#but the actual concept and the rest of the execution is SO

[animebw]

So if you've missed the wonderful thing that's been happening on Twitter the past week- I know, good things happening on Twitter? Impossible!- there's a super new yuri manga called Love-Bullet that's absolutely exploded in popularity. After subpar volume 1 sales, the author took to Twitter to beg fans for support to keep the series alive. And not only did fans answer the call, word spread so fast and far that English fans started buying the first volume en masse from Japanese realtors- which, to be clear, are the untranslated Japanese volumes, so most of those fans will still need to seek out scanlations to actually read the damn thing. But they didn't care! They just wanted to keep this series alive. And so many fans were willing to put their money where their mouth was that most realtors straight-up sold out in just a couple days.

That's nuts. That's a swelling of grassroots support I don't know if I've ever seen on this scale. Just through word of mouth, this series that seemed on the verge of cancellation has ended up out of stock in basically every online marketplace from how many new fans it's picked up. All because people saw something genuinely special and decided to come together to ensure its creator could tell the story they wanted to tell all the way to completion. I hope inee is incredibly proud of how many people her work has reached, how many people have been inspired by what she has to say with her art. And I encourage you all to join in that support, to spread the good word of Love-Bullet to everyone you can so this series can continue the way its creator wants.

Because good lord, even with just a single volume to go off of, this could be the start of something fantastic. The concept of cupids being the spirits of people who died with their own loves unfulfilled, so the spend the rest of their eternity playing matchmaker to resolve their own unresolved love stories, is a genuinely fresh idea, but the way it's executed on top of that makes for a story that's equal parts hilarious, heartbreaking, and joyous. It's a story of death that's all about celebrating life, lost souls finding peace with the lives they left behind as they help those who carry on without them. And it's brought to life with this gorgeous, expressive sketchy art style that feels like a lost 2000s manga dragged into the present day, conveying so much character and emotion with such small and simple choices. And this is just volume 1! There's no telling what surprises and growth are still in store down the line! Imagine if it had gone undiscovered and ended up cancelled before it had the chance to bloom! We are so fucking lucky Love-Bullet blew up the way it did. So don't take this second chance for granted and go give it some love.

[frecklestherobot]

I had been trying to come up with signs that Izzy being Ed's mentor/father figure were there all along. I can kind of get from S1 to the finale if I skip over the vast majority S2 episodes 1-7. But it turns out that David Jenkins came up with it at the very end, so lmao

[inkskinned]

you were raised in comparison.

it wasn't always obvious (well. except for the times that it was), but you internalized it young. you had to eat what you didn't like, other people are going hungry, and you should be grateful. you had to suck it up and walk on the twisted ankle, it wasn't broken, you were just being a baby. you were never actually suffering, people obviously had it worse than you did.

you had a roof over your head - imagine! with the way you behaved, with how you talked back to your parents? you're lucky they didn't kick you out on your ass. they had friends who had to deal with that. hell, you have friends who had to deal with that. and how dare you imply your father isn't there for you - just because he doesn't ever actually talk to you and just because he's completely emotionally checked out of your life doesn't mean you're not fucking lucky. think about your cousins, who don't even get to speak to their dad. so what if yours has a mean streak; is aggressive and rude. at least you have a father to be rude to you.

you really think you're hurting? you were raised in a home! you had access to clean water! you never so much as came close to experiencing a real problem. sure, okay. you have this "mental illness" thing, but teenagers are always depressed, right. it's a phase, you'll move on with your life.

what do you mean you feel burnt out at work. what do you mean you mean you never "formed healthy coping mechanisms?" we raised you better than that. you were supposed to just shoulder through things. to hold yourself to high expectations. "burning out" is for people with real jobs and real stress. burnout is for people who have sick kids and people who have high-paying jobs and people who are actually experiencing something difficult. recently you almost cried because you couldn't find your fucking car keys. you just have lost your sense of gratitude, and honestly, we're kind of hurt. we tell you we love you, isn't that enough? if you want us to stick around, you need to be better about proving it. you need to shut up about how your mental health is ruined.

it could be worse! what if you were actually experiencing executive dysfunction. if you were really actually sick, would you even be able to look at things on the internet about it? you just spend too much time on webMD. you just like to freak yourself out and feel like you belong to something. you just like playing the victim. this is always how you have been - you've always been so fucking dramatic. you have no idea how good you have it - you're too fucking sensitive.

you were like, maybe too good of a kid. unwilling to make a real fuss. and the whole time - the little points, the little validations - they went unnoticed. it isn't that you were looking for love, specifically - more like you'd just wanted any one person to actually listen. that was all you'd really need. you just needed to be witnessed. it wasn't that you couldn't withstand the burden, but you did want to know that anyone was watching. these days, you are so accustomed to the idea of comparison - you don't even think you belong in your own communities. someone always fits better than you do. you're always the outlier. they made these places safe, and then you go in, and you are just not... quite the same way that would actually-fit.

you watch the little white ocean of your numbness lap at your ankles. the tide has been coming in for a while, you need to do something about it. what you want to do is take a nap. what you want to do is develop some kind of time machine - it's not like you want your life to stop, not completely, but it would really nice if you could just get everything to freeze, just for a little while, just until you're finished resting. but at least you're not the worst you've been. at least you have anything. you're so fucking lucky. do you have any concept of the amount of global suffering?

a little ant dies at the side of your kitchen sink. you look at its strange chitinous body and think - if you could just somehow convince yourself it is enough, it will finally be enough and you can be happy. no changes will have to be made. you just need to remember what you could lose. what is still precious to you.

you can't stop staring at the ant. you could be an ant instead of a person, that is how lucky you are. it's just - you didn't know the name of the ant, did you. it's just - ants spend their whole life working, and never complain. never pull the car over to weep.

it's just - when it died, it curled up into a tight little ball.

something kind of uncomfortable: you do that when you sleep.

