#but it really is a very interesting experiment in the end to see where it got to

[neyafromfrance95]

hey, i hope you don't mind but i kinda need to vent a little bit 😅

as a poc it's making really sad to see that "shipping vaultghoul is racist and erases maximus and barb" is such a prominent anti argument. i don't interact with these posts or these people (because i really don't want to waste my time) but it's like they don't hear themselves. maximus is a protagonist in his own right and has so much shit going on tat has nothing to do with lucy and while barb is a minor character, she's an activate member of a corporation that seeks to end the world for profit (and we get to see her own conflicts towards this) and not just cooper's wife. they're so much more than love interests but they need "special treatment" because their s/o are white 🙄

plus what is this narrow minded type of thinking where once you start to ship a couple all the other relationships become invalid? it's fiction ffs. no one is better than anyone and there's no such thing as a 'supreme ship'

i think the worst thing that came out of fallout shipping discourse is reducing maximus to a love interest of lucy when he is much, much more than that and as you said, a protagonist in his own right! like, can we stop only talking about him in the context of romance with lucy and hype him up as he deserves?! he is so complex and refreshing, he deserves more than being a talking point in a shipping discourse.

and while i mainly ship lucy x cooper, i'm fine with lucy x max and the majority of vaultghoul shippers are too. not to mention that max is like my ideal type of a dude, lol. i crushed on this man so hard while watching the show. so, those of us who ship vaultghoul do not dislike max or think he is boring (there is a difference between finding a character boring and finding his relationship with the other character a bit bland).

tbh, i hope max gets even more development and important storyline points in s2 so that maybe ppl will stop acting like he is just lucy's boyfriend.

and i think it's also weird to dismiss the possibility of max x dane when the representation this relationship could offer is very important. and as an enby myself it would be so validating for me to see the enby character paired up with the main dude (that again, i have a massive crush on).

also, i love barb and her relationship with cooper. she is a cool villain and her & cooper were a hot classy couple. tbh, it's just that ppl rarely get too shippy when it comes to the exes, especially when one is a very minor character. but i'm excited for whatever we get with her in the future.

in the end of the day, i hope the discourse (whether it is about cooper vs max for lucy, the age gap or the human x ghoul thing) won't get too heavy in this fandom bc it will ruin it and make our experiences here full of frustration instead of fun.

i'm personally all for multishipping lucy, the ghoul and maximus with everyone in this series.

[verdantcrimson]

Kanna Natsu Idol Story - 1

(Unproofread)

[Two years since ES was established. In a corridor of an ES building leading to the Starpro office]

Kanna: Thank you very much for helping me, Miss Anzu.

Kanna: As you can see, I am a child, so escaping from a situation where I am surrounded by a crowd of people is difficult.

Kanna: Though, if I had used my head, I think I might have been able to escape, call for help, and have my pursuers apprehended.

Kanna: But using my brain on those people is a total hassle.

Kanna: A complete, and total, hassle.

Kanna: … Yes? No, I’m not lost. 

Kanna: So you’re the type of person that judges people based on their appearance, right.

Kanna: No, I’m not criticizing you. Just categorizing.

Kanna: I find talking to other people to be a hassle.

Kanna: Ideally, I would like to be able to have a conversation by categorizing people as much as I can, and then only using a fixed set of phrases that correspond to that category.

Kanna: I want to have conversations using only a set of standardized phrases, like: “For sure”, “Maybe”, “That’s nice”, and the like.

Kanna: A computer could do that. It could handle things with just some numbers and a program.

Kanna: Why can’t the same method of operation work for humans?

Kanna: Ah, It’s okay. I wasn’t actually looking for an answer. It was just a question I asked myself, and presented.

Kanna: Please don’t worry. I will think for myself and find the answers to all of my questions.

Kanna: Yes. I have no expectations of you, or anyone else.

Kanna: Now, if you would excuse me. And really, thank you very much for helping me out just now.

Kanna: … Hm. Yes, what is it?

Kanna: Aren’t. Yes, yes, how can I help you?

Kanna: Quite the annoyance you—

Kanna: Yes. No, I’m affiliated with ES.

Kanna: I’m Kanna Natsu, and I’ve recently begun working as an idol here.

Kanna: Yes. People say that I’m like a stray cat that can’t quite get used to humans. It means I am ‘Natsu Kanna-ected’ with and don’t miss other people. Quite interesting, right?

Kanna: Would it be better if I had laughed? But that would be a hassle.

Kanna: I think my life would be much easier if I at least learned to smile politely, but that really is such a hassle.

Kanna: Yes. Ah, you know about me? I thought so too.

Kanna: I have long since concluded that I am like an exotic creature that has a tendency to make the headlines of newspapers and magazines.

Kanna: The people pursuing me earlier were magazine reporters that have been following me around recently.

Kanna: The entertainment industry is a world where you could throw a stone into the crowd and hit a genius, quite literally, so I didn’t see the need to bring it up.

Kanna: That sort of sensibility, I envy it.

Kanna: When humans see something behaving oddly, it’s surprising and interesting to them, it seems.

