#but i don't particularly mind this narrative and wanted to share my opinion

[cat-mentality]

Not, like, to passar o pano to everything like a fool or to sound too delusional but like.................... the Federation coming up on the last moments to save the day makes sense.

Okay, hear me out.

The whole point of the Federation is to make the Islanders happy, to make sure they enjoy the Island and shut the fuck up about anything else that may be going one.

They have them the eggs. So that they could go around and play house and to make the Island feel like a home so that they didn't try to leave.

They made them fragile, so that they could be used as bait, as they could subtly keep people in line by making it clear that they could take the eggs away as easily as they gave them. I like to think the nightmares are actually real, but that the Federation just decided to act and restore the egg's life and make everything feel like a bad dream (Since we KNOW they can bring the kids back, as seen with Flippa, and also mess up with people's memories).

But even so the Islanders start to hate them. They hate the Federation and they rebel against them, they are neither enjoying the Island or playing nice like the Federation wants them to and that is not acceptable something has to be done.

They try, but they fucking fail every single time, in fact they basically make it worse.

And then the eggs run away and the Islanders go missing.

Of course the Federation will jump ship to save the kids the moment they discover where they may be.

What better way to make the Islanders happy? They were out of control when the kids are missing and blaming the Federation the one time they are actually innocent, the only way to fix it would be to push themselves into the savior role and bring them back

Present the kids with a smile and a subtle "Look at us. Look at us doing what you failed to. You tried to bring them back and you failed, you almost lost them, but we brought them back, we rescued and took care of them, we gave them a extra life, aren't we nice? Aren't we great?", putting themselves as the saviors, as the heroes, as more powerful than the Islanders, as able to take care of them better than they can take care of themselves. (Breaking serious analysis to say: Mother knows best vibes. Literally the Federation is fucking Gothel)

Everything is perfect now! The kids are back, there are new kids for them to love, the Island is as good as new again!

No one has to pay attention to those who are still missing. They are gone! Don't you see, we went to the Island and we didn't find them, they are gone (how fucking tragic that those missing are the loose lines, the worker who they know they can't trust, the experiments who knew too much, the infected islander, the man who couldn't keep himself out of their bussiness), what a tragedy. But focus on the children! They are so weak and fragile now, they need all your attention, you wouldn't want them to be sad would you?

And now this.

Now there is this entity wrecking havoc, putting the children at risk, destroying everything when things are still trying to be fixed.

And the Islanders can't do a fucking thing against him.

But the Federation can. They know they can. But they wait, they wait until the last seconds, they let them try, they let them plot, they let them die.

And when they are desperate, when they are begging for their help, when they have no other choice, that's the moment the Federation comes.

They come and they fix the issue easily.

The heroes, yet again, taking a away the danger, saving the children. Another message "You can't do this without us. You are weak, helpless, what would you do without us? Don't you see? You need us."

Of course the Federation will come and save the day over and over again, they want to make sure the Islanders feel they depend on them.

[utilitycaster]

🔥 about each member of the mighty nein (instead of sending you a million separate asks lol)

Fjord - this is actually the only character from all of Critical Role where if someone does not like that character I am immediately done with anything they have to say. Ashton and Vex are my favorites from C3 and C1 respectively but I get not being particularly into what they're doing even if I disagree, but like, if you don't like Fjord you either have no understanding of the idea of characters being defined by their settings and narratives and vice versa and therefore you have no media analysis statements worth hearing; or you made a snap judgement based on like 20 minutes of campaign 2.

Beau - I wish the circlet had gone to Veth; I liked Beau's arc a lot but she started as one of my favorites and was later surpassed by a number of other characters and I think it was in part because I liked her getting things the hard way and also doing more with the Cobalt Soul and Dairon than she ultimately ended up doing.

Caleb - I think I kind of covered it with my post about his trauma recently, namely, I think he's a fantastic character and Liam did a great job and also whenever someone acts like Caleb is objectively correct at all times or should have murdered everyone in the assembly it's a MASSIVE red flag.

Veth - weirdly unpopular in this fandom but I like her more as a halfling. Also, I actually think arcane trickster was a phenomenal fit for Sam mechanically even though he wants more spells and would love to see him do another 1/3rd or half caster.

Jester - I feel I've covered my main one repeatedly (people LOVED to talk about her agency and the second she kissed the wrong person she was suddenly a stupid baby girl who didn't know what was good for her) so I think my other one is that as with all of Laura's characters she is much more fun, especially early on, if you lean into the fact that she does say a lot of shit that makes people really uncomfortable or annoyed instead of trying to turn this into a SHE LOVES SO HARD AND NO ONE LISTENS because both can be true, your love can come out in ways that people are very annoyed by, this is how cats feel all the time actually, and so much of Jester's arc is figuring out how to share this love in a way that other people can appreciate without losing her own personality in the process.

Caduceus - I've also covered this a zillion times but I will say it again, Caduceus deflected so many attempts to check in with him and he does not want to like, fix Molaesmyr, he was not neglected, he was built out to be a character who was more of a low-key support guy and Taliesin did an incredible job with that.

Molly - honestly my unpopular opinion remains that I simply found him very well built and a great concept and also irritating as hell, and the Nein's response to him was valid but the fandom's post-death lionization was very tiresome. I'm genuinely not sure the party could have bonded the way they ultimately did if someone who was throwing around "enthrall" like that were still around.

Kingsley - now, while I don't mind if you dislike Kingsley, acting like Kingsley and Molly are the same character is actually equal to the not liking Fjord thing; that's an instant "this person's interpretations of media are so bad I am blocking so as to not accidentally see anything they have to say."

Yasha - I'm not sure I have any unpopular opinions? I do think she is at times underappreciated but I also think specifically she is, like Caleb, a victim of the terrible and weirdly common fandom idea that the only way to move on from abuse and horror is by killing everyone and everything that hurt you rather than rejecting violence and finding your own path and your own meaning.

Essek - sticking specifically to his role in the Nein, again, I love Essek and he is a member of the party and also he is an NPC and acting deeply offended that he doesn't get the same treatment in terms of comic books or merch or appearances in one-shots is very childish.

[tempenensis]

I know you don't usually weigh in on non-canon content, but I've seen a lot of people say 236 was a bad ending, or like gege joked, that things are moving too fast or he's missed a chapter (or 20, I'm personally annoyed that we jumped from Nov to Dec 24, I know gege wants the manga to end for some reason, but those three weeks of training/preparation would have been a great time to let us get re-invested in the student characters since the culling game arc felt like it was missing so much)

Do you have any feeling for what could have been a better way to end things, if indeed things are ended, for Gojou Satoru? Or do you agree that things have been moving too fast?

Sorry for this and please feel free not to answer if this is not the kind of question you want to entertain, I am just curious if you have an opinion you're willing to share since I feel you have a very good grasp of the jjk's plot and themes! I trained as a literature major, so my interest is always in whether character consistency is maintained and what a story is saying and whether that message is carried successfully or not and what that might mean for us as readers. I'm personally still on the fence about this particular twist because I'm trying to withhold judgement of the piece until we actually see it as a whole, but I am starting to feel that the narrative started to unravel a bit after Shibuya, like somehow we didn't see a lot of the characters to their full potential (like Nobara T.T my baby Nobara). Maybe this is just part of gege's notorious fast pace.

Some of this I believe is due to JJK's titular meaning of the issue of curses and what they represent being an "endless battle" but there's only so many times one can show hopelessness and loss I think before it becomes almost redundant. We actually haven't seen that many on-screen sorcerer deaths, but somehow it's been two of the most popular adult characters so far, and only direct mentors, which is a frequent trope of the hero's journey in western literature. I think that even though I really wish it hadn't happened, Nanami's ending made a lot of sense. Power-wise, Gojo's current death also makes sense, and he's not the kind of character who instantly changes his mind or learns something in his heart from a single experience, but I think it feels somewhat frustrating from my point of view because despite the bodhisattva imagery, he had more to learn as a living person, rather than continuing to believe he was like a flower and maybe no one had the right to ask him to understand. I don't know, it's just a bit frustrating for me because I think it feels character consistent (which I think gege tends to be pretty good at) but somehow incomplete too.

Again my apologies for the long ask, you're always the one I wish I could sit down and have a conversation about these things with!

-raindrop anon

Hi, raindrop anon,. Good to see you again.

First of all, I don't really think Gojou's death is particularly bad, but yeah, as you said, there might be something leaves to be desired in the plot - if jjk is a traditional shonen manga, that is. But jjk is different, which is also the reason for its popularity. I feel that jjk storytelling has always been fast-paced, and one thing that Akutami-sensei does really well is to stick to the main points that he wants to tell with his manga. The last time we have a non-serious non-battle chapter was probably chapter 64 lol - but at the same time, this also shows how jjk departs from the traditional shonen jump manga custom where the mangaka tends to drag the story to make the manga runs longer. Gege on the other hand, seems adamant to want to end the story sooner than later (if his last estimation is to be believed, only a few months left for jjk).

I don't actually have a strong feeling of how gege should end thing with Gojou, but it's been a habit of him to get to the.. shocking side of things; we see this with Gojou getting sealed back in Shibuya. Nanami's death. Then we see the Culling game, and Tengen getting killed. And lastly for Gojou to die. The longstanding status quo is going to be changed eventually. And the next one with status quo is already targeted; Sukuna himself.