[soulemissary]

i've been working on a handful of different python things latelt bc im trying to cram as much knowledge into my fragile brain as possible before this job starts but i have no idea what to work on specifically and i keep working on random game things instead bc gamedev dreams are apparently still alive

[duke-daemon]

hazbin hotel redesigns wooooooooo

okay so. i'm gonna discuss my thoughts about them n shit, putting under a readmore bc it's gonna get long and rambley. sorry in advance for the shit formatting, i'm on mobile </3

just some general shit about how i would rewrite it. i think the premise of redeeming sinners is entertaining but is executed horribly. i also am a fan of the "heaven isn't great either" idea but again, executed horribly. i'd make the hierarchy of angels more accurate because it's cool as hell and i have autism about it. the characters from hell would swear still (albeit not as much), but the angels would outright refuse to swear or make vulgar jokes ever. this would be partially to further the gap between heaven and hell and make the differences more stark.

hell would also be more like dante's inferno (again because i think its cool). the ars goetia would get a full redesign and would be more prevalent in demonic society.

now for the characters!

---

VAGGIE VALTIEL:

starting off with vaggie, or Valtiel as i've renamed her because let's be honest her original name sucks. Valtiel (Val for short) was an aspiring power angel who wanted to be an exorcist. she looked up to lute and thought the idea of killing demons was really cool and badass. however when she actually was on the field for the first time she discovered how awful this actually was. she tried to help a few demons but lute figured it out and felled her right then and there. the rest of her story is relatively the same. personality wise she's more stoic and less prone to all-out aggression. she still get angry, sure, but it's in a quieter and more menacing way. you DO NOT want to fuck with Valtiel.

CHARLIE:

next up is charlie! i had two ideas for her. the first one (unsettling drawing) has her as a mannequin/doll type demon. lucifer and/or lilith was unable to conceive and as such they built a kid from scratch. she's overall similar to og charlie personality wise, very kind and cheerful despite her unsettling appearance. she struggles with empathy sometimes but really does mean well. her motive for rehabilitating sinners is so they get to see their family again. being able to see heaven from where they are in hell must make them sad, so she wants to help make them happy again!

the second idea for charlie has her as an angel. specifically i casted her as a dominion angel due to their reputation as holy judges. she was once a demon but has been rehabilitated and has risen into angelhood! she now wants to help her former kin do the same and redeem themselves in heaven's gaze. again, similar cheery personality, but a bit more prudish in this rendition

tangent time!

as a side tangent, valtiel and charlie would have a different relationship in this rewrite. their relationship felt shoehorned in in the original show, like it was just there for the hell of it. we didn't see much development between them and it just felt kinda bland. so in my rewrite, charlie and valtiel are amiable exes. they tried dating when valtiel first fell (when charlie was still a demon in the charlie-angel version) but realized their feelings for each other were much more platonic than romantic. they ended things off on good terms, deciding they were much better as friends. they are still besties to this day! later charlie ends up with emily (or 'ellie' as i plan to rename her)

back to the characters

Alastor:

note: i made alastor mixed-race, which could be seen as bad by some due to vivzie saying he's black. however, as many have pointed out, he has no ethnic features whatsoever and i honestly wouldn't be surprised if she said that just to get away with using voodoo symbols (a closed religion) in his imagery/design. like viv, i am incredibly white and have little to no knowledge of voodoo, and even if i did i would not use it for something like this anyways due to the stigma the religion already has and (again) it being a closed practice. as such i removed it from his concept altogether, but made him mixed race (white passing) because.. why not i guess, i forgor my actual reasoning

with that being said...

alastor is by far my favorite of the redesigns and i'm honestly tempted to turn him into a legally distinct oc. i imagine he's somewhat reserved, along the lines of norman bates albeit a bit more extroverted. during his life he was a serial killer with a day job as a radio announcer. he took pleasure in reporting about his own murders on the radio, but that is eventually what got him caught (ie accidentally letting slip info that wasn't released to the public). as a result he was sentenced to death. upon arriving in hell, he quickly rose through the ranks to borderline overlord status and is a feared presence by demons and sinners alike. why is he bothering to assist in the hotel project? who knows... his motives are a mystery, like the rest of what he does

(he isn't actually alastair crowley i just thought the naming convention was ironic. however he may have also dabbled with satanic magic in lifetime..)

Angel Dust:

TW: brief discussion of SA

this is definitely my second favorite redesign. i loooove insect themes and wanted to do more than just Extra Arms, so he now has fucked up legs and a lot of eyes too! story-wise, angel used to be a criminal mastermind, hated by both the mafia and the feds. he was a gentleman thief, arranging massive heists under the cover of night while also partaking in the occasional drag show. he ended up a cocaine addict later in life, which caused his work to become sloppier. eventually he was killed in a heist gone wrong, specifically shot by the police.

i'm not gonna go too in-depth on the SA part of his story, but he is hypersexual due to being assaulted in both his life and afterlife. it would be something he'd be working on in the rewrite. his reason for coming to the hotel in the first place may have even been for help with this trauma. underneath his sultry exterior is a broken guy who really just needs someone to care about him for who he really is and not for what his body can do.