Kanna: Ah, I wasn’t being sarcastic. I honestly envy it. It’s quite tedious to have to add a note clarifying my intent at the end of each and every sentence.

Kanna: Hm. Eh? You’re asking me if I’m a celebrity…?

Kanna: So you only knew who I was because of me being a new idol, Miss Anzu? You remember seeing my name and face on the roster?

Kanna: I get it. Yes, you are that kind of person. I understand now.

Kanna: That’s right. There are people who don’t know who I am. Heh.

Kanna: So. It seems I have overestimated my importance.

Kanna: Ah, that was my first laugh in fifteen days. Tomorrow, my facial muscles are going to be sore.

Kanna: Thank you very much. I was able to have a rare experience.

Kanna: …Hm? Yes, anything else?

Kanna: I am an ES affiliated idol, so you should know that it isn’t out of the ordinary for me to be walking around here.

Kanna: Do you not understand this? It would be a hassle if you didn’t.

Kanna: ……

Kanna: Hm. So you thought that there might still be reporters remaining around the area? You thought to call for security, just in case?

Kanna: “A kind and gentle person”, “A respectable member of society”, “A very noble, goddess-like person”.

Kanna: Of these three, which do you prefer?

Kanna: I would like to present you with an evaluation. Because I appreciate your concern, and your words are commendable.

Kanna: However. I am inexperienced at communicating with people, so I don’t know which words would be most touching.

Kanna: That is why, I would like you to pick what words I should give you.

Kanna: That is all. ...Is that wrong of me to do?

[goodluckclove]

An Open Letter to a Professional Author

I came across a writer here who I imagine will probably never see this, but their presence was enough to make me pretty mad for two days now. I've decided to pen a little statement to this Long-Term, Professional, Full-Time, Published Author who makes a habit out of being deeply unpleasant in a way that apparently has only attracted an audience of other deeply unpleasant people.

People here seem to like it when I get mad. So, uh, enjoy?

Dear Professional Author,

I came across a post of yours on some feed here the other day and enjoyed your commentary. It was one of those writing memes that sort of called attention to actually writing as opposed to just thinking about your project - the kind that people usually respond to with some sort of joke expressing their repulsion at the concept.

You responded with distaste and I generally agreed. The tone was a little aggressive for me, but that kind of humor also leaves me generally confused. I personally ended up concluding that the self-deprecating humor was a coping mechanism for a larger issue that keeps these people from writing - intimidation, lack of confidence, physical or mental pain, things like that. You seemed to think it was a matter of will, which I found to be an approach that at the very least was well-intentioned.

Turns out it wasn't.

First off, I should say that this isn't about your political beliefs. Your political beliefs that are really more like general human beliefs. I don't want to get into that. Instead, I just want to talk about your writing. You are a full-time, published author, as you say in nearly post where you talk about writing. A major point of pride to you seems to be the fact that you are traditionally published. Any other method doesn't seem to be as legitimate to you. That's interesting to me.

You also don't seem to have much of an audience outside of people who mainly come to agree with your politics. I didn't really see a single positive interaction between you and another writer on here for as much as I was willing to scroll through your blog. That's also interesting to me.

I didn't spent too much time on your blog once I realized that you were definitely not the kind of person I would ever want any interaction with. What I did want to do is use your presence indirectly to prove a point that I've been wanting to get into for some time now.

To put it simply, I'll say this: a career in professional writing is not actually as cool or important as you might think it is.

Now I'll be direct and say that I've never been traditionally published for anything longer than a short story or long-term, unpaid column. You don't give any details on any of your writing, as far as I've seen (Once again - interesting!), so there's a chance you've made more in contracts and royalties than I have. But I'm a working writer. I've had a career in ghostwriting and technical writing. I've written and produced plays that have been featured in festivals in multiple states. I'm not speaking from a place of no experience, is what I mean to say.

What I also mean to say is that - while I view writing in many ways as a spiritual and healing act that I couldn't live without - it's also a job. It's not always exciting, and even when it is exciting it's only exciting to me. I consider the best date night to be when my wife works on video game development while I write my draft. I leave the house on a regular basis, but it's mainly to go to different places to write.

In short - I love to write, but I don't think it makes me cool. Or interesting. Or valuable. Or intelligent. Or just generally fun to be around and talk to. These are things I strive to cultivate in other aspects of the way I live and grow as a human being on this planet.

Being a Professional Author in one particular genre doesn't give you authority over the craft as a whole. You can't just throw yourself into conversations and start with I'm a published writer and assume that means you have the final say on any discussion. Believe it or not, in many cases it does not matter.

Lots of people are published traditionally, and it does prove some level of validity in their line of work. But there are a huge variety of people in the world of trad pub. There are people who write books in genres that don't apply to writers here. There are people who write books that aren't very good. There are even people who write trad pub books that are very good, but their careers are sullied by the fact that the authors themselves are not good people.

Being a successful writer does not mean you're a good person. Being a writer at all does not mean you are a good person. I believe in Death of the Author to an extent, but when that author insists on making a presence on a public website and doling out advice and opinions to other writers the lines start to blur considerably.

