical. In reality, the world-building is about as deep and sturdy as a list of bullet points on a wet napkin: It's not detailed, half of it is unintelligible, and it's gonna fall apart if you put even the slightest pressure on it.

I think a great demonstration of both poorly thought out world-building and poorly developed characters is Nyx. She is a loving goddess who prizes free will and thus operates under the principle of non-interference - but she spent eons gaslighting Kalona and all of vampyre society; regularly pops in to give special powers, helpful hints, or immediate solutions to specific fledglings/vampyres if she likes them enough; openly plays favourites; and gives fledglings extremely cruel, painful, or confusing gifts with no explanation as to why said gifts work the way they do. Why is Stark able to accidentally kill someone because of a metaphor he didn't intend to use? Why do visions cause Aphrodite's eyes to bleed? It's also fundamentally unclear what she wants at numerous points throughout the series.

Much of Neferet's descent into evil and success in committing horrific atrocities comes down to the fact that a) Nyx decided that this was the situation in which she wasn't going to give Zoey or anyone else clear warnings or visions about specifically what Neferet was doing, and b) she refused to rescind any of Neferet's gifts, even when she was using them to hurt people and create undead abominations, and had completely turned her back on Nyx in favour of Darkness.

(This is only compounded by the events of the Other World spinoff, wherein Nyx responds to OG Neferet's crimes by erasing her soul from existence so she can never reincarnate or be resurrected. So, I guess she can interfere where she sees fit? She also reduces Other Neferet and a bunch of her soldiers to children so they can have a second chance [horrifying], and causes a bunch of people to instantly complete the Change - including Other Lynette, who was a human. That seems like a lot of very direct interference.)

I also need to acknowledge how absolutely nonsensical the plot of this series is. Like, even just looking at the (intended) core premise of each book, it's all over the place.

Marked: Zoey is Marked and must learn to navigate her new life as a fledgling, which includes discovering she is the Chosen One and ousting mean girl Aphrodite from her position as glorified Student Council President.

Betrayed: Neferet is acting suspicious, which includes accusing Aphrodite of lying about her visions, and being connected to undead fledglings Zoey has spotted around campus.

Chosen: Zoey must heal undead Stevie Rae while also juggling three boyfriends and lying to her friends about all of it.

Untamed: Creepy ravens are all over campus. Aphrodite gets a vision that reveals these are Raven Mockers and Neferet intends to free Kalona from his earthly prison.

Hunted: Kalona and Neferet have brainwashed pretty much everyone at the Tulsa HoN. Zoey and co. need to figure out how to break the spell or get rid of them.

Tempted: After being banished from Tulsa and unable to continue their reign over the HoN, Kalona and Neferet tell the High Council that they are Erebus and Nyx incarnate, and thus Neferet should be the new High Priestess of all vampyres. Zoey goes to the High Council to say they're lying.

Burned: Zoey is shattered in the Otherworld and everyone is trying to save her.

Awakened: Neferet murders Jack so Zoey will stop frolicking on the Isle of Skye and return to Tulsa. Once Zoey returns, Neferet pretends she's a good guy and asks for her forgiveness.

Destined: Zoey's mother had been ritually sacrificed by Neferet to create a living weapon, so Zoey and co. perform a reveal ritual to show how Zoey's mother was murdered.

Hidden: After being shunned by the High Council, Neferet kidnaps Zoey's grandma as vengeance. Neferet is also working a smear campaign against the HoN on local news, which Zoey and co. counteract by doing an interview badmouthing Neferet and announcing an open house on campus.

Revealed: Neferet murders the mayor outside the gates of the HoN, so the school is on lockdown until they can prove that no one living/working there killed him. The Seer Stone is making Zoey increasingly short-tempered and violent.

Redeemed: Neferet takes over a fancy hotel and declares all the hostages her worshippers. Zoey and co. need to figure out how to use Old Magick to stop an immortal without it making Zoey go mad.