LUTE:

so lute and adam are some of the characters i have the most gripes about. the biggest one being why viv chose adam as the leader of the exorcists in the first place. if she wants a biblical figure tied to demon killing, Archangel Michael is RIGHT THERE, aka the one destined to kill satan during the events of Revelations. if she wants the first human to die, that would be Abel, not Adam. and i kinda doubt abel would want to do the stuff that HH!adam has been doing. if she wants an angel related to torture, Dumah is her guy! an angel that rules over wicked souls and tortures sinners every day except sabbath. so many better options...

with that out of the way, Lute is still the lieutenant of the exorcist, who are a specially chosen group of powers sent to purge hell once a year. think navy seals. she's pretty much the same as in the show, albeit more muscular and visually different from other exorcists (seriously why do they all look exactly the same?????) she's a very repressed lesbian who hasn't had time to work on that due to her duties

i also redesigned the exorcist uniform/armor because those LED purge masks are fugly as hell and their clothes don't even look remotely like armor.

Adam + Final Thoughts

i did start a redesign of adam but got bored of it. regardless, i think he'd be the head of C.H.E.R.U.B. instead of the exorcists. he doesn't want his children to make the same mistakes he and eve did, so together they started C.H.E.R.U.B. to help lost souls stay out of hell

final thoughts uhhhh i'm tired. show sucks, it had so much potential but viv ruined it by being a shitty writer and an even shittier person. the designs are fine i guess but they all look exactly the same and are in desperate need of variety. the humor is dogshit, saying dick and balls and penis over and over and over again doesn't make it any funnier than the first three times you made that joke. anyways that's it, i hope you liked my inane ramblings. gonna go vanish for another forty years or so, adios

[ckret2]

Chapter 59 of human Bill Cipher possibly not being the Mystery Shack's prisoner because he got executed two chapters ago:

Everything you haven't wondered about how Bill survived his execution.

7:27 a.m.

Mabel didn't know why, but figuring out when to ask Mrs. Grendinator to pull over had felt as stressful as trying to throw a ping pong ball into a passing car's open fuel door to land in the little fuel pipe. All she had to do was ask to pull over after they'd passed everything but the last truck stop, but before it was too late for Mrs. Grendinator to make the turn into the Triple Digit parking lot. That was a large window. It wasn't easy to miss. Somehow Mabel still dreaded that she'd speak up too late and Mrs. Grendinator would say she'd have to wait for the next rest stop—by which point Bill would have splatted like a bug against the weirdness barrier while everyone else passed safely through.

But she'd managed to blurt out "I forgot to use the bathroom at home. Can we pull over?"; they'd stopped at the Triple Digit Truck Stop; and Mabel made it inside before her friends could catch her.

She locked the unisex restroom door, set her backpack on the ground, opened it up, and sighed with relief when she saw Bill sitting on her sweater. She carefully pulled him out, set him on the floor, and pointed the height-altering flashlight at him.

For a moment after returning to his true size, he remained seated on the floor, legs bent, elbows on his knees, head in his hands. Worriedly, Mabel asked, "You okay?"

"Think I learned what motion sickness is," Bill groaned. "Just—gimme a sec."

"Aww, I'm sorry." Mabel surreptitiously checked in her backpack to make sure Bill hadn't been sick on her sweater. (It was a cool one. It had kissing parrots.)

After a few deep breaths, Bill lifted his head enough to look at Mabel. The first thing he said was, "'Cool big brother-slash-sister,' huh?" He gave her a queasy, but cheeky, grin.

"Shut uuup you weren't supposed to hear that!" She'd just about died with embarrassment when Candy had repeated that where she knew Bill could hear.

"I'm flattered." Bill uncurled himself from his nauseous half-fetal position; and then, gripping onto the sink for support, got back to his feet. "Being smaller again was nice, but I'm never traveling like that again."

"You're such a whiner."

"Yeah, yeah. I have a lot to whine about. I'm dead and about to be executed. Talk about... lose your cake and... not-eat it, too."

Mabel laughed. Bill mussed her hair, grinning, and said, "Hey, you've got no room to laugh, you're the one with the not-setting-houses-on-fire bit."

"Arrrgh, don't remind me!" She pushed Bill to the side so she could use the mirror to straighten out her hair again.

"You did pretty well, though! I'd say that was some of the best acting I've ever seen out of you."

"You too! They definitely bought it," Mabel said. "Even Grunkle Stan was getting worried."

"Especially back in the kitchen, wow! That was really convincing." He paused. "Really, really convincing."

Something heavy hung in the air. Mabel focused on her hair in the mirror.

Bill said, "That bit in the kitchen about me 'depending' on you." He exaggerated the air quotes around the word, distancing himself from the concept. "It wasn't on our list."

"Yeah. It just kinda... seemed right. Improv." Mabel waved unenthusiastic jazz hands.

"It bothers you."

Mabel winced. "I mean... I'm not actually mad at you. But. I want to help, but I don't know what to do for..." She gestured at Bill. "The whole being dead on an alien planet issue."

"Believe it or not, the hoodie helps," Bill said. "Listening helps." But he couldn't meet her gaze; he was fiddling with his friendship bracelet instead. He had to know how heavy even just listening to him could be.