Writing is a job. You work it over a period of time and learn skills and strategies that work for you. The same applies to virtually every other job, including ones that society views as less romantic as something in the arts. Can you imagine me breaking into your home while you're making lunch and telling you how to arrange your cheese slices based on what I know as a full-time, professional sandwich artist at Subway? You might be interested based on leaning something you didn't know about a place you might've eaten at before. But that does not entitle me to your respect on its own.

I am not entitled to your respect based on how well I learned how to make a sandwich based on my hypothetical career at Subway. Just as I don't deserve it solely because I know two card tricks, can get out a variety of stains, read most of the works of the major beatniks, can make a really good carbonara, or any other specific about my life that ultimately does not play a huge part in who I am as a person.

When I am on my death bed, I hope to god the core of my character was not the fact that I typed stories from my brain until I got carpal tunnel. If my obituary begins and ends at "writer", no matter how positive the qualifier is before that, it will be the greatest failure of my life.

Because I am a writer. But that does not matter. It does not matter if you're a writer. It can be fun and enjoyable if you are, even better if you make a living at it, but it doesn't mean you'll be happy. It doesn't mean people will like you or perceive you to be the leader and teacher you might think you are. It certainly doesn't give you a free pass to throw cruelty at strangers for truly no real reason.

Professional Author, you had a chance to raise up the next generation of an industry I assume you must value. You're choosing not to, and that's fine. You don't have the obligation to. You do have the choice to not get involved and pretend to give advice that ranges from vague to untrue. You seem to be taking that responsibility very seriously.

It's like some twist on crab mentality, where instead of dragging crabs trying to escape the bucket you're swiping at anyone who tries to crawl in with you. Then, as they struggle, you're looking down at them and making comments on how easy it is to get in the bucket, if you only just do it and maybe read some books.

To all of us, I say this: question authority, even in the arts. Especially in the arts. Nobody knows as much as they say. That includes me, but I do know this - any branch of publishing feels really good. It's scary but it's fun. If you're traditional published or indie published or self published, it says nothing about how good your book is or how good you are as a writer or how valuable you are as a human being.

Don't be this lonely bucket crab. They seem mean and I'm tired of talking about them.

Best Regards,

Clove

[lycanr0t]

if you'd like to share your thoughts on gay trans man marcille i'd love to read them and/or see your art of him! (no pressure of course!)

oh man will I share my thoughts dfjkh I was maybe going to eventually make a post to ramble about it but this gives me the perfect excuse to now :J

This ranting WILL have spoilers for anime only fans/ppl who haven't finished the manga!

Marcille is interesting to read as a gay trans man though. Because how I see it, during the events of the manga he would not know he's trans! Or at most, he would maybe have some Gender Feelings but he wouldn't really understand it yet.

To me, Marcille is the type who would at first do everything in his power to deny it/convince himself he isn't trans. I think he would have a fair bit of internalized transphobia just as a result of his fairly rigid way of going about things. He has specific standards for himself especially but also for others.

This is where my gay trans man headcanon for Falin comes in lol.

Not for romance reasons specifically, but because I think the way Marcille treats Falin when looked at through the lens of Marcille being a trans egg is especially interesting.

For my Falin headcanon, I see Falin as a gay trans man as well, but I think that he wouldn't be out to Marcille until after the events of the manga. This is very integral to how I view Marcille's gender discovery happening.

I think that during the time they're in school together, Marcille would have feelings for Falin that are confusing. In Marcille's mind they're both girls, so he must just be a girl into girls, right? Meanwhile Falin performs girl wrong and this challenges Marcille's worldview. Marcille cares for Falin, and this manifests as Marcille trying to 'help' Falin perform girl better. Basically, Marcille doubling down on his currently held beliefs of what gender is and how it functions instead of considering that it may not be that simple, and he and/or Falin may not be a girl. Falin I think would not bring up being trans for a few reasons but primarily that boy is just not big on conflict with people especially those he cares for.

But anyways. A perfect example of Marcille forcing his idea of correct gender performance being in a daydream hour page where Falin is drawn with short hair, and Marcille is visibly pretty upset by it. (I don't have the translated image but here it is)

I know that it seems like a small thing that doesn't hold much weight, and it's not technically canon but trans mens hair is often something that people feel that they need to control. A girl cutting her hair short is seen as this horrible, unacceptable thing. Now again, obviously Falin doesn't canonically cut his hair short, but the fact that Marcille would be upset and specifically wants it long again informs us about his view of these things. I think that hair being useful for magic would end up being a justification for both being upset by the concept of Falin with short hair, and a justification to himself on why he is not allowed to experiment with shorter hair. It's more practical for his line of work/study, so it's a perfect excuse to just never think about if he TRULY loves it long or if he is just doubling down on performing what's expected of him.

Marcille is a KING of appearing way more uptight than he is. He's very by the books, very strict seeming about doing magic right, but he also specifically primarily has interest in the most taboo magic. He's the loudest about complaining about eating monsters, but he's also the first one to outright say that if they have to eat demihumans then so be it. Marcille is full of contradicting feelings and actions and I think he's prone to trying to fit into what people expect but his heart isn't fully in it so he still ends up doing the unexpected as well.