Does any of that seem like a logical progression/escalation of events? This isn't even touching on all the random boy drama, abandoned subplots, or nonsensical digressions that only serve to pad the text.

What the author seemingly intended to craft was a Chosen One coming-of-age narrative about a young girl who always felt out of place finding belonging at the HoN while navigating romantic relationships, learning to be a leader, and joining the battle against Darkness.

What we got was a spoiled, selfish brat who complains about every privilege and inconvenience that falls into her lap, who refuses to do anything hard or unpleasant to the point that she repeatedly cheats and leads on her boyfriends, who never takes initiative, and who largely has her problems solved by her subservient friends or a literal goddess.

But it shouldn't be surprising that the plot is all over the place and fails to fulfill the intended themes/messages of the series, because information about P.C. Cast's writing process for the series is also quite inconsistent. Originally, the series was only meant to be a trilogy, but got picked up for more books. However, in a Reddit AMA***, Kristin Cast claims:

We plotted out the story arch, and it naturally ended with twelve books. We also had a per book word count we had to follow, which is why our books aren't as long as other YA novels. However, I don't think anything was rushed. It was all planned from the beginning, and was executed amazingly!

But in several interviews (can only find a couple**** because they were audio/video, not text), P.C. Cast has referenced going rogue - meaning she deviated from the outline. Stark was meant to be Stevie Rae's love interest, Rephaim was supposed to die when Stevie Rae found him, etc. These represent HUGE alterations to the plot, so obviously the whole plot couldn't have been planned from the beginning, nor could everything be executed as intended.

P.C. Cast has also stated that she hates outlining, but Kristin makes her do a detailed chapter-by-chapter outline when they actually co-write. When P.C. writes solo, she knows the beginning, the end, and a bunch of pieces in the middle, and then figures it out from there (which sounds like a plantser style). Given that Kristin wasn't involved in the planning process - she didn't even look at the outlines of the original series because, as an editor, she wanted completely fresh eyes for the text - she couldn't have been the one pushing for a thorough outline of the whole series before P.C. began writing.

And that's not even getting into the fact that P.C. has stated the series was originally planned as a trilogy, which is evident from how the first three books were written. She couldn't have planned a twelve book series because she had no reason to assume she would be able to publish more than three books.

I wish I had a more satisfying conclusion to offer here, but... that's kind of the problem with talking about this series. The problems both span so wide and run so deep that it feels impossible to actually cover everything. I've made tens of thousands of posts - including in-depth analyses of plot, character, world-building, and writing - for every single book in this series, and I still feel like I haven't covered everything.

*Discussed here, around 17:00

**Google searches show this is a real person who attended the same school PC taught at

***Reddit AMA

****PC Cast interview, q&a

[sepublic]

            I seem to have lost this ask (at least I think it was an ask) where someone pointed something out to me about Matthew Rhys’ statement on Belos being ‘misunderstood’, way back from summer 2020…

         So, I’ll just paraphrase it here. But in response to my questioning how this made sense when Belos proved himself to be utterly genocidal and prejudiced, the ask pointed out that… Belos doesn’t want power. He thinks he’s doing the right thing and just wants to go back to a humble life, and be back with his brother.

         And!!! As I think about it, it really does fit. Belos had the most powerful magic, taught to him by the Collector. He was Emperor of an entire world and beloved. He had authority AND power, and yet… He chose to give it all up, walk away, and settle for a quiet life back home. He wanted, CRAVED to go back to being just a regular, humble human.

         Part of this is because he was NEVER a regular human, not according to Gravesfield’s arbitrary definitions anyway. He was a freak and an outcast, him and Caleb. Philip doesn’t want to seize power for himself, he finds the power of magic evil. In the end, all he desired was to go back to this sense of home, or at least gain it; All he wanted was this sense of acceptance for having done a good job from his peers back in the human world, with proof that he finally lived up to their idea of ‘success’.