As I follow this manga, "things moving too fast" has always been the opinion I saw a lot discussed here in my askbox for many, many developments in the manga. And this is more of a personal preference, but I actually like the fast-get-to-the-point-storytelling that Gege uses with jjk, exactly because how it breaks away from traditional jump manga. I feel that this fast pace is just how gege do his storytelling since the beginning lol

tldr is all I can say is jjk has always been different and fast-paced, gege is unpredictable, and I'm in the opinion that Gojou's death does make sense, unfortunately :')

[frostyyyroyalmilktea]

Why Vesna’s “My sister’s crown” in no feminist anthem but a Trojan horse filled with pro-russian messaging

My thoughts as a Ukrainian with a poli-sci degree.

I was debating whether to write this post but as the discourse around this song grows, I want to give people from other countries some context on the messaging used in the song and why Ukrainians are grossed out by it.

While I was writing it this post grew a mind of its own and I even ended up adding pictures so I'll fold the post here in case you don't care and just want to scroll through quickly.

First of all, it’s worth mentioning that this song attracted so much attention from Ukrainians because they use UKRAINIAN LANGUAGE in the chorus. It’s an important detail seeing how one of the singers is russian. A lot of Ukrainians share the opinion that letting a russian woman sing in our language is a completely vile thing to do to our culture. I agree with it too. But the abuse of our culture doesn’t stop there.

See this shot? This is supposed to be Borsch, a traditional Ukrainian dish. It’s worth mentioning that russia tried to appropriate this dish and in 2022 we fought tooth and nail to have UNESCO protect it as part of Ukrainian heritage. But back to the shot. The letters around it are supposed to symbolize russian propaganda. Great start🙄

But it gets better, lads. They start “feeding the propaganda” to the girl that —judging by stylistic choices as well as matryoshka makeup—  is supposed to represent russian people.

Right, so they *checks notes* use Ukrainian cultural dish —that russians almost succeeded in stealing from us— to show… what exactly? “Poor russians🥺 uwu” getting brainwashed? Oh, then let me grab my handkerchief. This is so so sad I think I’m about to cry😶😶😶

I mean, just a thought but if they wanted to show how shitty russian government treats its people, they could’ve recreated the historically accurate moment when russian tzar Ivan the Terrible shoved his underling’s face into a boiling soup. What does Ukraine and our long-suffering dish has to do with all this bs???

Now let’s talk about that “Crown”, that is supposed to belong to the sister (aka Ukraine). To me, as a poli-sci major, this is so stupid I don’t even know whether to laugh or cry. From the words of the band themself, where they explain —quite poorly might I say— the meaning of their song, we learn that “Crown” symbolizes the sovereignty of the 13 Eastern-European countries. Sounds perfectly valid. Here's a few random countries that I can remember from the top of my head in no particular order that have crowns in their symbols:

Coat of arms of the Czech Republic, Coat of arms of Serbia, Flag of Poland and Flag of Croatia

I actually decided that I don't want to have russian flag and emblem in this post because I don't want to look at it every time I scroll through, but you can go google it if you want, they have not one but two crowns on their emblem actually.

So what am I leading up to with all this flag-talk, you might ask. Well, the kicker is that THIS ⬇️ is Ukrainian emblem:

Not a crown in sight as you can see. I guess as a nation that was constantly fighting against imperial colonisation we’re not very fond of those. Who could’ve guessed🤷‍♀️

But the aforementioned two points are pretty circumstantial and in the grand scheme of things are not particularly significant. I felt compelled to point them out first to give people from other countries a bit of insight into the music video's visual. You are free to disagree with me on those. The main problem that triggers the majority of Ukrainians is the use of the word "sister". Listen, I know you don’t want to read a lecture on the nuance of Slav politics and I don’t really want to write it, I know you know how to google. So here’s the gist:

One of the BIGGEST narratives that russia is pushing in its export propaganda (aside from their go-to claim that all ukrainians are nazis) is that Slavs are all a family. Talk about shitty relatives, eh? But basically, it’s a lingering thing from USSR where russia exploited a bunch of neighboring countries and called this shit a “Union” (while convincing the rest of the world that those countries entered that union willingly and not under threats —or as a result of— hostile invasions, but I digress). So the way russia frames it is that russia is this big brother that "takes care of other little siblings”. Even writing it down made me want to barf🤢🤢🤢. This narrative was specifically very actively weaponized against Ukraine before the 2022 invasion. Its goal is to infantilize Ukraine as if we're not a whole-ass independent country, but a little sibling that doesn't know how to wipe their own ass. And that we just need good ol’ russia to come and save us from our own stupidity. I hope I shed some light on why this word specifically triggers us so much and why I think that this song has 0 to do with solidarity and overall is complete populistic bs with a generous dash of russian propaganda.

I want to emphasize that I didn’t make this post to fight or argue with anyone  but to give people another perspective if you’re interested in it from my pov as a Ukrainian. If you have other takes on it, I’d love to read them in the comments. Just please be respectful or I won’t interact.

This is all I have to say for today. Love, love, peace, peace, my dudes.

[thesherrinfordfacility]

I would like to know how Neil's interpretation of a scene he didn't write as not being a sex metaphor somehow means he's suddenly decided Aziracrow aren't in love. With how much the Good Omens fandom insists that all headcanons are valid, why does Neil sharing his for one scene suddenly mean he needs to be tricked and bullied into having Crowley and Aziraphale kiss or be otherwise romantic?

Is it because he said a dramatic last ditch attempt at communication in the form of a completely non-sexy kiss is just that? He didn't say it wasn't a romantic kiss, he said it was a non-sexual kiss. He said, to him, the oxrib scene was not a sexual metaphor. He has not said, anywhere, that Aziraphale and Crowley are not romantically in love.

Neil does not need to be bullied or tricked by Michael and David or anyone else to make Crowley and Aziraphale be and show they are in love. He's doing a remarkable job of making them that way all on his own.

hi anon!!!✨ okay, so ive pondered over this ask, and i can't quite parse out from the tone if you might be generally asking/ranting, or if you believe that im - put simply - anti-neil in this whole discourse fiasco? because if it's the latter, i'll happily share my personal thoughts on the matter as to why that is definitely not the case. initially, just to support my point, take a look at my tags on this and this post, because that will give you a little flavour as to my opinion.

essentially, i completely agree with you. first, for full disclosure - i know that there have been quite a few comments that neil has made (in interviews, tweets etc) over the years that have fed into this discourse that i do not have receipts for; so anyone that wants me to take these into account, please feel free to send me them.

okay, now i'll try and summarise my thoughts on this (and some may repeat points you have very rightly - imo - already made):

good omens, and in particular the show, is very diverse, and inclusive. it is a triumph in this respect. specifically, i think aziraphale and crowley's story has been written very cleverly and quite sensitively to provide or reflect representation for a wide array of sexualities, gender identifications, and in general queer experiences.

my second main thought is that there is a difference between author/writer original intent, author/writer interpretation of their own work (retrospectively, as a consumer or critic in their own right), and audience interpretation. none of them have to perish for others to exist; they can exist together, even if they can conflict each other in their conclusion/s. the best stories imo are those that can be read multiple ways.

the ox-scene in ep2 (and im also going to lump 40s minisode in this too... plus multiple other specific Acting Choices throughout the season) can be interpreted sexually. i don't think there are two ways about it, it definitely can. it may not be the author's intent (bearing in mind, whilst likely overseen by neil, ACtO was written by john) to write it sexually, but the direction/acting choices are, i think, undeniably sexual in subtext and tone.

that being said, whether or not this is what the writers had in mind when writing the episode (and im not saying they absolutely did, im not psychic), the literal written narrative is not sexual at all. it's crowley tempting aziraphale into eating, an earthly pleasure that we know aziraphale later enjoys. it is therefore perfectly reasonable for some people, i imagine particularly those that are aspec, to read this scene non-sexually. whether metaphorical for sex or just a complete mukbang on aziraphale's part, i read it as an uncomfortable, intimate, eldritch-like scene. all interpretations are correct, and none are wrong. it caters for many.

the kiss scene is, to my mind, not particularly romantic, and it's certainly not sexual. crowley meant it out of love, no doubt, and hand-in-hand with that love, out of desperation and as an 'everything else has failed' way of communicating. i personally read it as a temptation, as something desperate but almost on the cusp of being possessive and cruel - thats my personal opinion/interpretation. i'll be completely honest, i don't personally see how anyone can possibly read this scene as sexual (imo kisses are not and should not be gatekept by those that are sex-inclined), but where someone does, id be happy to learn why, to try to understand that interpretation. the romantic element is a little more questionable - technically speaking, yes, it probably is romantic, and i do understand how/why people read it as that, but for me it isn't.

the story in totality is however, to my mind, romantic; in my opinion, there is love of the romantic kind between aziraphale and crowley. furthermore, neil has stated that that is the writer's intent; he intends for it to be romantic.

taking the writer intent out of the equation however, for a moment, admittedly i think their story even throughout s2 could be seen as very lovingly platonic, right up until the kiss. but even then - as I said before - the kiss for me doesn't read as completely romantic. i think one could argue that crowley just simply saw it as something he could do because 'humans do it!'. the script itself doesn't confirm outright it is romantic - it strongly alludes to it, sure, but there has been no indisputable declaration of romantic love. therefore (whilst, again, i do not personally think this to be the case - i do see romantic love here) it is entirely possible to interpret the narrative, text and subtext, in completely different ways and those interpretations still be valid.