Even after the manga, Marcille has lost his desire to take care of his hair but he honestly doesn't seem... that upset by it? He is upset, sure, but for something that appeared to be a pretty big thing for him he accepts it shockingly smoothly. Almost as if perhaps, it's a relief to have an excuse to try something different. To try shorter hair maybe? Because now he has an excuse other than doing gender 'wrong'. It would feel safer to explore.

Aand I have a TON of other thoughts but this is getting pretty long and I'm losing track of my thoughts SO I'm going to drop a small list of some other random half formed thoughts I think about in relation to Marcille being a gay trans man

marcille being half elf half tallman and the parallel between that and being trans and how when you're trans you're alienated and isolated. in society's eyes youre not fully a man, not fully a woman, you're both and neither and othered in a complicated way

everyone assuming marcilles wish is to become 'full elf' also is interesting to compare to the experience of people viewing being trans as 'wishing you were X gender' in a very binary way

marcille asking if his dad is pregnant in a flashback just feels like something a trans egg kid would say

marcilles overall attachment to his father tbh.

marcille being super into romance novels and specifically his succubus presenting as a pretty boy from his novels. Obviously this can be read romantic or whatever but I know personally a lot of characters I was obsessed with as a child that I thought was romantic attraction turned out to be a combination of attraction and wanting their gender expression. I think it's interesting to read into marcille's interest in romance novels as him finding a 'safe' way to explore his attraction to men and desire to be a man without actually acknowledging that directly. (a lot of irl gay trans men do similar before they realize theyre gay trans men!)

Aaand that's my thoughts for now lmao. Here's some pen doodles I did while figuring out how I wanted to draw post-canon marcille :> Still working on figuring him out but I like how these look! I like the idea of him having some facial hair (not very long as elves seem to not be able to grow much body hair) and probably cutting his hair so it's more shoulder length and a bit easier to manage!

[triaelf9]

absolutely fascinating, that post I make about ppl who make it their life's goal to be miserable to other ppl online reaching the point where it slipped out of orbit and just made a mad dash through a lot of random folks ahah. Very much a microcosm of the internet for sure.

I was specifically referencing the ppl connected to the g@ter movements b/c they all seem to have a very specific playbook, (cant forget that they know everything about art and game making and journalism and film making despite never doing anything in it, and of course the bonus transphobia/racism/etc) but also it was kinda me thinking about like...just make sure you branch out? like find joy in things that isn't just hurting other people? You don't have to be nice to everyone, you don't even have to not be a hater but like...knocking off the personal attacks that the fascists use could be cool, and like, I dunno, make sure you smile at something else that isn't telling artists they should become obsolete b/c they can do something you can't? or like, turn some very well deserved anger to things that need it and affect the real world we all live in & maybe make some change? I dunno, it IS open ended, so I guess death of the author is bound to happen like most meme-y things lol

I just didn't expect it to go anywhere to be honest ahaha. I do appreciate that is speaks to most folks in the way I hoped it would, and I hope everyone has their potted plant they can enjoy, whatever form it may take lol

[peapod20001]

I actually do have very complex thoughts about many different things, it’s just a bit challenging to connect the inner voice to the outer voice sometimes </3

[birdmenmanga]

okay so I think I can finish the animation commission today and I really really want to because having 2 commissions on my back stresses me out for no reason even if the clients tell me to take my time I just can’t do that. I think I’m gonna draw the missing frame(s?) of the animation and maybe also add flat colors? and then I’ll grab dinner at the manga place where I’ll also try to storyboard two pages. If I come home and it isn’t 1 yet (unlikely) I’ll also draw the second part to the heishin comic lol

[iamonlyperson]

Puppet History being the first watcher show and first getting the story and the lore

[thethingything]

today's Ant System nonsense is: waking up, going downstairs, and almost immeduately having to explain to our mum that her boyfriend is probably a system. we've been awake for 3 hours and most of that has been spent describing system experiences while our mum goes "oh my god he experiences that constantly" or "that explains so many things"

[illdothehotvoice]

Y’all i am like shaking idk if this is like a quick obsession I’ll be interested in for like 2 days and then drop immediately or if I’m willing to actually start an etsy shop and sell charms and shit. anyways long ramble in the tags dshgjknfh

[quarterprioritymidnight]

lol it’s hard for me to believe any of the negative stories ppl have abt Dan or Bastille, like I just see them as angels and perfectly nice all the time

yeah I mean same kind of. I can't really imagine them doing anything actively mean or trying to be rude to fans or anything lol, but also they are people so there are gonna be times when they're tired or busy or just don't want to be bothered and, even though that's obviously like fine and allowed, i can see how that might rub people the wrong way.

idk i think part of it is that they, and particularly dan, have such a reputation for being super nice and also the way dan comes across as very down-to-earth and kind of accessible (?) for an artist of his size can lead people to feel veryyy entitled to his time and a certain level of friendliness ig, so if the interaction doesn't go the way they want it to then some people will take that out on him even though he's literally just a person lol

also they aren't angels and perfectly nice all the time they are literally just people pls don't think that about anyone ahaha lol

[areyouwho-ithinkyouare]

people who haven’t played baldur’s gate 3 in it’s early access but who PLAN to buy it at release i really cannot express how much more interesting the story is (at least in the 1st act that we’ve had in EA) if you play a non-good character. You don’t have to be fully evil but there is so much extra content you dont see if you just go in,kill the villains, save the good guys.