         There is zero pragmatic reason to resurrect Caleb, over and over. There is no bigger ‘plan’ to the Grimwalkers. He just misses his brother. He wants him back, it’s that simple, and there’s no function to the draining spell or anything else that a Grimwalker needs to justify itself with. If Belos wanted fame and adulation or any other typical villain motivation, he had it all in the demon realm and then gave it up. All he wants is a sense of belonging and to be told he did the right thing. Philip is crippled by a horrible nostalgia and loneliness, and he’s too scarred from Gravesfield’s trauma, and his own stubbornness, to move on.

         He thinks he’s saving Luz, he thinks he’s an Eda to her, a jaded mentor who can save this kid from the tragedy he suffered alone. Belos legit thinks he’s the hero of his own story, saving humanity, and he’s engaging in this idyllic childhood dream of being a witch hunter, murder IS his fantasy, because that’s how the Puritans were.

         As his voice actor, Matthew Rhys obviously has to truly get into the head and mindset, the unhealthy perspective, of Belos. So if there are plenty of angles to view Belos as sympathetic and kind of misunderstood as MORE than just power-hungry villain, then. Yeah, as the one who has to BE Belos, I think I finally understand what Rhys meant when he said, all the way back in 2020, that he viewed Belos as ‘misunderstood’. He’s not an intimidating Emperor who believes in domination or conformity, so much as he is a lonely little child. An AWFUL child, but a child nonetheless, one with deep and disturbing parallels to Luz and Camila.

         Back in 2020, I kinda joked/speculated about Belos having a Senator Armstrong moment, in which he reveals his actual motivations, and just how utterly deluded he is, how convinced he is that he’s right. And he’s so eager to believe our protagonist agrees, projecting a kinship onto them… Only for the ‘acceptance’ to just be bait, as the protagonist denounces them not as the typical, generic evil as they’d assumed, but batshit insane. To the utter shock of our hopeless villain. Betrayal, transforming into monstrous rage. But even after it all he still appeals to that ‘connection’ they have, and eventually the protagonist must admit it exists.

        Lo and behold, that’s what happened in King’s Tide. So I’m VERY happy to say it happened, after all. This all reminds me of a post about how a character having nuance doesn’t necessarily mean they’re morally gray or even feel bad about what they’ve done, and boy howdy does Belos illustrate that perfectly. He’s utterly awful but there’s a genuine sense of motivation, personality, and background to him, you can see how his mind works and how parts of his past informed the person he’s become. You can see how it functions and how all of the inner mechanisms of his mind come together; There IS a twisted rhyme to his madness, things make sense to him. Barring the blatant denial and cognitive dissonance, of course, but he’s rationalized it.

[gregoftom]

i don't really know how to explain myself properly but i feel like some people are really concerned about Getting A Good Grade In Succession to the point where they've adopted a very cynical view of tg's relationship because being too earnest about them is ~not the point of the show~ or w/e. which is funny because every other relationship in the show is allowed to be nuanced but not theirs i guess? so you have people going "oh their relationship was only ever about them using each other from the start" when that's demonstrably not true and like. i have really mixed feelings about this season so far and i feel like anything could happen with them by virtue of weird writing choices and i hope with all my heart this doesn't end up being the case but even if the finale tries to diminish the depth of their relationship i don't understand the point of Us acting like there was never anything deeper there? but anyway, all this too say that i agree w/ you that the way people are very cynical and dismissive abt tg specifically has rubbed me the wrong way and thank u for your service ❤️

hiii sweet anon!