"I'm glad, but... I just... wish you had more friends you could talk to."

Bill nodded morosely. "So do I." It wasn't like he'd chosen to only have one friend, was it? Prisoners didn't get to make those kinds of decisions.

Mabel asked, "Do you really think I think you're just a summer fix-it project?"

"I... pfff... come on, I watched you spend all last summer handing out makeovers and dating advice. You've already done my makeup, taken me clothes shopping, and tried to pump me for info on what kinds of freaks I'm into."

(Mabel quietly filed away the fact that Bill referred to "freaks" as his preferred romantic targets.)

"That's how your summer was going to end," Bill said. "You tame the monster, go home triumphant, and don't worry about it anymore. Like how you patched up Broken Heart's love life and left him to sort out the consequences."

"No!" Mabel huffed, "I mean—maybe a little at the beginning, but... you're really my friend now, I'd hate it if I never saw you again. I don't give friendship bracelets to just anybody!"

Bill kind of thought she did; but he wasn't about to argue. "Well, I've only given one person a bracelet, and I meant it." (Even more now than when he'd originally made it.) "You're never getting rid of me now, star girl. You're stuck with me forever!"

Coming out of Bill Cipher, the promise should have filled her with dread. A month ago it would have filled her with dread. But Mabel just found it comforting. "Good."

(And Ford hadn't felt any dread when he'd sworn "until the end of time," either.)

Bill took off his backpack and rummaged through it. "Now let me make sure I can keep that promise."

He took out a map of the mountains and forest around Gravity Falls and spread it out on the floor for them to kneel in front of. "You know about the spaceship buried under town? When its ring cut through the mountain, a few chunks of the ship dislodged and were buried in one of the mountains. No human has ever found them before, not even your great uncle. That's where I'll hide."

"Are the chunks big enough to hide in?"

"Sure! There's one that'd serve as a decent studio apartment. Well—the cheapest studio apartment in Manhattan, maybe. But, hey, I don't have much furniture."

On the map, he showed Mabel a route to reach the base of the cliff, tracing it with his finger. She couldn't afford to take a map with the route marked; if the adults discovered Bill's escape and confiscated Mabel's possessions, a marked map would lead them straight to him. She'd just have to do her best to memorize the route he described. "When and if the coast is clear, you can come find me there."

"How do I get up the cliff?"

"Don't worry about that. You make it that far, I'll take care of the rest."

And that was all they could afford to discuss. Mabel couldn't hide in here for long. As Bill refolded the map (and Mabel was awed to learn he was the kind of person who could refold maps correctly on the first try), and he packed the map and the height-altering flashlight in his backpack, they each tried separately to figure out how to get around to saying goodbye.

"I uh... I know you're sticking your neck out for me, kid." (Bill wasn't used to this, wasn't used to people who didn't help him due to fear or duty or lies, wasn't used to people who still wanted to help him after they knew what he was really like.) "So, thanks—"

Mabel flung her arms around him. Her voice thick, she said, "I think your manners are getting better."

"Shut up, I've always known how to say thanks." It was gratitude that was new.

"Be safe out there," Mabel said. "Don't die, or else. Remember to eat. And drink water! And do laundry sometimes."

"All right, all right. You'll find me in better health than you left me. All the sunshine and fresh air this body can take."

"I'll miss you."

Keep it together, Cipher. He swallowed hard. "Have you ever heard the song 'We'll Meet Again'?"

"Uh-uh?"

"Old war song. Look it up once you're in Portland, when you aren't busy having synthesizers pumped in your ears."

"Is it about... how we'll meet again?"

"Yes, smartypants. Look it up anyway," Bill said. "I'll miss you too."

Mabel washed her face, left the restroom, and shut the door behind her; and Bill waited in the dark while everyone left.

####

7:45 a.m.

A woman with two children opened the unisex restroom door, and gasped in shock when she saw a human silhouette lurking in the dark, one eye shining.

"Hey, thanks, lady! Couldn't get the door for some reason." He breezed past her. "Careful, it sticks from the inside."

He grabbed an empty backpack for sale, and loaded it up with supplies, food, and drinks. (The good stuff, not the weak cider he got in the Mystery Shack. He was making margaritas tonight.) He headed up to the cash register... veered to a currently-unmanned register, stole a handful of loose change out of a tip jar, and timed his exit so he walked out just as a man walked in and kindly held the door for him.

####

7:55 a.m.

It was a fair walk from Triple Digit back to the cliffs around Gravity Falls. When Bill was a safe distance into the woods, he unzipped his first backpack, retrieved his flattened top hat, and popped it out; and then continued on, behatted and using his umbrella like a cane.

Even with no sleep, even just a couple of days after the worst hiking trip in history, even tired and sore from an hour of frenzied dancing, even carrying two full backpacks with one strap slung over each shoulder, even with the sky gloomy and overcast—this was the best he'd felt since Weirdmageddon.

His steps were sure, his body was unchained, and the future had opened up for him again.

####

8:00 a.m.

Mabel kept glancing out the window, back in the direction of Gravity Falls, waiting and waiting to see the light of some kind of killer laser cut through the sky.

Maybe the Quantum Destabilizer's beam just wasn't visible from this far. Maybe they'd decided to wait to execute Bill. Maybe they hadn't wasted their shot because they'd already discovered Bill and Mabel's ruse. Maybe the "enchantment" Bill had written hadn't done its job.