[anthurak]

As someone who was very curious as to how Mammon was going to be presented in Helluva Boss, you can probably imagine I was looking through the new episode very closely.

And while I may have been off the mark with my theory that Mammon would follow the trend of Asmodeus and Beelzebub and NOT actually be antagonistic, I nonetheless think it is VERY interesting how Vivzie and the team handled and presented him.

Specifically, in just how PETTY Mammon is shown to be in this episode.

Like really think about what you might generally expect from a character like Mammon just from a basic background description: He is one of the seven rulers of Hell, lord of the seven rings and embodiment of GREED. Likely a fallen angel who helped to create hell as it exists today, is matched in power only by his five fellow Sins, and is functionally only truly outranked by Lucifer himself.

And yet, Mammon’s characterization in this episode presents him as this petty, selfish, manipulative asshole interested in little more than money and attention. He acts more like a shitty, full-of-himself asshole celebrity than a demon lord. Just look at how he manipulates Fizzerolli, not through lording power and authority over him but through emotional coercion like an abusive parent, ex-, or boss, which is precisely WHAT he is presented as. fi

What makes this even more interesting is that despite Mammon being characterized as Fizz’s petty, manipulative boss, we nonetheless see him display all the POWER and experience we’d expect from one of the seven rulers of Hell. Asmodeus mentions earlier in the episode that he’s known Mammon ‘since the START of Hell’, confirming they were both involved in its creation, and when the two square off at the end, it’s clear that Mammon is very much Ozzie’s EQUAL in power, and that everyone else present is pretty much an insect in comparison.

This is what I think makes the inclusion of that one creepy, obsessive fan of Fizzerolli’s in this episode so significant; he serves as a point of comparison to Mammon.

For all the power and authority that he might wield, Mammon is characterized as being no different/better than a creepy, manipulative, entitled and obsessive stalker.

I think this might be the true common ‘thru-line’ connecting all of the seven sins through Helluva Boss and possibly even Hazbin Hotel: That despite essentially being ‘God-Emperors’ of Hell and outclassed in power likely only by the most powerful angels of Heaven itself, the seven sins are characterized in a very grounded, down-to-earth and for lack of a better term, ‘human’ way.

All the times we’ve seen them, Ozzie, Bee and Mam haven’t presented themselves as these all-powerful beings lording themselves over their subjects like we might expect or even what we’ve seen of the Goetic nobility. They don’t present themselves as ‘royalty’ but rather more like celebrity performers, which is certainly in keeping with Vivzie’s comments about how Hell is meant to represent a circus.

It really gives this fascinating dichotomy to the Sins as characters, where they’re presented as these big wacky celebrities with big, over-the-top personas which in turn hide very grounded, down-to-earth people underneath. While at the same time still being these monstrously powerful and ancient beings whose dominion over Hell is entirely uncontested.

It also gives them a nice contrast with the Goetic Nobility and the Sinner Overlords. Like those two groups actually do act and present themselves like demonic ‘royalty’ who lord themselves over those considered ‘beneath’ them, while in reality they’re at best the ‘middle-managers’, and instead it’s these wacky characters who are the TRUE masters of Hell.

It may even continue into what we might see in Hazbin Hotel, what with Charlie being this bubbly, happy-go-lucky Disney-esque princess who also may very well have power outclassing literally EVERYONE else in the show apart from her parents.

Overall, I loved this episode and I think we may now have a good idea what we might expect from the other Sins, and possibly even Lucifer himself in Hazbin Hotel.

[comicaurora]

Hey Red, sorry if this was asked already, but do you have any advice on writing a trickster hero? And do you have any favorites yourself?

Huh! This is something I've never really thought too hard about before, but I do have some loose and unformed thoughts!

So the trickster archetype is, broadly, a character who wins by being cunning and tricking the people around them. Typically this is because they are an underdog facing a powerful opponent, and if they face that opponent on the terms that opponent defines, they'll lose. For instance, a physically strong opponent might want to make everything into a contest of raw force; a politically powerful opponent might want to make things a legal battle; a commander of a large army might want to battle on a flat terrain-less battlefield and overpower the smaller enemy force through raw numbers; etc etc.

A trickster doesn't have the raw power to make a scenario happen. Instead, they achieve that scenario by making other characters make it happen, usually by misleading them into thinking it'll have some other outcome they want.