A GOOD GRADE IN SUCCESSION ASHAKJSA god honestly, i hear you.

i'm getting real tired of this "point of the show" shit bc it's like. just because tg isn't "the point", isn't a main focal plot [which it is, or at least is part of it], isn't integral to character development [which it is too; without tom greg would not be where he is now which is at a point where he actually could be seriously considered as a fucking CEO, without greg tom wouldn't have learned any self respect or self worth/we would never have been able to see him express himself beyond servitude towards shiv], it doesn't mean it can't be explored and considered as a serious part of the show?

media is created for us to enjoy. yes it's there to interpret and discuss but it doesn't always have to be that way? literally you can watch the show just for tomgreg and that is A OKAY. why? because you don't have to justify why you like something! surprise! and yeah i've noticed that too - other relationships get to be seen as nuanced, but not tg i guess. idk why, seeing as its dynamic is something to be studied under a microscope and fun to not only shippers but normies too lmao. clearly there is something more interesting to it than just, oh it's mutual corporate climbing.

exactly! there's even more contexts provided by the scripts, THE SACRED TEXTS lol that provide us with more knowledge and insight into the feelings of these characters, that show us that their relationship goes beyond using each other. there is an element of that of course, but that's not all they are. why reduce them to that when so very clearly on paper we are affirmed of what we thought we could read textually on the screen? it just baffles me.

i'm hoping too anon, like A Lot. from the looks of the trailer i have a. i have a little bit of hope. even if say, tom has to choose between greg and shiv, if he chooses shiv and has visible trouble with it, like it takes him time, it plagues him, it takes effort, it feels like a real decision affecting his life, like. that counts for something you know? that would, to me, not diminish his relationship with greg. obviously it would be heartbreaking after how loyal greg has been to tom, but the very fact that it would be difficult to tom would mean that greg is important to him in some fashion, and the show would be at least acknowledging it by doing that. like, it's that easy. i ain't asking for much. i know what i'd like, but what i would be satisfied/settle with, well i think the bar is reasonable, you know?

i'm glad you understand me! i mean, who knows maybe some of it is people trying to go on the defensive like, "it's the hope that kills you" so they are trying not to have any by lessening it, saying oh there was nothing there, there was no romance, nothing positive, it was all for mutual professional gain and that's it. but like, personally that doesn't work for me. i think you should at least acknowledge its importance otherwise we're regressing right back to the oh it's a mlm ship? never mind then. i'm not about that, i guess.

thanks for the message buddy god speed <3

[godnectar]

How do I becum a good writer like you

wouldn't know if 'm actually a good writer tbh,, but ig that if you wanna improve, some things u should try to do are:

♡ ── (obviously) write because you like to and want to, and definitely not because you feel obligated to 😭

i know it's impossible to always be happy doing the same thing over and over again and always be inspired, but as much as it sucks whenever author's block gets to you, don't push yourself to go and finish that work that has been sitting on your drafts for weeks because, 1) I can assure u most of the time it still probably won't convince you completly even if it's already finished, and 2) it's ofc bad for your physical and mental health >:

♡ ── have at least some basic knowledge on the topic you wanna write about and spend some bits of your time learning more about it 🫶

this certainly depends on what is it that you specialize on, in my case being yandere babes :D evidently, I wouldn't be able to write about yandere archetypes and everything that it involves if I don't know shit about what that is– and even after knowing the essentials, you will have to make some research and learn about it in a more developed level to add depth and accuracy to your writing. doing this can help you understand better the nuances and intricacies of the subject matter, which will def make your writing more engaging and compelling.

♡ ── expand your vocabulary, correct on grammar and spelling mistakes & make sure it sounds nice 👆

👏 literature 👏 is 👏 a 👏 form 👏 of 👏 art 👏 and yeah, this might probably sound cringy and obvious and whatever bs internet uses these days to describe everything,, but I learnt about it since I was seven and it never went away — art is made to express, communicate and entertain. in literature, a writing will appeal more to a reader with it's coherence and cohesion, with it's fluidity and with it's artistry. by correcting those things, you will not just make it more attractive, but will also develop a certain style depending on what tone u use while writing.