where the story, and their relationship itself, goes and concludes is unknown. they could have multiple kisses of the romantic variety in s3, or they may never kiss again. they could just hug, or hold hands. they could have a full-on sex scene, or potentially have a scene that could be interpreted as leading to one. they could even have a conversation about being willing to try sex, another human experience, but agree that if neither of them like it, they don't do it again (but will still love each other), and the conclusion is left purposefully ambiguous. there may be a love confession, an outright declaration, or something could be said in a subtle way such that can be interpreted as both platonic and romantic.

i agree that neil doesn't need to be bullied by anyone into writing the story he's going to write... there will however be jokes about it, mainly from the hyperbolic perspective of michael being quite vocal that he too sees aziraphale as being in love with crowley. michael has admitted (jokingly? professional research?) to reading fanfiction that helped inform him on this personal confirmation, and this may have informed him on his acting. there are some of us that joke about the 'feral-ness that is michael in being hellbent on getting a sex scene' etc., and i know some have taken that joke further in saying that michael should essentially campaign for one, but i think we can all safely say that neil will write what he writes, and michael will continue to play aziraphale absolutely perfectly, and according to the script and direction offered to him. they are professionals, colleagues, and im fairly certain are definitely friends; the jokes are jokes (on this blog at least, anyway).

final point; i think neil has a fairly difficult task - whether he actively pays a deliberate mind to this or not, or it just comes naturally - in continuing to write a story that can be representative of everyone. he has his intent, sure, and his later own interpretation, but he has provided something amazing; characters and a story that is supernatural in setting, but entirely human in nature. that can speak to so many people, of so many different walks of life. that everyone can see a bit of themselves in these characters, can recognise parts of them in their own spirit. sees them go through decisions and experiences and joy and pain that each of us have at some point probably encountered ourselves.

that balancing act - again, whether he purposefully does pay this any mind or not - cannot be easy. i do not personally see him as homophobic for what he said in that tweet. i do not personally think he has queerbaited, or led anyone on to think that the characters/narrative is something that it's not. that's my opinion, and i fully respect that others will have theirs (and id be happy to hear them!), but i think he is respectful that people will have their individual interpretations, and leave it at that. he may even agree with some of them - he has said that he has liked metas etc based on merit and effort, out of respect too i imagine, but not necessarily as a veritable stamp of approval that the post agrees outright with his original intent or personal interpretation.

in any case - why would he agree to one interpretation if that could mean that that could upset someone else with a different one? that's not fair on anyone, so i think it's more than fair that he sticks to confirming what he intended in what he wrote, and not comment on how it should be interpreted. its because of this - brass tacks time - that i think any questions about interpretation should be kept out of his askbox... sure, ask about what is literally in the script, or what physically happens on screen, or background 'canon' info, but don't ask him for how you should interpret it, because i think it's fair to say he is only ever going to give back his original intention, or how he personally interprets it.

that doesn't automatically mean that he thinks any other interpretation is ridiculous or inaccurate, or not valid; everyone else's interpretation can exist at the same time too. he might disagree privately, but that's up to him - same as the rest of us✨

[gwyns]

tbh with you after finishing acosf and the bonus chapter for the first time, all I knew was I didn't want Elain and Azriel to end up together. I wasn't remotely passionate about Gwynriel and Elucien but I definitely knew E/riel isn't going to happen.

Mainly bc through out the whole series even if 3.5 books of it was from Feyre's pov and first person I didn't felt any spark between them. between Nesta and Cassian? NO DOUBT I new they were mates. as casual reader you can feel they're mate material. but even that rescuing scene everyone keep talking about that it's the main reason they're going to end up together fell falt for me!! bc Lucien wasn't there and I'm sure if he was... no one could've stopped him.

like acosf was the last nail in their coffin! sjm could've made me believe that they're endgame specially when it's 3rd person but she didn't even try lmao. but still I was like well... she made me like Nesta! she made me fell in love with her and understand her in a way it felt personal. she made me fall in love with Nessian and Feysand so she can definitely write E/riel that I might change my mind about them... but I was unsure and I was trying to convince myself lol (the way I kept telling myself that it's gonna be okay lmao)

but then I read the bc and it was over... I was done! the way Azriel thought about Elain made me cringe multiple times. the way Elain felt so small in that scene made me uncomfortable and the way he questioned Cauldron as he has some claim on her? oh all I could see was red!!! so that's why I was sure E/riel won't happen and even if it does I was done with this series I'm not even kidding...

so yes this was my experience with the book! and I brought this up bc I saw one of the E/riels say that if they didn't join the fandom they would've known people shipped Az and Gwyn and their irl friends also didn't know that...

honey sorry to break it to you but you need to raise you standards. bc if you didn't notice how toxic that interaction was... I feel sorry for you</3

e/riel has always felt boring to me. like yeah they have some cute moments but where are the moments that make me grin, stop reading and squeal for a second because the chemistry is making me go insane? sjm knows how to write this very well so her not including it is a choice she made and it's a very telling choice

like even sjm ships i don't particularly care for have these moments, i'm not a huge manorian fan but that "i'll bleed whatever color you want me to" line is SO. GOOD. like it stops me in my tracks everytime i remember it exists. tell me, does e/riel have even one comparable line together? i can't think of any that aren't said by other characters. all the conversations they've shared (and that's not a lot btw) don't have anything with that kinda spark in it

that's something i don't see people bring up much... lucien wasn't present when elain was kidnapped. feyre wouldn't need to find a volunteer if he were there because you can bet your ass he'd do anything to help elain and feyre if we're being honest. the fact that az had to be goaded into even helping is hilarious, the only reason that man went was because nesta bruised his ego and he wanted to prove he was good enough to do it. that and, as i've seen others point out recently, it was somewhat of a culmination of feyre's arc with him. he taught her to fly therefore he was there when she first flew. that makes much more sense narratively than whatever garbage e/riels throw around

az has a lot to make up for in my opinion. his behavior in that chapter was... gross, to say the least. i was annoyed with him beforehand because of that side of the fandom, but his chapter was the first time i truly felt disappointed. it was there somewhat when he attacked eris at the high lord's meeting and made mor so uncomfortable but... idk his chapter was on another level. i felt so disgusting reading his parts with elain and rhys. his parts with gwyn tho? brought out the best in him and made me remember why i liked him so much in the first place. sjm wrote that chapter very deliberately and those who refuse to see it are just upset their predictions aren't happening

it's funny they say that when it's quite literally the opposite. my best friend who i've mentioned before is a very casual fan, didn't even see how elain and az could be shipped because in her words, "elain and lucien are mates". she's read a total of two and a half sjm books and already knows her formula lol

[karen-kurobara]

Some moments of the book "Sword of Destiny" that I want to highlight - Geralt asks Jaskier's opinion of the clothes +Bonus: Jaskier steals Geralt's clothes

Brief warning of No spoilers.

This second book, titled "The Sword of Destiny", ends at the same narrative point as the first season of the Netflix adaptation, so this post doesn't contain spoilers for the main plot of The Witcher. Instead, I will highlight scenes from the book that were not adapted for television.

Having said that…

There are two very iconic moments involving Geralt, Jaskier and their clothes in the "Sword of Destiny" book that I would like to highlight.

Geralt asks Jaskier's opinion about his clothes.

The first of these occurs during the chapter "Eternal Flame" (same chapter where Jaskier insists on going to a brothel in the company of Geralt, we will comment on it later, and unfortunately it wasn't included in the Netflix adaptation)

The moment is brief and actually speaks for itself, you don't need to know much context beyond the fact that Geralt and Jaskier meet by coincidence and this conversation occurs at the moment when both have a chance to speak directly:

I find it amusing that the stoic Geralt doesn't really ask Jaskier what he thinks of the greatcoat, instead asking the bard directly if he likes it.

Jaskier, typical of him, interrupts him practically telling him that he is old-fashioned (a comment quite in keeping with the bard), but please Jaskier, your best friend asks you about his clothes, be a little more polite and tell him that you like it.

+Bonus: Jaskier borrows Geralt's jacket

This scene takes place in the chapter "A little sacrifice" (my favorite story so far, which I highly recommend reading, and which again was not adapted into the Netflix series).

The moment goes by a bit unnoticed, Geralt and Jaskier have just gone through an adventure at sea in which they were both swept away by the tide. Geralt has just woken up after nearly drowning, Essi (a second bard who appears in this chapter) is worried about the witcher's health, and Jaskier wanders around while he waits for his friend to come back to consciousness.

(Although Jaskier doesn't seem particularly worried, I defend his honor by saying that he could have left at any time and yet he waited in the same room until Geralt woke up).

This is precisely the starting point of this moment, Geralt is already aware, the bards have already determined that the witcher is fine, and Jaskier must go (he actually wants to give Essi and Geralt a moment of privacy) but the bard's clothes continue wet, so without hesitation he decides to take Geralt's jerkin

Geralt never gets angry about this, he doesn't even comment on it since they change the topic of conversation, but I love how Jaskier gives himself the luxury of inspecting the garment

So...

From all this we can draw a couple of conclusions. (and ideas for fanfics, by the way).

Let's go for the obvious and develop it a little.

Geralt really does try to have a sense of fashion or at least cares about clothes to some degree.

Geralt acknowledges Jaskier's opinion on clothes, or at least the witcher allows himself to play dumb with Jaskier to highlight his new clothes.

Jaskier borrows Geralt's clothes when his own is wet (a classic in fanfics, which also makes me wonder, Jaskier, didn't you have any more dry clothes or did you just want to annoy your best friend a bit?)

Geralt doesn't mind Jaskier taking his clothes, or at least not enough to bother him.

All this is cute and I'm not saying that it necessarily has to be a romantic gesture (I myself have shared and will continue to share clothes with my best friend) but what is usually a normal trope in fanfics turns out to be something canon.