But if they had discovered Bill was missing, they would've called Mabel immediately, trying to find out what she'd done and where he'd gone.

Her phone sat hard and heavy and silent in her pocket.

The butterflies in her stomach didn't stop fluttering until long after they reached Portland.

####

10:30 a.m.

Plus or minus a few trees, the rendezvous point at the base of the cliff was just how Bill had remembered last seeing it millennia ago. The Trilazzx Betan proximity sensor that had been embedded in the cliff face since the ship crash was still there and still sensing, even after millions of years and a layer of stone had closed around it. He could see it behind the face of the cliff; and it could see him.

He took out the multi-tool pocket knife Dipper had "donated" to Bill's supplies, flipped out the blade, and carved his face in a tree far enough from the rendezvous point to avoid notice by anyone who found this spot, but near enough it could see anyone who showed up. He made it as accurate as he could—hat, bow, limbs, eyelashes. That would unfortunately make it easier for humans to identify the face if anyone happened to walk by, but his ability to connect to his other eyes was still weak, he needed as much of a boost as he could get. He licked the bark, leaving his saliva to connect the eye on the tree to him.

And then he returned to the rendezvous point at the base of the cliff, and, beneath the watchful eye of the proximity sensor, began digging in the dirt with his hands.

Beneath the soil, fortunately not buried too deep, was a stone shaped like a small tombstone with several symbols carved into its surface that superficially resembled common runes. Bill brushed the dirt off of his leggings and rubbed it out of the carved lines in the stone. It was lucky that today was overcast; it would make this thing a lot easier to control.

Bill took out the flashlight, removed the height-altering crystal, turned it on, and aimed the beam at the topmost rune.

The runes began glowing an eerie green.

The ground shuddered; and then a patch of ground five feet in diameter lifted up into the air, carrying Bill with it, tearing the grass at the edge of the circle, propelled by a long-forgotten enchanted stone platform concealed in the clump of dirt.

He rose to the gouge that the spaceship had carved into the mountain; and then he moved his flashlight's beam to another rune. The platform smoothly shifted to moving sideways, gliding beneath the ancient overhang. When he turned off the flashlight, the stone stopped glowing and gently settled to the ground. Bill stepped off, fished a spare shirt out of his backpack, and pulled it over the rune-covered stone so it couldn't take off if the sun came out. There was a reason this buried stone was the only platform of its kind left in the area outside of the deep mountain caverns: leave one outside on a sunny day where the light can hit its runes, and next thing you know it's zoomed out over the Pacific and is quickly rising toward space.

He surveyed the area. Every once in a while humans climbed up here just for the challenge of it, delightful little explorers they were; but he doubted anyone had been up here in decades. He stood in front of what was, to all appearances, a completely nondescript patch of stony ground; and he said, in heavily accented but intelligible Trilazzx Betan, "Let me in, you hunk of junk. Activate emergency crash protocols."

A fragment of ship deep beneath the ground stirred awake, registered the command, analyzed itself and concluded from the fact that it wasn't in space and was separated from 99% of the rest of itself that it had indeed crashed, and activated emergency crash protocols. In acknowledgment of the dire situation, it deactivated its usual authorized personnel list—there was no sense in waiting for the captain to approve new orders if the captain might be dead—accepted the command given by the unknown being above it, and opened its hatch.

Millions of years of solid stone groaned and buckled in protest at being moved; but Trilazzx Betan engineering was strong enough for the framework of a portal capable of ripping a hole between dimensions without being ripped apart itself. The stone yielded first. A hatch swung up, revealing a tilted chamber descending into the cliff.

Bill strolled confidently down the walkway. "Cancel distress signal. Disable life support's air filtering." The fragment of a ship beeped a warning, and Bill responded, "I'm aware of this planet's high oxygen content. You worry about your health, I'll worry about mine. Disable air filtering." The ship beeped a confirmation. "Reconnect to all external proximity sensors in range and display on screens one, two, and three." This broken part of the ship had once handled communications. It had a whole wall of screens. He wondered whether he could jury rig this thing to pick up human satellite TV. Nah, probably not worth the effort.

He slung off his backpacks and started unpacking.

####

12:04 p.m.

It was time.

Dipper sat on the floor and put his head in his hands. He felt sick.

He was dead. In just a few seconds Ford would discover that Bill was gone—Dipper was sure he was gone, they hadn't heard a peep from the room, Mabel must've snuck him out or left him some escape route—and then Ford would know that someone had warned Bill and Mabel, and then Dipper was dead—

"Are you alright?"

"Yeah." Dipper waved Ford off. "Just... didn't get much sleep. Little dizzy." Ford would never trust him again. Stan would be furious. They'd both be furious.

"You can go downstairs if you..."

"No no, I'm fine, I..." Dipper took a deep breath and lifted his head. "I'll face it." Better to get it over with now than to hide downstairs and wait for it. 

Stan nodded. "Good man." He wouldn't be so proud of Dipper in a moment.

Ford nodded, stood, opened the door—and Dipper buried his face in his hands again.

####

12:06 p.m.

Ford could see Bill up in the loft, hood up and shoulders hunched, back to the room. Ford could shoot Bill in the back without him ever waking up.

He climbed into the loft. Bill lay curled up in a ball, a small as Ford had ever seen him.