A classic example of this is found in a Brer Rabbit story where Brer Rabbit has been snatched by Brer Fox, and Brer Rabbit begs and pleads with him to not throw him into that briar patch, oh the torment he would experience in that briar patch would be unimaginable, drowning or burning would be bad but still better than that briar patch. Brer Fox naturally throws him into the briar patch, at which point Brer Rabbit vanishes into the underbrush and helpfully clarifies that he was born and bred in a briar patch. He was unable to escape through his own power, so instead he convinced Brer Fox that yeeting him into the briar patch would give Brer Fox something he wanted (Brer Rabbit's unimaginable torment) when in actuality it gave Brer Rabbit exactly the cover he needed to escape. It only worked because Brer Rabbit understood that Brer Fox was fundamentally not just hungry, he was cruel.

Tricksters usually achieve victory through lying, stealing, sneaking around and generally being dishonest. These are usually not seen as heroic traits, but the trickster hero is an archetype of character who is broadly heroic - and uses trickster tactics to win. It's an interesting suite of character traits to balance. In order to make a trickster heroic, them being the underdog usually needs to be played up. It's not really easy to root for someone with power to manipulate people for their own ends, but it's easy to root for someone scrappy and underleveled to manage to gumption their way to a victory over a broadly superior opponent.

A sympathetic trickster usually isn't someone who picks fights. Trouble comes to them, and then they need to find a way to escape or stop it. This is the paradigm that makes Bugs Bunny work as a trickster hero - he starts off basically every adventure minding his own business, and when someone comes around with a blunderbuss and a hankering for rabbit stew, their actions are what prompts him to unleash absolute hell on them by using toon physics and trapping them in ironclad social conventions to completely unbalance them until they're eventually defeated.

If we see a big, loud, powerful jerk try to stomp on someone small and innocuous, we're inclined to root for the small and innocuous person. This setup makes us very eager to see the small and innocuous person use tricks and shenanigans to make a fool of the powerful jerk, and it automatically makes us more okay with the sympathetic character doing on-paper unheroic things like lies and manipulation as long as they're doing them to someone we're primed to dislike.

So trickster heroes are usually fundamentally reactive characters. Something bad happens and they respond by unleashing hell. Another easy way to make a character instantly more heroic is to give them an even weaker, even more sympathetic character to protect or assist. Thus, many trickster heroes have a suite of supporting characters they're protecting who are not tricksters by nature, and are instead just there to be endangered or bullied by Nasty Mean Powerful People. Our trickster heroes stepping in to aid and protect other people thus gives their actions an even more heroic cast, because not only are they reactive to an outside threat, they're selflessly reactive.

This is the framing that's used in Leverage, where every episode has a victim of the week being cruelly taken advantage of by a jerkass of the week, at which point our team of liars, grifters and thieves roll up to ply their trade on the jerkass and award the spoils of war to the victim of the week. Because the person they're tricking is proven unequivocally to be truly awful and completely insulated from legal consequence a solid 98% of the time, we don't feel particularly bad seeing our team of heroes manipulate, gaslight and eventually absolutely destroy them over the course of a crisp 40 minutes. The vileness of the villain combos with the innocent powerlessness of the person they're advocating for, and thus their assorted unheroic qualities become reframed as absolutely heroic due to the circumstances under which they use them.

Crucial to the formula is the horrendous nastiness of the villain of the week, because if we were even kind of sympathetic to them, the schemes of the protagonists would be kinda scary. They are very good at quickly getting the bad guy to trust them and then taking apart everything they've built, and that's only fun to watch if the audience is 100% sure the villain deserves it and is not going to spend too much time thinking "wow, it would be terrifying if that happened to me." The fact that our heroes almost always take them down simply by leveraging (heh) the bad guy's badness is a big part of what makes the formula work. Almost every episode is functionally similar to a Briar Patch scenario - "oh gosh I sure hope no SOULLESS CAPITALIST VAMPIRES take advantage of how MANIPULABLE I am to try and get my MONEY and/or VALUABLES", and then the villain's own established cruelty cascades into their downfall when it runs into the dominos our heroes have set up to expose them. And that does a lot to make the audience sympathize with a crew of four self-admitted terrible people (and Hardison, who's an angel and we're delighted to have him)

Another way to get the audience to root for a potentially nonstandard protagonist is to set them up against a villain who is smug. Smugness is a very dangerous trait for any character to have, because it primes the audience to want to see them break. A villain who thinks they are too powerful or too strong or too smart to be defeated has the audience immediately rooting for them to be proven wrong just so they can watch the expression on their face. This is the strat they use in Columbo.

Every Columbo villain is rich and powerful and very insulated from legal consequences, and we start every episode seeing them arrange and execute an attempt at a perfect murder. We know from the start how they did it and usually why, and because they are smug - they are almost never regretful or reluctant - we become invested in seeing how Columbo figures out what they did, how they did it, and how he can prove it and get them arrested. Columbo is a nonstandard kind of trickster hero, because he is deeply and fundamentally a Lawful Good archetype, but he is also a very casual liar. The only time the audience sees Columbo almost certainly telling the truth is when he's dealing with background characters, his fellow policemen or his dog, or when he's by himself silently putting the pieces together; at all other points in the episode he will typically conceal how much he knows, how he knows what he knows and why he's asking specific probing questions. The audience has a tremendous amount of dramatic irony in terms of information about the perfect murder Columbo has to disassemble; we'll see Columbo zero in on exactly the one small detail that pokes a hole in the supposed airtight alibi, but instead of saying "I think you killed them and I am determined to prove it" he'll dance around why he's focusing on those details - just curiosity, just a desire for completeness, his superiors told him to continue the case and he doesn't know why, his wife is just such a big fan of their work, etc etc.