I honestly hope to find more of these moments in the books that I have yet to read (don't tell me) and if so I'll update this post.

[rickie-the-storyteller]

i saw your ask and I really appreciated it. i have one question - how do i incorporate daydreaming into my writing? I have this story i want to try but I’m a maladaptive daydreamer and I’m daydreaming about these ocs ALL the time. I want to write about them but I am afraid no one will read it and it won’t be planned out well. I tried thinking of a new idea but I can’t connect with it like i do my daydream. What do i do?

Hey! Thanks for the question.

I don't know if I'm all that qualified to give advice in this department lol (haven't got a ton of followers and am still fairly new to this myself), but I'll try my very best to help anyways.

I've already advised you to practice as much as possible, as it will help you build your confidence. Try not to make it perfect - it's not about that. It is about making it authentic and unique to you. Capturing your imagination with words and giving readers a window into your mind.

I understand your fears about people not liking or wanting to read your work. This is something I struggle with as well. I don't really have advice for that apart from to persevere. Don't let yourself get too swayed by people's opinions of your work. Do this for you! Personally, I don't do what I do to get followers... I'm just having fun here lol. I'm not too sure how to build a following. I will say that the more you do it, the more people will find out about you and your following will grow and improve with time. It gets really fun when you have more people to share your work and provide feedback and stuff. It'll be a slow process to start with, but you'll eventually get the hang of things if you keep going with it.

As far as daydreams go... I definitely get what you mean by wanting to incorporate your daydreaming into your writing. I often daydream about my ocs too lol (especially when I've written a scene that I'm particularly proud of). My advice there would be to not overthink it, for one thing. There are so many ways (big or small) that you can put in aspects of your own life, including dreams/daydreams that you have, into your writing.

I'd say to capture as much as possible. So like, keep a notebook or a digital document dedicated to recording your daydreams, and update it as much as possible. Use it to write down any interesting characters, plot ideas, or scenes that come to mind. This will help you remember and develop them as you go. Then once you get to actually writing the story, you're practically halfway there!

It's also important to develop a good structure for your story. Once you have your collection of daydream-inspired ideas, start outlining your storyline. Decide the main plot points, character arcs, key events etc. A solid structure will help you channel your daydreams into a cohesive narrative.

I hope this helps! I believe you can do this. Just keep pushing through it, and you'll get there. Writing can be a challenge sometimes, but it is very rewarding in the end <3

[todayimgonnaplay]

Today I'm Gonna Play: Persona 4 Golden (PC)

I greatly enjoyed 3 Portable and I'm looking forward to 3 Reload! I did try 4 a few times but felt so put off by its aesthetics in-game despite the texture update, but my luck with this series is quite horrible as I kept encountering spoilers in the wilds of the internet, even when wanting to just listen to soundtracks. So I pushed myself to play it once and for all.

I briefly mentioned in my Persona 3 Portable post about this game, and that one of the biggest things I love about the game is the character dynamics. Being a transfer student living with relatives in the countryside, and befriending people over a common incident somehow feels very natural. It was great to watch myself/the protagonist interact with the rest of the main cast and go from simply being classmates to great lifelong friends.

Another great yet unfortunate aspect of this game is the antagonist. I say unfortunate because this is literally the worst kept secret for this game, and it kind of spoils the whole premise of it too. I won't detail much about this to avoid continuing this spoiler cycle. All I can say is that I've found my favourite video game villain for being well written. And if you plan on playing this game, please go in completely blind. Even guides can potentially spoil you through search engines.

There are some improvements I like over Persona 3 (Portable, will call it P3 or P3P) and that's no timeskips this time, which means extra days! And there's also a larger focus on the concept of the persona and shadow as well, which is really neat. I used to love studying psychology and it was partially my reason for getting into this series in the first place. Playing through this game again has rekindled an interest I've somewhat forgotten and encouraging me to learn about Jung's concepts again from the ground up.

However, there are some major caveats. As much as I appreciate the character dynamics, I don't like all the characters, specifically three of them (Yosuke, Marie and Teddie). I did feel that P3 had its fair share of tropes but this title made me cringe and groan many times. Maybe my tolerance for these tropes have started to fade, I don't know. And I do understand the appeal of it to the series' target demographic. But for a game that likes to tackle social issues, I wish it could do something other than thirst on girls and act perverted. There were some odd remarks too on concepts of say, a man having feminine interests or is suspected of being gay, or the concept of cross-dressing, which is funny for a game that involves characters that live in an ''out of the norm'' world and are themselves somewhat ''out of the norm''. I still like Yosuke for being multi-dimensional especially in his Social Link. But I find Teddie and Marie to be really exhausting. I am more than happy to have my mind changed if I missed out on something.

Another aspect is going to be an unpopular opinion, but I wasn't fond of the level structure compared to P3. It's nice to not climb up so many floors like in P3 (although I personally didn't mind and liked it), it was very corridor-like, with not much going on other than to constantly go in one direction unless you find doors or other paths that do just the same. It's highly repetitive and uninspiring. At least 3 made it easier to grind through by splitting your party up, but 4 removed this feature, which I personally really appreciated for an RPG! I do like the visual thematics for each dungeon though, they're fitting to the narrative that's being told, I particularly like the last two dungeons' designs!

And although having extra days is nice, I felt the socialization aspect to be poorly paced. I've had many days where I had nobody to talk to, or not much to do because of how each NPC has their own schedule, and also due to requirements for talking to some NPCs, or requirements on leveling up your social stats. I had some instances where if I don't do one thing but do something else instead, I end up screwing up the entire day or even multiple days, and sometimes this occurs with story progression-related events too, which makes this game really hard to play blind with no guide unless you use the voice function, which I didn't really use much because I found it overwhelming with how it's laid out. I didn't really face these issues with P3 weirdly enough...

Overall to be honest, I didn't enjoy this game as much as P3 even though I played a supposedly ''inferior'' version of it. But when this game has its highs, it hits really high which made it worth playing through. The soundtrack is just as good, I'm actually playing a particular song on repeat (which contain spoilers so don't search anything up about the song) cause that guitar just goes so hard!

Terms related to the game:

Social Link - A relationship system with side-stories that involves interacting with certain NPCs which provides EXP benefits related to battle.

Voice - An online network mechanic that shows you what other players have done each day

[theangryjikooker]

Hey TAJ! This is unicorn anon 2.0 lol, hope you're doing okay and enjoying Festa/comeback activities! I had a few reasons for popping in. First, I just wanted to say I love your last handful of posts! I'm envious of how you can make your points so concisely. Also wanted to say I'm sorry you've been getting so many troll anons lately. Fandom spaces can be exhausting enough without people actively making it worse. As a Taekooker it just frustrates me so much to see other Tkks in here, and on other blogs, being assholes on purpose. I'm sorry it happens to you so often.

Finally I was curious about your one reason you could see for Taekook dating (sorry if I'm butchering the way you worded that -- I know that you don't actually think they are haha) but of course I totally understand if that's not something you want to get into here!

Anyway I hope you're doing well and having fun with all the new content! -🦄 2.0

I'm so delighted whenever anons make use of the tags I give to them. 😂 Hello, unicorn 2.0! (Although I could swear you were the OG—the way you write sounds like the OG anyway... help, let me know if I'm wrong!)

Similar to Jikook, if I were a Tkkr, I would focus on the overarching dynamics between Taekook. Already we're seeing people lose their minds over them sitting next to each other or Taehyung wanting to go get a tattoo with Jungkook, but those are... non-reasons to me. 🤷🏻‍♀️ That's not to say that none of these things aren't cute because they could be, in the same way that Jkkrs find joy in Jikook sharing a car. It doesn't indicate anything about their relationship, but it is a shipper-oriented moment (I feel like this distinction is crazy important).

(The rest behind a cut because this is pretty much the antithesis of my usual content. Subject yourself to it if you want.

Disclaimer: I am not a Tkkr. I can't stress this enough. If you're a casual passerby, please take note of this.)

The so-called overarching dynamic between Taekook that I've observed thus far is arguably mundane, but I would cite the fact that they have reconnected and it shows. I think when you compare their dynamics pre-ITS1 vs. now, they've clearly bridged whatever social awkwardness they had before. I wasn't around when BTS debuted and as far as I know, everyone could agree that Taekook were closer, but nowadays I imagine their friendship has risen from the ashes, so to speak, as an ode to what they had as young teenagers. But now they're adults, and I would probably explore what that could mean.

I've also noticed that Taehyung and Jungkook are both exploring their interests and hobbies, trying out new things, etc. In everyday life, people will find it a lot easier to connect with someone whose phase in life is seemingly running parallel to theirs.

So if I were a Tkkr, these are the dots I'd latch onto and run with because it makes the most sense to me and has the most potential to cultivate that Taekook angle I would hypothetically want to develop.

Thus begs the question I may get in response to this: if you can see this, why aren't you a Tkkr?

Because their micro dynamics suggest to me (using my own knowledge of human behavior, which can sometimes be influenced by my own experiences and personal opinion) that their relationship is ultimately platonic. I personally think Taekook is quite similar to Jihope in terms of closeness.

Any Taekook moment I've witnessed doesn't particularly look invasive or awkward third-wheeling, especially after taking into consideration their culture on skinship. Jikook, by comparison, often flirts with that line of what's considered "normal," which is why they interest me far more than Taekook does.

This isn't me trying to dismiss Taekook. I just don't see them in that way and I never have, but I can certainly pick out things that can be used to begin a narrative that sounds the most logical to me. The practice itself isn't hard, and I can do the same for all the other ships quite easily, and I still wouldn't consider myself a shipper for those ships either.