But it only took a moment for Ford's eyes to adjust to the dark; and even in the dim light through the stained glass window, he could tell:

The shape in front of him wasn't human. Just lumpy clothes.

Ford whipped around, heart pounding, clutching the Quantum Destabilizer's carrying case against his chest, searching for the real Bill lurking somewhere in the shadows. No sign of him. Ford had already looked on the floor level. Was he gone? How?

He was too dumbfounded to be outraged. He walked up to the dummy to pull it apart—

And saw the paper, folded in quarters, floating in the air above it. Four symbols in a cipher were written atop the paper. Ford recognized them: it was the alien alphabet of an interdimensional pidgin used as a written lingua franca throughout the Nightmare Realm and its bordering regions; it was so widespread that Ford had learned the alphabet before he ever left Earth.

The four letters read, "F O R D".

Ford plucked the paper out of the air and unfolded it.

Stanford–

I'll cut to the chase. I need your help. I don't want to die.

I'm banking on the hope that, in spite of everything you've said and done, part of you also doesn't want me to die.

You have a choice. You can walk out there, tell them I escaped, rally an angry mob, and comb everything under the weirdness barrier for me. This town's not that big and I'll need to eat eventually. We both know I can't hide forever.

Or you can tell them you finished the job. No one looks for me. No one knows but you and me.

I don't have rewards or deals to offer. You already know what I bring to the table. If that hasn't persuaded you to side with me by now, it never will. I'm not bargaining. I'm begging.

I'm asking you, as my friend, to help me survive.

Please.

· –·-– -–

Of course.

How dare he.

Had Bill planned this all along? Was this why he'd insisted he wanted to be Ford's friend? Was this why he'd saved his life? Maybe the entire rescue had been staged—the rescue, the performance of fear over a harmless phenomenon, the mental breakdown, all of it. For all Ford knew, maybe the accursed Axolotl was in on the scheme! How clairvoyant was Bill? Had he seen this moment coming?

But if he'd seen this moment coming, wouldn't it have been easier to just let Ford, his executioner-to-be, die? Ford and Dipper both, so Dipper wouldn't figure out how to synthesize NowUSeeitNowUDontium? If he'd saved them in spite of that, didn't that make it a sincere gesture?

But implication was clear: I've been a friend to you, now be one to me. A life for a life. There was nothing sincere in that. It was pure self interest.

(For just a couple of days, Ford really had thought it was sincere.)

But if the only reason Bill had saved Ford was to save himself—then why had Bill endangered his own life in the process?

With every thought Ford's paranoia pendulumed.

He should get Stan. Call the cops, confess who they'd been harboring for the past month, tell them everything, get a manhunt going before Bill could make it any further away. Even if he couldn't leave the weirdness barrier, there were probably hundreds of hidden hidey-holes Bill could dig himself into that humans had never seen—unexplored hallways in Crash Site Omega, uncharted caverns behind Trembley Falls where Bill didn't even need light to see. They could drag him back into the light, tie him up, aim the Quantum Destabilizer straight at him...

But. In spite of himself, he could still see Mabel's drawing hopefully reassigning Bill the role of a superhero. He could still see the crumpled drawing in his pocket—"I BELIEVE IN YOU. YOU CAN CHANGE!" He could still see Dipper tentatively asking whether they might need Bill someday. He could still see Bill playing teacher in the living room. And for a moment, for just a moment, Bill had been so good. He could be so good.

Why couldn't you have been this person?

Why can't you be this person?

What if he could be better? What if he could be decent? What if he could be a friend?

Ford didn't believe Bill was any better today than he had been the day he died. But—at some point, something had slowly turned over in Ford's mind. He believed that Bill could change. Not would change, not is changing, but could. And if Ford started a manhunt, Bill would never be a threat again—but he'd also never be better.

There was a point where the doubt and hope built up to a critical mass—when they became enough, just enough, to stay the trigger finger. Because once Ford fired on Bill, that was it. All chances were gone forever. It was over. If Bill was alive they could always try again to kill him later; but if Bill was dead, they could never try again to better him.

And for the first time in thirty years, Ford wanted Bill to be better more than he wanted Bill to be dead.

Ford looked at the dummy. Looked at the note.

And then he lay the note on the dummy, knelt by the edge of the loft, opened his case, and removed the Quantum Destabilizer.

####

12:09 p.m.

Ten minutes ago, Bill had been in the process of emptying out his backpacks and finding nooks and cubbies amongst the alien communication workstations where he could tuck his supplies, when he'd glanced out the open hatch and noticed the beforeimage of the shot lighting up the sky.

He'd come out of his shelter to watch the moment approach; but he hadn't quite believed it until it was in the present and actually happening. The blue-white beam of the Quantum Destabilizer—its one and only shot—screamed off into the sky.

"Well, what do you know," he murmured, standing at the edge of the cliff, hands on his hips, staring out in wonder over the town. "I really didn't think you'd do it."

Ford had saved his life.

Bill crossed his arms tight and tried to convince himself he didn't wonder why.

####

12:10 p.m.

Ford heard Dipper and Stan come into the bedroom and climb the ladder. He was seized by an urge to sweep away the ashes and the evidence of his trick before they could realize what he'd done.

"Grunkle Ford...?"

He forced himself to speak. "It's done."

"So... Bill is...?"

Ford suddenly realized: Dipper knew Bill wasn't in here. He must have warned Mabel, and Mabel had arranged for Bill to be alone in their room long enough to escape.