As a rule, the first time in any given episode that Columbo admits he's suspicious of the villain is the beginning of the last scene of the episode when he proves that they did it and they subsequently surrender. When Columbo is dealing with the villain, absolutely nothing he says can be trusted until that final scene - and it's a rare treat to get a glimpse of Columbo showing an honest emotion, especially something like genuine fury. Most of the time he maintains a very harmless and affable attitude, but sometimes when the villains are very smug and they know he's suspicious of them but can't prove anything yet, his righteous anger peeks through and we see why he does this.

He's a trickster hero because he can't unravel the case, the villain's motivation and the shape of the crime if the villain knows everything he knows and can correspondingly keep up with him. But he is 100% committed to exposing the truth of the situation and making the murderer face justice. Their perfect alibi is supposed to protect them from everything, but it's their confidence and certainty that they could never be caught that Columbo leverages to win. They never know entirely what to make of him, and he's never wholly honest with them - and with the audience - until the very end of the episode. It's good, cathartic payoff to an episode's worth of lies and manipulation from both main players, and it's always fun to see the non-smug party on the side of justice come out on top.

Some trickster heroes are more like standard heroes with trickster tendencies that occasionally surface. These guys are usually pretty straightforward, but in a pinch they can bust out a surprisingly cunning scheme or two - one such moment hits at the climax of Across the Spider-Verse, and it's a great moment of characterization for Miles, who has thus far been a pretty typically heroic guy who has unfortunately spent the entire movie thus far being lied to by people he trusted. It kicks off an enormously long and complicated chase sequence that takes the entire spider-community out of the home base chasing him through an absolutely massive complex and eventually onto a space elevator. It's such a fluid scene, you kind of just accept that it's a desperate chase sequence - Miles is just running. It doesn't occur to the other spider-people that Miles might have a plan beyond running until he basically tells Miguel that, hey, he did just get every other spider-person out of the facility that has the portal to get him home. He wasn't just running away, he was luring everybody away so he can leave.

And this moment is fantastic on a meta-level, because Spider-Man is traditionally a bit of a trickster hero. Most of his enemies are able to physically outpace him, and he needs to use mobility and strategy to take them down, often luring them into environments that work against them - like a fun moment in Spectacular Spider-Man where Spidey defeats the Rhino by luring him into a steam tunnel and basically giving him heatstroke through his armor plating. But because the entire core theme of this movie is "Miles isn't a real Spider-Man," it literally doesn't seem to occur to the other spider-people that Miles's seemingly panicked running might be him pulling a Spider-Man on them. We're so used to being in Miles's head and knowing when he's got a plan or a ploy that this is a very fun moment to watch. He's successfully deceived an entire army of spider-people, and the audience is just as blindsided as Miguel - and a little less electrocuted, so it's a lot more fun for us.

So yea, trickster heroes are a fun little space of character, but you gotta be careful to put them in the right kind of situation, lest their fundamental dishonesty come across as alarming rather than extremely rad.

[txttletale]

and also, unrelated, what about homestuck?

i think homestuck is worth reading. however, if you do so in 2023, i also really recommend listening to homestuck made this world, a podcast where two media academics read through homestuck while contextualizing it in the context of the fan response and the development of internet cultures both in general and around media specifically. hsmtw while reading along with the hosts is imo a really good way to read homestuck because huge segments of homestuck only really make sense when understood as being in direct and ongoing and sometimes v. v. antagonistic conversation with the fanbase. it's very very interesting in that regard and i think that's the angle from which you can get the most of value out of reading homestuck in 2023.

if you do read homestuck don't read it on the website because the website is Not Very Good. download the unofficial homestuck collection instead. some people will recommend you download the slur replacement patch which edits out the slurs used in the comic--you can do that if you like, i'm not the homestuck cops, but i would strongly advise against it. an integral part of, like, what homestuck Is is imo a vivid snapshot of what the internet was like at the time--it is culturally inseparable from shit like somethingawful and people saying 'retard' to each other all the time and i think something is very strongly lost by reading homestuck with any changes that make you less sharply aware that you're reading something from 2009's internet

is homestuck good? yeah, probably. a lot of it has aged badly. it is racist and ableist and homophobic and all the other bad things the 2009-2016 era internet was. the back half and the ending kind of drag to a halt. but there's some great imagery in it, hussie's talent for character voice is genuinely incredible, and a lot of it is (in my opinion) still funny as all fuck. it's fun to experience and see how many left turns it takes and how many drastic shifts in tone and genre it pulls off. and--again, this is the primary reason i'd recommend reading it--it's a really interesting case study in the embryonic development of a reactive, in-conversation-with-online-reaction media production method