[seeingteacupsindragons]

Because there’s so much criticism and even straight up unreasoned hate in the YuuMori tag recently and while I understand that people have different opinions, approaches, and interpretations, some of them seem to miss very important points about the manga. There also seems to be this lack of general knowledge about how the world of anime and manga (or Japanese narrative in general) works, which I personally find important if we’re attempting to analyze anime and manga. But your posts are always so on spot. They are so well put and very insightful. And it makes me think that hey, maybe I’m not a complete idiot for actually liking YuuMori.

I...ah. Hm.

For what it's worth, I'm not sure I'm really all that knowledgeable about Japanese narratives. Maybe more than the average American, and I recognize that there are things I simply do not understand and won't, but I have a lot I could learn. A lot I want to learn. But I think the best I can do in most respects right now is acknowledge that there's a gap, and that I was never the intended audience for most anime or manga, YuuMori included.

I also don't think a lot of YuuMori requires that knowledge to understand. Of course, it's a Western series adapted by Japanese creators, and you can see that in some of the techniques they use and the character traits they value and other cultural shifts. But I don't think the narrative is particularly unusual or opaque to a Western audience. I don't think the characters are too far out of field for us. Or the themes, or even any of the things I was talking about with perspective flips in the series.

I think JR is a bit more obviously foreign in many ways...it doesn't really have a genre it fits into in Western publishing, for example, its structure is odd, and its plot is very weird. And it plays on this outsiderness and it's part of what makes it feel so queer. But it does feel weird and offbeat and it translates in a much odder way.

I don't tend to hang out in the tags for the series...originally because I hate spoilers so much, and then just...I don't know, I had a weird relationship to large swaths of the fandom by then. I like the few slow friends I've made with people I can trust not to share spoilers, my older friends, and all of the people like you who want to come chat with me. Maybe it's a little reclusive, but it makes me happy to engage with the fandom this way, so that's how I'm going to keep it.

I don't think anyone should feel like an idiot just for liking something. There are ways love of something can spill over and manifest that becomes hurtful, irritating, or otherwise Problematic (tm), but liking something that someone else thinks is flawed is silly. So what?

Of course, I say that, but I do wish that a lot of the criticism of the series was more leveled by...people who actually understood it. People who don't like the series because it's edgelord and over-the-top? Yeah, I get that. That's fair and valid, and a number of my friends checked out for that reason. Or because it has few women, or the plans seem ridiculous, or you don't like the characters, or you can't get past the murdering. Whatever. Valid complaints.

Some of my friends don't like JR because it's very low-key and chill, and that's also valid, and I don't mind that. Or the plot structure resembles cooked spaghetti. Or Seigi frustrates them. Or the employee/employer dynamic bothers them. Or the age gap bothers them. Yeah, fine, I get all that.

But call JR queerbait, that bothers me. Call YuuMori poorly plotted and full of retcons...that bothers me. Because those things aren't even true.

And if they can't even understand the series, then their opinion isn't more right than yours, who does.

Anyway, I'm glad you like my thoughts on things.

[trixree]

hey trix! hope you don't mind me rambling in your askbox! so... one of the more recent chapters of One Piece basically revealed Sanji's thing about not fighting women is psychosomatic?? like, he subconsciously deactivated his haki and I think that can only mean its like... not something he can control. wouldn't it make more sense then that he was traumatized by his dad treating his mom and sister extremely bad rather than Zeff just... beating him into a white knight? would that be better, narratively? Idk, just wanted to share some shower thoughts and maybe get your opinion on this.

Love your blog and your fics! Have a great day!

Anon, never apologize for sending asks, they delight me.

I haven't been keeping up with the manga so well because life is very much ouch and I use my meager free time to read fanfic and fanfic only, so I can't speak with any sort of authority, buuuut...

Personally, I think it's MORE painful to believe not that Zeff brow-beat this gross chivalry into Sanji, but that Sanji was so traumatized and desperate for approval that he assimilated extremely well to Zeff's life, which included his behaviors, the Baratie crews' behaviors, and mainstream/popular opinions about what makes a Good Man.

I picture Sanji post-The Rock as a kid who is desperately afraid of rejection, a kid who is so deprived of all the most basic affections that humans need to survive that he'd do almost anything to earn it (subconsciously AND consciously.) Have you ever been around a young child that's particularly desperate for approval? Like, they so much want to be seen as cool or mature that they walk around posturing like a fleshy little peacock? For little!Sanji, I see something a lot like that, except he's not looking for an older kid to say he's cool. He's clay, forcing himself into any mold he thinks will make him worth keeping because he knows what it is to have been thrown away.

[ouyangzizhensdad]

Ok, I've been sitting on this awhile (mostly because I worry that my reaction stems from personal feelings, rather than the content of your actual post) but while I agree wwx's arc is not ABOUT trauma, I do think he IS traumatized. Like, he has a literal phobia of dogs due to childhood trauma w/ dogs??? And I take issue with the idea that someone cannot be simultaneously traumatized and resilient/always smiling. I mean, refusing to process and deal with negative experiences and emotions because if you can choose to be happy, why would you choose to be anything else can actually be worse for you than just letting yourself be sad for a little bit. People are supposed to feel the full emotional spectrum and refusing to acknowledge sadness doesn't make someone not actually sad. As someone with a sunny personality who almost always let's things roll off my back, that doesn't mean I don't have trauma to deal, it just means it presents itself in different ways than someone with a different personality. Everyone is entitled to their interpretation of characters, so I'm not trying to say yours is inherently wrong, my point is more that it's not a guarantee that having a happy personality = not traumatized, especially when there are other things to point to them being traumatized.

Hi anon,

I think it’s important to consider the context in which I addressed fandom’s discussions on “WWX’s trauma/ptsd,” which in this case was a response to people explaining many of his behaviours during his first life, from the Sunshot campaign onwards, as resulting from trauma. I never meant to suggest that WWX could not experience trauma, at all, especially since in an earlier post about my thoughts regarding the trauma argument I did highlight that we get in the narrative an example of how WWX reacts when faced with trauma through his cynophobia (although I can’t find that post because it I can’t remember exactly when I shared it 🤷‍♂️). It was more to oppose the ideas that (1) events are inherently traumatic and thus that because these distressing things happened to WWX, WWX must be carrying trauma from them (because if we’re going to use psychology/psycho-analysis for literary analysis, it might be good to consider that the perception of trauma in psychology is not that) and (2) that there are no other narrative or character explanations for those behaviours that are not rooted in trauma. 

In this case, I think the novel makes it clear that while WWX is of course affected emotionally by the events, the things that people point to as resulting from trauma are actually tied to his cultivation methods and him losing control. I do feel like that interpretation is coherent with the authorial intent, which seems to be confirmed in one of MXTX’s interviews. To share here the most relevant possage:

[WN killing JZX] was perfectly an example of how Wei Wuxian was losing control. The more he lost control over his demonic cultivation, the more likely he was going to receive a backlash.

Of course, authorial intent is not the end-all-be-all of everything, and, certainly, there exists probably as many interpretations of a text as there exists readers (or, in the case of MDZS, we should also probably include all the people who haven’t read it but still have an opinion on its content). However, my brand of meta focuses on reading the text closely and challenging interpretations that are floating around in the fandom space against the text itself--the narrative, the characterisation, the themes, the symbolism. To say, ‘perhaps some people tend to associate a certain behaviour with a specific thing (ie, emotional volatility with a traumatic response to a distressing event), however does it seem like the text wants to lead you toward this interpretation? Does the text provide other story-specific explanations, some of which might actually be more cohesive and coherent with the narrative/characterisation/themes (ie, emotional volatility in this specific instance is a side-effect of the influence of modao on WWX and his loss of control)?’ That doesn’t mean I’m always right, of course I’m not. But I also do not prescribe to the belief that every interpretations are equally credible. That is, I do believe that people are entirely free to interpret a text however they choose, even if it means reappropriating the text and completely ignoring parts of it or mentally rewriting parts of it; all the same, I do not think these interpretations are particularly helpful when it comes to understanding and analysing the text itself (though they are interesting in that they help understand how a work is received by certain demographics). So, yes, sometimes I will write posts that aim to contrast certain popular interpretations with what can be gleaned from a close reading of the text. 

In addition, let me clarify that when I contrasted “resilience” with “trauma”, it was not in terms of personality trait so much as a reference to terms used in psychology: where how a person processes a distressing event through a trauma response or through resilience. 

As for the “smiling thing”, I think it is important to remember the context of the discussion, where I cited the novel:

Jiang Yanli said that he was born with a smiling look. No matter what unfortunate thing happened, he wouldn’t cling on to them; no matter what situation he was in, he would be happy. Although it sounded a bit heartless, it really was not bad.

In the original post, I did reframe this quote by acknowledging that yes, smiling is not an inherent proof that someone has never experienced trauma.

To me, this is a clear move from MXTX to position WWX as the kind of protagonist who can face a storm and keep his smile on his face. I can imagine that some people take it perhaps as a subversion, as the text telling us that WWX is weathering it all with a smile but underneath it all he is just a bundle of unaddressed trauma. And that’s certainly a possible interpretation, but it’s not mine. In this case I think the text is being straightforward. What we see of WWX also seems to support that: the way WWX just rolls with being brought back from the death, how easily he finds a way to adapt to things, etc.