Which meant Dipper knew Bill was alive.

(Bill had written, "No one knows but you and me." Bill was covering for the kids.)

Ford turned to look him in the eyes. "Yes, he's dead."

Which meant Dipper knew what Ford had done—and knew Ford knew what he had done.

Neither one of them needed to say anything else to know what the other was thinking. They just shared a look—the two most miserable co-conspirators in Gravity Falls.

####

12:25 p.m.

Bill sat cross-legged at the edge of the cliff and watched until the afterimage of the Quantum Destabilizer's shot had faded from the sky; and then he went inside his shelter, mixed the world's lamest margarita in a coffee mug, took it outside, sat again, and toasted toward the town and the Mystery Shack.

Here's to survival.

He sat outside until the gash the Quantum Destabilizer had cut in the clouds closed and it began to rain.

####

1:10 p.m.

Stan had come and gone a few minutes ago, and already Ford had forgotten everything he'd said, if he'd even registered it in the first place.

His fingers had itched until he'd finally had a moment to steal down to his study, retrieve Journal 5, and bring it up to the guest room; and now for over half an hour he'd been feverishly writing down every single thing he could remember learning about Bill over the last two days. The drawing of his homeworld. His lecture on biangles and psychic powers. How polygons inherited their sides. (Their royalty sounded nigh on Habsburgian; had their political system ever changed?) What little details Bill had let slip about where Edward Bishop Bishop's book was wrong. (Had he told Mabel more about their relationship? He'd have to ask when she was home.) How Bill signed his letter: "· -·-- --", Morse code for "EYM," was it an acronym, was it a code, what did it mean, why did he write it in two colors? How Bill spelled Mabel's name in alien alphabets: Mabelle, Maybell, the varying extra letters. How Bill danced: how he struggled to cross his ankles, how he turned out his feet, how his spine and shoulders never bent, how the complex ways he tilted his legs and pelvis compensated for his stiff spine.

If Bill was sticking around a while longer, then these details still mattered.

He refused to forget a thing.

####

Sunday, 12:02 a.m.

As "We'll Meet Again" finished playing, Mabel turned off her phone, put it back on her nightstand, and wiped her eyes again. Big stupid dork couldn't even say this himself, he had to hide it behind a song. 

Yes. They would meet again. Law of attraction. Believing it was the first step to making it come true.

####

10:20 a.m.

The fearful butterflies in Mabel's stomach had slowly returned during the drive home from Portland. No one had texted her—was that a good sign?—but she was afraid it just meant they'd decided to let her enjoy the rest of her trip before letting her know she was grounded forever for helping Bill escape. When they'd all greeted her at the door, looking so somber, and she was sure she was about to get the bad news, she'd just had to keep acting normal and hope she wasn't gonna get in more trouble for playing dumb.

The last thing she expected Stan to say was, "Weshotim."

"Say wha?"

"We got that—space gun of Ford's working. We shot him. He's... I'm sorry, sweetie."

Mabel stared at Stan. That was impossible—there was no way they'd found Bill. But—if Stan believed he was dead...

She dragged her gaze from his face to Dipper's. Dipper bit his lips, staring at his feet. He wouldn't meet her eyes—too afraid that even looking at her would give something away.

She looked from Dipper to Ford. "Grunkle Ford?" She tried not to hope. "Is it true?"

There was no way he'd believed the dummy was real. The moment she'd read Bill's so-called "enchantment," she'd known making it believable was never the point. Bill's only real plan had always been to get Ford on their side.

For a long moment, Ford said nothing. He dragged his eyes up to meet her stare, took a deep breath, and nodded. "He's dead."

Mabel's eyes widened. Two days ago, Ford had been the one arguing that killing Bill was their only choice. If he'd changed his mind...

If anyone said anything else, she didn't register it in her excitement. She backed out of the doorway, leaped off the porch, and ran around the shack, looking for her bike. 

She had to see Bill immediately.

####

10:21 a.m.

Quietly, Dipper asked, "Did we do the right thing?"

Ford didn't know. His stomach had been twisting with guilt and doubt since yesterday. His conscience had kept him up half the night. "I hope so."

He feared they'd have second-guessed themselves no matter what.

####

2:30 p.m.

Bill was asleep. He'd been sleeping off and on for most of the past day. This was the first time since he'd died that he had somewhere safe to sleep—somewhere nobody could touch his vulnerable body, nobody could move him, drown him, kill him.

And this was the first time he hadn't been helpless and sightless.

In his sleep, he saw his own body, curled up on the tilted floor against a wall, on top of the sleeping bag and under the Pony Heist bedsheet, from an eye he'd drawn on the ceiling.

From another eye he'd drawn on the wall, he saw the ship's open hatch, the overhang above, a small sliver of the gray drizzly sky over Gravity Falls.

And from his eye on the tree, blurry and fading as the rain washed away his saliva, he saw a human-shaped mass of raucous colors exploring the pit in the ground left behind by his hovering platform.

A human? He sat up with a gasp and looked at the screen displaying the proximity sensors. Sure enough, the sensor at the base of the cliff was displaying a Mabel-shaped silhouette.

He grabbed his flashlight and climbed out of his shelter.

####

"Kid, what are you doing out out here?!"