[lexyeevee]

it's wild to see myhouse having escaped the orbit of Doom People, because so much of it specifically riffs on doom in a way that is laser-targeted at Doom People, to the point that i just wouldn't have expected it to be nearly as interesting if you don't pick up on that stuff

right from the outset, "my house" is even a recognizable genre, because doom was among the first approachable platforms for creating a 3D space, and if you give random people the ability to create a 3D space then many of them will just try to recreate their own house. (i want to say jp lebreton even made an effort to play through every house map on the idgames archive at one point, though hell if i can find it now.) there was in fact already a "myhouse.wad", from 1995!

frankly it's incredible that someone (or someones) put so much effort into this map and then had the gall to simply post it on doomworld as "myhouse.wad", because that is a thread title that guarantees the fewest possible people will bother to look. there are posts in the thread where people outright admit that they only checked because they were surprised how many replies a "my house" wad got.

so anyway, okay, the "classic" doom wad experience is that you download a wad, it contains exactly 1 map, and it has zero custom textures or music or other frills. most wads from the 90s are like this; if you're lucky you might get a bad midi rendition of a metallica song. nowadays there are texture artists and musicians and everything collaborating on full map packs, but "just a map" is still kind of the default mapping experience and is recognizable to anyone who's been around doom for sufficiently long.

and myhouse riffs on absolutely every aspect of this:

• the music is the MAP01 music, Running From Evil, which is just the music you get if you supply your own map in the MAP01 slot and do nothing else. so a ton of 90s maps had this same track as their background music, so everyone has heard it a zillion times. it is ingrained into so many people's skulls. subtly fucking with it is a great way to fuck with the player

• the house uses only stock doom 2 textures, or occasionally light modifications of them. again this is just what you get if you make a map and don't supply any other resources, so the stock textures are very familiar. only later, with sufficient poking around, does the map introduce new textures, which really help sell the impression of being swept away to Somewhere Else

• if you take the exit, you go to MAP02, Underhalls. this is the expected experience because doom wads replace what's already there — you're not really supplying a "new map pack" or anything, you're overwriting a map from the original doom 2 progression. (there are ways to fiddle with this now, but in vanilla doom 2, the level progression was hardcoded.) so the "ending" of a no-frills single-map wad is always, always to transition to Underhalls. the opening shot of Underhalls is practically like seeing the credits. so roping Underhalls into the experience is completely unexpected, because Underhalls is the sign that you've escaped back to regular doom

• the super shotgun is "hidden" in Underhalls, in probably the best-known super shotgun location in the whole game, because it's the first time you can get it

• incidentally Underhalls itself feels uncanny, because the player camera height is higher than usual to make the house's proportions feel sensible. (part of the trouble with exact recreations of real spaces in doom is that the camera is weirdly low.) i was actually convinced that myhouse included a modified Underhalls, but no, it's stock doom 2 Underhalls, it just feels off when you're slightly taller

but wait, there's more

• silent teleporters are a feature from boom, a very early doom derivative that added a number of helpful mapping features and is basically considered only half a step beyond vanilla. so shifting between two versions of a space without interruption isn't completely unexpected. it's only later that the portal use becomes more obvious

• although if you're especially canny, you should notice that the second version of the house shows both the upstairs and downstairs windows in full, which is impossible — doom cannot do room-over-room. (in fact this is accomplished with a semi-obscure zdoom feature called sector portals — essentially, the whole second floor and the space outside it are a separate area, and the "ceiling" of the yard becomes a view up through the "floor" of that second space.)

• swinging doors are a hexen feature (polyobjects) that gzdoom inherited. (heretic and hexen were modifications of the doom engine, and zdoom started out as a merge of all three codebases into something that could play all three games.) they might also be in other fancy engines (eternity?), but they are very distinctly not a doom thing. if you're deeply familiar with doom's limitations then they'll jump out at you immediately, but if you're looking at doom like it's any old 3D game then maybe not so much

• recreations of other humble real-world locales are also a somewhat common theme, and remind me in particular of Doom City, from way back in 1995

• a very common desire for players is to "uv-max" a map, i.e. reach the exit on ultra-violence with 100% kills and secrets. if you can't do this, the map is (reasonably) considered broken. it is comically impossible to do this in myhouse, and anyone with the skill to create the map would be acutely aware of this

• the extra weapon frames look to be borrowed from the well-known smooth doom, which adds extra frames for everything and is just pretty dang slick overall. so it's not merely "ho ho, got you, smoother weapons" but specific integration of another familiar project

• this might be reaching a bit, but mirrors are specifically a nightmare in zdoom's software renderer because they work by rendering all visible geometry as if it were physically present on the other side of the mirror — and if there be any actual geometry back there, it will also get rendered and you will have a big fucking mess. so a mirror in the middle of a room is a laughable idea. this is somewhat less of a concern now that the hardware renderer is basically the default, but it's still a spectre looming over the very concept of mirrors, so the way mirrors play out in myhouse is very funny to me

there's probably more, like, the way it intercepts noclip is a stroke of genius and not something i've ever seen done before. but i hope you get the idea