That was more of an acknowledgement that wrt this topic, the novel seemed to have chosen a very straightforward approach or, in other words, to choose to not be That Deep. The smiling disposition here is not part of a psychological diagnosis, but simply a story/characterisation shorthand. I also never suggested that this meant that WWX is not affected by events: “ My point is not that WWX is unaffected by the things that happened to him or the things he’s done during this portion of his life: of course he is! Especially as they are happening to him, or when he is still stuck in a very difficult situation. But I don’t think his character and his arc is about trauma”. I think that nuance is important. 

At the end of the day, I do not want to force people to change their minds. I only use my free time to over-analyse a novel and sometimes try to challenge people to reconsider their initial interpretations of the text or their approaches to literary analysis more generally. 

[tomakeitbeautifultolive]

Listen, I might be playing the devils advocate, but I don't think Dany's fate in the GoT finale was due to D&D being sexist.I think it was just because D&D can't write for crap.

It’s not about intent.

Allow me to begin by saying that I completely understand the knee-jerk reaction that people have to the term ‘sexism’. It’s very polarizing, and when men read the term, they immediately go on the offensive. That’s not what I want at all. I don’t use the term to alienate or exclude men, I use it because it’s the dictionary definition of what I’m trying to convey:

sex·ism (noun): "prejudice, stereotyping, or discrimination, typically against women, on the basis of sex.“

That said, allow me to play devil’s advocate here and say that I do not believe the writers intended to have an underlying sexist message. They are more oblivious than they are malicious. It is born of sheer ignorance (lack of knowledge or information) and the privilege to ignore it because, as males, it doesn’t affect them.

Let’s put aside the dozens of articles that came out after the finale calling out the sexism. You guys know me, I like to pull receipts, cite my sources, and throw in some visuals to help aid my point.

For most of the 70+ hours of Game of Thrones, Daenerys actually does not fall victim to these sexist tropes. Honestly, that is what subverted my expectations for seven seasons. That Dany always teetered on the edge of these tired, overused tropes about women, yet she remained steadfast in her ruthless yet good nature, her moral compass was always aligned even if it didn’t match the viewers, and she was a gods-damned hero, straight through to episode four of season eight.

But the demoralizing reality is that Daenerys was hit with trope after trope in the last three episodes. In the final hours of the show, the writers pulled a bait-and-switch, giving us a ‘shocking’ heel-tern whose only foreshadowing was a very bad retcon job full of double standards. And so many fans, such as yourself, justify it. Not because the show foreshadowed it, but because these tropes are so, so ingrained in our brains from decades of media feeding us these narratives that we now expect them.

In the end, Daenerys succumbs to numerous sexist tropes:

'God Save Us From the Queen’ trope

“The Good Kingdom: A lovely, wealthy country ruled by a benevolent king, a wise prince, and a fair princess loved by the populace. But what’s that? There’s a queen? Oh, brother, we’re in trouble.”

Disposable Woman trope

“This character has a familial or romantic relationship with a protagonist, which allows creators to derive heart-wrenching sorrow from her death.”

Evil Infertile Woman trope

“Women are often divided into "breeders” and “the barren,” with the latter coming off as cool and distant at best, and malicious and desperate at worst.“

The Double-Standard Trope

"A double standard occurs when members of two or more groups are treated differently regarding the same thing. Gender is one of the most common causes of double standards.”

Hysterical Woman trope

“This trope characterizes women as less rational, disciplined, and emotionally stable than men, and thus more prone to mood swings, irrational overreactions, and mental illness.”

Woman Scorned trope

“What’s the only type of woman more dangerous than a Mama Bear? A woman who’s been dumped or otherwise done wrong by her significant other. Especially if she’s been hiding some sanity problems.”

Women Are Delicate trope

“Even if women have toughness, competence, strength or stability, it’s less than what their male peers are capable of.”

The Woman Wearing the Queenly Mask trope

“They don’t want a young woman, or they don’t want any woman, or they just don’t want this particular woman on the throne.”

Tropes in and of themselves are not bad, but very outdated tropes that are associated with the emotional or mental ‘fragility’ of women are. Why? Because they reinforce deep-seated and subconscious stereotypes of women that audiences hold.

“It’s just a show/book! Who cares!”

People have been turning to art (including literature) for years for meaning, for philosophical guidance. Most people in my own country turn to one book to both find and justify their morality (the bible).

“Literature offers not just a window into the culture of diverse regions, but also the society, the politics; it’s the only place where we can keep track of ideas.”―Reza Aslan

It’s not just a show. The art and media we consume helps shape who we are, for better or worse. When men refuse to consider the consequence of their sexist narratives simply because it doesn’t affect their own lives, it inadvertently causes harm for others who don’t share their privilege.

And it’s not just Daenerys. She’s just the figurehead.

There was a great article from BBC about how much women actually speak on Game of Thrones:

I can already hear the counter-argument brewing…

“So what? There are more male characters!”

Yeah. There are. And that’s a problem, too.

Of the top-grossing 1,200 films from 2007 to 2018, 28% of films were led or co-led by women. Meanwhile, around 49.6 percent of the world’s population is female.

By featuring so few women and by giving women who are featured 20% of the airtime to speak their minds, the writers are unintentionally devaluing the speech and opinions of women. This inspires the audience to devalue women in a subconscious way.

Whether or not it intended to, Game of Thrones and its shocking 'heel-turn’ has very troubling sexist and political implications (amongst other things).

Go ahead, tell me I’m wrong. Tell me I’m blowing this way out of proportion.

Tell me it’s just a show or a book and every single fan knows how to separate fiction from reality (they don’t, go look at Maisie William’s Instagram comments following her season eight sex scene for proof of that). Meanwhile, here in actual reality, we see things like this:

@thescarletgarden1990 informs me that over in Italy, political figures are using Game of Thrones advertising in their campaigns, too:

Translation: “Invaded by masses of Others? Not Today. Immediate naval block, let’s defend our borders.”

What makes it worse is that, at least Donald Trump, identifies with House Stark. Or, those who rule the northerners. The people who showed their blatant racism toward the only two black named characters. And the writers never bothered to critique the problematic behavior, instead, rewarding their people with independence and driving those pesky evil foreigners ’back where they belong’.

I’ve barely had time to scroll my dash and I’ve already seen a troubling amount of harassment towards Dany fans via anon asks (including myself, though I just block the IP and delete but I wish I’d saved them for proof).

Why? Because the ending justifies their personal narrative, this bad writing confirms their worldview. Meanwhile, on the other side of the spectrum, the same thing is happening in reverse in response to the takedown of a figure like Daenerys Targaryen:

“Khaleesi’s heel turn is particularly troubling for fans who might have felt a true sense of connection to her character following her epic story arc, which has seen Dany escape some awful circumstances to literally walk through fire, free the slaves, bring Dragons to the north and help rally the troops to defeat the Night King. She has basically been Abraham Lincoln, Hercules and Winston Churchill combined into one person riding a dragon.” (x)

The point here is that the show is doing its audience of 19,300,000 viewers a great disservice by succumbing to very outdated tropes and double standards, and sending troubling messages as a result. For instance, a woman can do countless heroic or selfless things, but you should never trust her! She needs to be tempered. Women cannot wield power responsibly. There are endless messages you can take away from this ending and the dialogue that led us to the show’s conclusion (my personal favorite being ‘Cocks are important’).

And the fans who want to say 'you’re overreacting’ to everyone who speaks up against it are only aiding in this ongoing legacy of 85% male writers who get to tell our stories, poorly, and reap all the rewards.

Sure, all of this could be solely the result of ‘just bad writing’…

Nevertheless, it is what it is.

[oumakokichi]

Hello I am the Tsumugi love hotel anon Thank you for answering my ask it's great to know that other people have the same problem Sorry if this sounds strange but it's hard for me to enjoy V3 without thinking about this I love Danganronpa and I like Tsumugi but this really really bothered me And I kinda don't want to assume that someone who created a series I like so much is like this I guess as a fan Do you have any advice? So sorry but I have this habit of overthinking things and just want help

Hi again anon! It’s not a strange question at all; this is sadly kind of a common dilemma to run into in most fandom spaces, and it’s perfectly normal to have conflicting feelings about these things.

The best advice I can give is to view everything through a critical lens. By this, I don’t mean “you can’t ever enjoy things casually” or “you have to hate the media you consume in order to be a Good Fan™.” I simply mean that it’s important to be aware that pretty much all media is going to be flawed on some level, and that it’s important to not brush aside those flaws when having a real discussion about the content we enjoy and consume.

Part of the reason why I love meta and analysis so much is precisely because it’s a really good way to sort through some of these more complicated feelings I have on certain topics. For as much as I love DR and as much as it’s been a huge source of enjoyment and comfort to me for quite a few years now, I’m never going to sit here and act like it doesn’t have its fair share of flaws. It’s certainly not for everyone, and I can completely understand why some people may not like it.

There’s a very fine line when discussing media too, between raising awareness that all media and content we consume is inherently flawed in some way, and simply dismissing it as okay because “well, everything is problematic in some way so it doesn’t matter.” These things do matter, and I feel like discussion of them is a very important part of critical analysis, especially when it raises awareness of potentially upsetting subject matter to people who may have been unaware of it before.

The entire love hotel scene with Tsumugi is undeniably in extremely poor taste, particularly when incest is a very real and terrible form of abuse that real survivors have suffered through. Seeing it used for nothing more than skeevy fanservice to pander to an otaku audience is deeply upsetting, particularly coming from a game that explicitly touches on the ways in which fiction can and does impact reality in very real, tangible ways.