♡ ── read as much as you can and keep whatever feedback you receive (as long as it's constructive) in mind! 💬

it doesn't matter if what you read are just smutty fics on this hellsite or if you adore collecting and having entire bookshelves filled with classics. the thing is that, even if each author is different, we all want to reach an audience if we publish our works. if you find someone who writes about the same topic as you, if you pay attention on what makes them successful, or what does their audience and followers like and dislike, you will learn about small things that will make your own work more pleasant and entertaining. of fucking course, this doesn't mean nor refer that you can or should plagiarize anyone's writing.

♡ ── make drafts and take notes,,,, a big ass amount 🤡

don't be afraid or think it looks awful having +69 drafts unfinished deep in your acc,, absolutely all practice is good practice. even if you don't have your phone or laptop around, if you're on class or at your workplace or something, if you have an idea – no matter how small – write it down wherever you can and develop it as much as you want. it's impossible to improve without practice 😭

[davekat-sucks]

Wow amazing art but this is strike one. Yiffy was the inevitable failure of postcanon, even with the new union and art team, her very existence ruins Rosemary, ruins Jade, ruins the setting and pisses off the fanbase no matter what you do.

Remove Yiffany and you retcon a major plot point of postcanon and the 4th kid for the new kids for the Candy timeline, keep her in and Jade is still a futanari who imposed herself on Rose to ruin the fanbase’s favorite lesbian couple and raise the kid with a fascist because… people on Earth C are too nosy.

Yiffany destroyed all hype for the original Homestuck^2 when she was revealed, even for as mediocre as the comic started out as, there were fans and speculation, which turned to spite for being so poorly handled. Even now with the new team, r/homestuck at least seems to enjoy the new content (excluding a few voices and r/englishpumpkinparty) but clearly any content with yiffany is gonna piss someone off.

Literally if Hussie just stopped at the epilogues the fandom would like postcanon more. It would have its detractor but it’s easier to defend the epilogues than Beyond Canon.

I can actually understand and connect why Jade and Jane became the way they are in the epilogues. Jane’s encounters with trolls were awful and the mothergrub does lay thousands of eggs to deal with such a low rate of successful brooding grubs. Jade was alone on her island and in a ship for 3 years (post retcon) and needs human connection desperately. My issue was the epilogues do a very one-dimensional and extreme version of these characters and justifies this by saying “no one checked in on them or helped” over the course of a 7 year timeskip and even after the characters did a whole webcomic where the point was friendship and connection is healthy for a human to develop emotionally to maturity, are we seriously doing this theme again?!

But Jane in Beyond Canon is a villain with barely any screen time or dialogue to ramble about why she’s “doing the right thing” and Jade is stripped of any nuance to this invasive and careless brat who tries to gain sympathy by whining about how much her life sucked/still sucks

I swear, this comic will go on hiatus again by the end of 2024 (if everything goes right) or on 4/13 (if it all goes wrong)

At least Jade was justified because 1. She didn't know how Grandpa English died and only came to the shocking realization she accidentally killed him (Tavros had also intervened too during this). 2. She had to grow up alone on an ISLAND and has no social cues how to properly act. Sure she would have Internet, movies, games, and books to read. But they aren't the true basis of human connection. 3. Neither Hussie, James, or anyone in WhatPumpkin/HICU had given a reason why Bec couldn't just teleport her to meet with the others since he still had Space Powers. Some could say because it would ruin the plot and Sburb wouldn't happen that it only took the meddling of MSPA READER in Pesterquest to do it. Her situation is just as shit like Jake English. And look how the series, writers, and nu-fandom shit on Jake despite his conditions is just the same, if not WORSE because of the lusus animals trying to attack him that he had always be training to survive for his life. At this point, drop any faith you have in James Roach and Beyond Canon. Apologize. And hope that this will fail hard that James and Hussie will just let the fandom make up their own ending. Even say DO NOT GIVE James Roach any money if they do go through with the Homestuck merch and vinyl. You are better off supporting the fandom itself. Pay for commissions, buy fan merch on places like Etsy, etc. Do not give shitty people like James or Hussie any cash. Go give Toby Fox some love too. Because he is one of the few sane people left and is successful outside of Homestuck.