It doesn’t help that the love hotel scenes themselves hang in a weird sort of limbo as far as their role in the game goes, either. There’s been a lot of debate in the fandom as to whether these scenes can even be considered “canon” on any level—and even if they’re not technically canon, which I think is a fair assessment given that none of the other characters even remember them after waking up and they have no real lasting impact on the plot, the decision to include them at all is still gross on some level.

In my personal opinion, the best way to determine how comfortable you are continuing to support a series or not, is to try and gauge authorial intent: why are these topics or themes included in this piece of media? What purpose do they serve? Are they contributing to a larger narrative by being included here?

To take a topical example… let’s compare this with Harry Potter. DR certainly has its flaws, and ndrv3 is no exception. Not only are certain unsavory “tropes” like incest played as either a punchline or a tool for fanservice, but even earlier parts of the series don’t hold up particularly well (like Chihiro’s “gender reveal”). These things are definitely not enjoyable parts of the narrative—but their presence in the narrative seems to stem from a larger issue of fanservice tropes in visual novels and anime overall, rather than some overarching attempt to either demonize any marginalized group or normalize harmful behavior in real life.

By contrast, through watching JK Rowling’s downward spiral on twitter in the last few years, we’ve seen her become more and more brazen about her hatred of trans people, and trans women in particular. Though she often attempted to brush these tweets aside at first as “middle-aged moments” or “accidents” where she wasn’t aware of the content being spouted by the people she was following, she’s become perhaps one of the most unapologetic T*RFs in the public consciousness.

No matter how much a series like Harry Potter may have shaped my and many other people’s childhoods in the past, it’s really impossible for me to go back to it nowadays as a trans individual. Re-reading the series with a much more critical eye shows that many of Rowling’s most harmful, offensive beliefs are not only something she spews on twitter every other month, but also downright woven into the narrative. Lines about “boys pretending to be girls to try and sneak into the dormitories” and Rita Skeeter’s “rather large, mannish hands” while she “disguises herself” to infiltrate the school premises just hit differently, knowing Rowling’s stance on trans issues and the disgusting harm that she advocates for with her huge platform.

I suppose that’s the biggest line I try to be aware of in deciding where I draw the line between enjoying a series while remaining critical of it, and just flat out refusing to support said series anymore. This line is understandably going to be different for different people, no doubt—but I think being mindful of what creators are actually doing with their platforms is the biggest indicator about the potential intentions behind their works.

The only other piece of advice I can think of to offer, and perhaps the most important one, is to simply support small creators with all the enthusiasm and love that you would for a large series. As long as we maintain a critical eye and awareness about the flaws within popular works like Danganronpa, I think it’s okay to keep enjoying said works. But there are so many content creators out there trying to contribute all kinds of meaningful works with better representation than anything we’ve seen in mainstream media, and it’s incredibly important to support these people so that their works can become better-known.

My best recommendation is to make sure you’re striving to support these smaller content creators: especially black artists and trans artists, who often get overlooked even when hashtags on twitter to support smaller artists are trending.

This sort of became a lengthier response than I was intending, but I felt your question deserved more of an in-depth look at the topic. I hope I was able to get my points across! Thank you for the question anon, and I really hope I could help.

[pynkhues]

Since you're a writer, I'm hoping you can shed some light on this. IMO the writers were chasing viewers in S2 and trying not to get canceled. Personally, I hate when writers toy with their audience, it means they don't have a clear picture of their characters and narrative. How do you feel about writers making it up as they go?

Ah, this post got really long, anon! Since you asked me as a writer, I’m answering as one (I hope you don’t mind! I also hope this doesnt come out as too Creative Writing 101 for people either. This is just lessons I’ve learned and use in my own practice, so I’m applying them here.) 

(Also I have drawn horrible diagrams on my very pink notebook paper - I am so sorry, haha)

So first thing’s first - no. I don’t think the writers were chasing viewers (at least not beyond the way any writer is wanting an audience), and I don’t think they were making it up as they go really, but I can understand why you would think that way! 

It won’t be a surprise to anyone that I love this show a lot, but coming from it as both a writer and editor - this show does have narrative problems, and the biggest ones, particularly in s2, are in execution, escalation and pacing. 

I think heading into the season they had certain character arcs they wanted to follow which married well with the story they wanted to tell. In particular, I actually think the writers have a very strong handle on the girls (I will say that I’ve had a few asks telling me Beth’s characterisation is all over the place, which I’m curious about, just because I personally find her very consistent, and when I’ve asked for clarification, I’ve never gotten any reply, so  ¯\_(ツ)_/¯)

I mean, look at their s2 arcs on paper, right? 

Ruby tries to negotiate Stan’s lowered opinion of her after the reveal of what she’s done, then has to negotiate him telling her to turn Beth and Annie in. She manages the situation painfully but pulls them through and they’re close again as Ruby navigates the increasingly lower depths of their crime life. When Stan acts to save Beth for Ruby and is arrested, it only escalates – the case on him driving Ruby to extremes to try and save him, including robbing a Quick Cash and using counterfeit money to bribe a lawyer. On top of that, she’s being targeted by an FBI agent who’s after her best friend who she gives up and then saves and then who tries to sacrifice herself for them. Ruby finishes the season the most morally compromised she’s ever been.

Annie gets back together with her ex only to find out that he’s gotten his not-quite-separated-wife pregnant. She splits up with him, but is heartbroken and it’s only amplified by the fact that they’ve been given a job by their Crime Boss to murder a man who tried to rape her but who’s grandmother she has a relationship with. Her sister can’t kill him, and Annie doesn’t get the chance as MP beats her to it. Upon disposing of the body though she endures a whole lot of pain as a result of both her ex’s new family and knowing she’s robbed a woman of her own. Annie goes on a guilt tour – tells her son, helps Marion, helps Nancy only to eventually find an absolver of her guilt in Noah, who builds her up and tells her she’s more than what life has given her. She lets herself have it for a while, before realising he’s FBI and there to trap her, and Annie tries to use him only to realise she can’t, and she finishes the season in a lot more hurt than she started it.

Beth struggles with guilt after getting Dean shot, gets the job to kill Boomer from Rio, can’t do it, gets support and encouragement from him (in various states of animosity), but in the end doesn’t have to find out if she can do it because MP does it instead. She’s rewarded by Rio in a way she probably never has been by anyone, her husband further subjugates her, so she has sex with Rio, starts to entertain a future with him, but he undermines her, so she seizes control from him. They work together. Dean forces her to break up with him due to jealousy, she struggles, goes back, but Rio’s stung, so unhelpful, and they play a little cat and mouse before he bails then kidnaps her and she shoots him.

With the exception of that very last sentence, I think all of those are narratively really strong pathways to have explored. Like I said above though, the issue is in execution, escalation and pacing.

But to talk about those things, I think I probably need to talk about story. 

SO!

Stories have a shape.

Kurt Vonnegut talks extensively about this, and while he’ll talk about a few different types of story shapes, they really all boil down to this bad boy here:

Look at this guy.

What a beautiful thing.

He’s a story.

It doesn’t matter if you’re reading Dr Seuss or Charles Dickens, when you read a story – when you strip away its words and its characters and its settings – this is what it looks like.

Or, well.

Not quite.

Really, it’s this guy:

But we’ll talk about him in a sec.

Right now, let’s talk about that first little inch: 

The Beginning

The fact that stories have a beginning is not a surprise to anyone. Stories need them. In some ways, they’re the most important part of your story. After all, the job of the beginning is to set up the world your protagonist is about to leave behind. That is essential in grounding a reader / viewer – orienting them to the world that they’re in, and getting them invested in the story you’re about to tell, if not the protagonist.

Lord of the Rings, Harry Potter, Star Wars, Game of Thrones are all excellent example of this (and frequently used in teaching) because in each of these cases it’s literal. Frodo leaves Bag End, Harry leave Privet Drive, Luke leaves Tatooine, the Starks leave Winterfell. There is a literal departure from the world before the crux of the story, and that departure is what signifies the start of the ‘hero journey’ aka the main part of your narrative.

Of course, it’s not always literal – in fact, it’s usually not. Usually that world is symbolic – it’s the single, uncertain world before the Bingley’s buy the house next door in Pride and Prejudice or the dry domestic sphere of Breaking Bad before Walt decides to make meth. It’s a marked shift, whether that’s internal or external.

In Good Girls, it’s internal.

The beginning is actually pretty perfect. The world it sets up that we’re about to (try to) depart is one of struggle and invisibility.

Beth’s in a loveless marriage promptly discovering that her husband is not only cheating but about to leave them destitute, Ruby’s getting ignored by the healthcare system and can’t afford to pay for her daughter’s wellbeing, and Annie is in a dead end job about to lose custody of her child.

Writing-wise – as a beginning, I honestly think 1.01 is close to perfect.

It sets up who these characters are, their personal conflicts, and the story world they share together, and the worlds they have on their own i.e. Ruby at the hospital and the diner, Annie at Fine and Frugal, Beth with Dean and Boland Motors.

Then:

BOOM

Inciting Incident.

The inciting incident is also often called The Point of No Return.

When I’m teaching, I personally like to call it the “You’re a wizard!” moment.

It’s when something happens that means everything set up in the beginning will be changed forever. It’s Romeo meeting Juliet, it’s Katniss volunteering for Prim, it’s Frodo deciding to take the ring to Mordor, it’s Jaimie pushing a child out a window, it’s Beth – deciding to take her little sister’s joke seriously and rob a grocery store.

(Again, I like to use Harry Potter because it’s literal – there is no return for Harry after hearing Hagrid tell him he’s a wizard. Everything is changed forever).

Inciting incidents are probably the most singularly important narrative moment, because they’re what everything else tumbles out of. Pretty much everything that happens in the story should be a direct or indirect result of the inciting incident. The inciting incident is ultimately the key of the story and what should unlock the overall arc.

When it comes to a series – whether that be a TV series, movie series or book series, each individual instalment (see: season of a show) should have its own inciting incident which – preferably – builds off the one established in the first instalment.

The Hunger Games does this really well. Katniss and Peeta being brought back into the games in Catching Fire is both an imitation inciting incident which allows the author to explore the story world further in an exciting way, and also an inciting incident that’s directly borne out of the first book / film – aka Katniss pissed enough people off during the first games that they’re going to try and kill her for real this time, which in turn gives us the opportunity to explore Katniss’ trauma, the ramifications of her actions in the first book on the broader story world, and to generate a new, compelling chapter based off of both.

Good Girls has a terrific inciting incident in s1 – which is Beth realising she’s about to lose everything.

That is our narrative point of no return.

And it works on a lot of levels – it establishes Beth as the driving engine of the story, fuelled by the chorus motivations of Annie and Ruby, rounding off both their collective and individual stakes, it sets us up for a strong narrative spine and solid characterisations.

Good Girls actually also has a terrific inciting incident in s2, which operates strongly on its own while also building firmly off the character arcs of s1.

The s2 inciting incident is Rio showing up on that park bench with Marcus, a gun and an order.

The story pivots here – giving Rio a lot of narrative thrust (get your minds out of the gutter kids), and making him a sort of secondary story engine. The core engine is still Beth, but her life is different now. She’s been traumatised and she’s exhausted, but Rio revealing his son to the girls (and tying their motivations up together in a neat little package) while forcing her to act, re-establishes her as the person who’s decisions are going to be the driving force of the narrative.

Ruby and Annie are, of course, story engines in their own right too, but they fall into line behind Beth usually, and their narrative push is actually usually away from the story throughline, but we’ll talk about that in a sec.

Rising Tension / The Middle

Okay, this is where things get a little tricky.

Do you remember this guy?

When we talk about stories, rising tension / the middle is the big guy. It’s the bulk of your narrative. It’s Where Things Happen. It’s where all the ugly stuff set up in your beginning and exploded by your inciting incident just - - grows a life of it’s own.

Or - -

Well.

Maybe not.

Forget about this guy.

Rising tension is this:

Rising tension is a series of ‘mini climaxes’ on the way to the main climax that raises the stakes, lets you know characters better, and pushes your characters onwards to the main climax.

Each of these little climaxes should be followed by a ‘narrative rest’. (that’s the dip after each spike)

Which - - I don’t know, might sound weird? I know when I started writing I was like ?? but it’s true! The closer you get to a big narrative climax, the more important rests are! Rests are – I personally think – one of the most important components of storytelling, because they re-ground an audience, remind them of what’s at stake, before thrusting everyone back into danger.

Again, Harry Potter is a gift in this sense because this is all really clearly paced out. Think about the first instalment – Harry Potter and the Philosopher’s / Sorcerer’s Stone.

Harry and Ron save Hermione and Ron from the troll!!!

Then they become friends and enjoy school and quidditch.

Harry loses control of his broom during a quidditch game!!!!

He’s okay and then it’s Christmas and Harry gets the invisibility cloak and feels connected to his parents for perhaps the first time in his life.

Harry, Hermione and Ron go through the trapdoor to get the philosopher’s stone!!!

And - - okay, you get the point.

Each mini climax ups the stakes, but we feel those stakes upped because of the time we spend with characters during the ‘narrative rest’. For instance, while Harry and Ron saving Hermione from the troll might have sparked an interest in her, it’s the narrative rest scenes between that and her setting Snape on fire during the quidditch game that makes us invest in her as a character. 

This is where things get a bit hairy with Good Girls. Good Girls does a tremendous job of giving us both great climaxes and wonderful moments of narrative rest. The issue, for me at least, is that it’s not always the best at balancing them. When I talk about escalation and pacing, this is a big part of what I mean.

Remember how I said this was the shape of a story?

Well, I think Good Girls s2 looked more like this:

We had a lot of solid movement in the first half of the season that sort of flattened out into a lower stakes, more meandering middle (which gave us 2.08 through 2.12). Which - -

Look.

The story changed gear, and it didn’t work.  

Think of it this way:

2.01 – mostly character-based fallout from s1 + inciting incident of Rio handing them the gun

2.02 – almost entirely rising tension culminating with the girls bribing Boomer and Beth lying to Rio

2.03 – which thrusts us straight back into rising tension with the girls trying to kill Boomer and ‘succeeding’ via Mary Pat

2.04 – which gives us a very satisfying narrative rest as we explore Rio and Beth’s relationship outside of an overall narrative thrust – he gives her a key, she shies away from him, only to fall entirely back into him culminating in sex which itself brings about a new climax (no pun intended!) in the scene with Beth, Rio and Dean at the dealership. It’s also a strong character episode in closing certain plot threads – ending Annie and Greg’s relationship + ending Ruby lying to Stan about what they’re doing – while establishing major new threads – i.e. really colliding Turner and Mary Pat.

2.05 – and after the rest, we’re back to almost entirely satisfying rising tension! Building off of the threat of finding Boomer’s body and the new tensions that Rio and Beth’s intimacy brings.

2.06 – a mix episode! Very much building to the strong climax of Beth seizing power, but also an episode that plays around with character, has a lot of strong ‘rest’ moments i.e. the girls sorting pills and talking which gives us a lot of information as to state of minds, etc.

2.07 – again, very strong mixed episode which is focused on one single, extreme climax – Jane being missing, but building a very character-centric episode around it. Also introduces Noah though? Which is a mistake. He should have been introduced - I think, in 2.05, but that feels like a whole other post.

2.08 – narratively speaking the same as 2.07 in the sense of a single climax (the girls failing to get the money back / the Beth-Ruby confrontation), but has the added bonus of flashbacks.

2.09 – we have a slight narrative thrust with the robbery of the Quick Cash but it proves very quickly to be low stakes. This is an alllll emotional stakes episode, which means narrative tension is slowing.  

2.10 – again, a character-focused, narrative rest episode devoted to Beth struggling with getting square. A few small climaxes – Annie and Ruby in Canada and Turner at the dealership being the big ones, but both quickly prove toothless. The heft / strength of the episode again is in character moments, not narrative thrust. Again - slowing it down. 

2.11 – oh, what do we have here? Another character-focused, narrative rest episode? I love this episode – it’s one of my favourites of the show, but it’s intensely character focused. Very much centred in waving away the smoke around both Noah and Rio for Annie and Beth respectively. No dramatic climaxes. Slowing the story down even further. 

2.12 – another narrative rest episode. A lot of slow exposition of Mary Pat and Jeff, which is good to know, but I’d argue placed badly in the season. This season’s already been slowing down despite the narrative timeline tightening, but this episode only further pushes on the brakes for Dean’s new job, Beth and Dean’s divorce, Beth and Rio’s break up. Two very small climaxes - the lawyer telling Ruby he knows about the money and the Boomer reveal but - in the context of the season - actually pretty low stakes. Again. Slowing down the narrative. 

2.13 – A BIG CLIMAX EPISODE WHAT IS GOING ON???

What I’m saying in this is that the pacing in the back half of the season was, to me at least, fundamentally off. They hadn’t steered a strong enough narrative spine to take us through the season, and got heavily invested in character moments and not-entirely-thought-out-fallout in the back half of the season – it didn’t understand it’s own narrative thrust well enough to get us through. It also established a certain pacing with us in the first half of the season and shifted gears halfway through.

You can’t have your first three or six episodes be high-stakes-high-action, and then make the back end of your season same-stakes-low-action and top it all off with an explosive, poorly built-up finale in the way that they did.

There wasn’t enough thrust to push us through to the scene in Rio’s loft – neither narratively or in a character sense, and as a result, those last few episodes fall apart. Even beyond that though, the season escalated quickly then - - didn’t really know what to do with those escalations? It plateaued, which is indicative of bad pacing across the season. 

I actually do think it’d be a relatively easy fix? I’d bring the Noah arc forwards and actually fiddle with the Beth and Rio break ups - get one even closer the tinale and make it more painful. Make it a climax in itself. 

But anyway, haha: 

The Resolution

All stories have a resolution too of course.

The resolution can be 30 seconds or 30 minutes – it’s a time to tie up loose ends and to reassure your audience that the journey they’ve been on is worthwhile.

(After all – you’ll notice the story diagram is not symmetrical – we never finish where we began).

I’m not going to talk too much about resolutions because at the end of the day – resolutions should fall fairly naturally out of your beginning, your inciting incident, your rising tension. It should tumble out like the double wedding at the end of Pride and Prejudice, but I will say that the s2 resolution was...err, not good. In no small part because it didn’t fall out of what we’d been told all season. They’d established a certain throughline and then taken it back, and that was nagl to be honest. 

On the plus side though - it wasn’t a finale, so I have my fingers crossed they can fix it!

But yes, back to your ask, anon. 

No, I don’t think that the writers were pandering. I think they went in with a sketched outline and that they probably got lost in the back end of the season and weren’t quite sure how to drum up the final act, which meant that final act didn’t work.

Ah, this post got so long! I hope it wasn’t boring or too self-indulgent or silly, and that you got something out of it! I am, of course, always happy to answer writing questions, and I hope you liked reading my story ramblings ;-)