Mabel looked up. Bill was some twenty feet above her and quickly descending on what looked like a chunk of flying dirt the same size as the pit in the ground she'd been inspecting. "Bill!" She leaned her bike against the cliff face. Finally—she'd been wandering around in the trees forever trying to figure out where Bill's rendezvous point was hidden.

"It's pouring rain," Bill scolded. "You could lose your immune system or—or slip in the mud or something."

"Wow, nice to see you too, mom." Mabel ran up as Bill landed his floating chunk of ground.

"Hey, I don't want anything happening to my favorite human!" He scooted over to make room for her on the platform. "Just couldn't wait for a sunny day to meet again, huh?"

"Psh, come on! Like you meant that literally." Near Bill, the rain had mysteriously stopped landing on Mabel. She looked up and saw the rain simply parting in the air over Bill's head.

He noticed her glance and said, "Did I ever teach you the spell to repel rain? Remind me to do that before you go." He pointed his flashlight's beam at a rune on a stone rising from the platform, and it lifted off again. "Nice sweater today." He poked one parrot-winged sleeve, its bright colors darkened by the soaking rain. "It probably looked better dry."

Mabel smacked away his hand. "Bill, guess what! Grunkle Ford decided to protect you!"

"I know, I saw the wasted shot from here." He steered the platform onto the cliff. He landed it next to a hatch that opened into a subterranean tunnel. "Of course, I always knew he would. Didn't I say we'd pull this off?"

Sure he'd known. That was why he'd lied about what the "enchanted" paper really was so Mabel wouldn't worry.

Mabel followed him down into the metal tunnel. "Do you know what this means? You can come back to the shack!"

Bill turned to stare at her in bewilderment. "Why would I want to do that?"

"Because... it's safe now? They're not gonna kill you?" Mabel squinted. "Why's it so dark in here?"

"Oh, right. You need this." Bill offered the flashlight.

Mabel turned it on. They were in a metal chamber, about half the size of the Mystery Shack's floor room and nowhere near as tall. One end of it had been torn off and dirt and stone served as the new wall. Most of the walls were dominated by heavy metal consoles, curved metal chairs, and screens, a few of which were on but flickered irritatingly. One chair still had a fossilized alien skeleton in it. Bill had put his top hat on it.

His supplies were piled haphazardly on consoles and the floor; all Mabel saw in his food pile was shelf-stable junk food and drinks. The air somehow felt more damp in here than it did outside with the rain. The chairs didn't have cushions, the floor didn't have carpet; everything was hard and cold and dark. She didn't even see a door for a bathroom in here. This was where Bill was staying?

"The Mystery Shack is safe for now," Bill said. "Just wait until Stanley decides to take another swing at me, or Dolores poisons my dinner again—or Ford changes his mind, dunks me in the bathtub, and doesn't let me back out."

"They wouldn't..." Mabel trailed off. She tried to imagine how mad Stan would be when he found out Bill was alive, and had to concede he might.

"Even if it was safe—why would I go back to that sorry makeshift prison?" Bill hopped up into one of the tilted alien chairs. There was a weird extended bit designed for alien anatomy that curved up at the end of the seat and forced Bill to straddle the chair rather than sit in it normally; it didn't look comfortable. "After almost a month and a half, I'm finally free!"

"Free inside a tiny bubble around the town," Mabel protested. "To live in a... weird little metal dirt room."

"Freely moving inside the entire barrier is a lot better than freely moving through half a shack! Surrounded by people who want me dead! I don't even get full privacy when I'm using the toilet—that's the bare minimum humans offer as basic respect! You don't know how many times I've been walked in on!"

"Do you even have a toilet here?"

Bill hesitated. "There's a—there are gas stations within walking distance."

"How are you gonna get into the restroom?"

"Fine, I'll dig a pit or something, all right? The point is, whatever I do, at least I can do it in freedom!"

He hadn't planned this through at all, Mabel realized. He'd only thought as far ahead as finding food and shelter that would last him the next couple of days. "But..." She gestured at the pathetic room around them. "The shack's got a proper roof and a shower and real food—wouldn't that be better than this?"

Bill scoffed "Only humans care about roofs and showers, and the idea of 'real' food is a social construct I reject!"

He'd be miserable here. Mabel couldn't let Bill do this to himself. "Then don't you wanna be in the shack with your only friend on Earth?" She gave him a pleading look. "Would you really rather spend the rest of summer in some dumb old busted alien ship?"

There was a flash of light reflected in the dark as Bill's eyes turned away from Mabel.

"Bill?"

He didn't respond. He trudged past her, halfway up the walkway out of the ship, and stopped there, his back to Mabel, hands on his hips, staring out into the rain. He sighed. "Kid, you're trying to give me Stockholm syndrome."

"I don't know what that means."

"It means I'll think about it," Bill said, voice flat. "Go back to the shack."

Before Mabel could move, Bill said, "Hold on. Let me teach you that umbrella spell first." He turned and descended back into the ship. "And when's the last time you ate? Human bodies act pathetic if they don't get glucose every three hours. Get some lunch, it's a long bike back to the shack." He gestured at his meager food supplies.

She rummaged through the foil bags and colorful boxes and grabbed some Chipackers and sour gummy dolphins.

Bill sat near her, grabbed a bag of jerky for himself, and said, "And tell me about that concert you abandoned me to my doom for."

####

4:00 p.m.

Bill escorted Mabel down off the cliff—and, at her request, let her borrow the flashlight and wiggle the floating platform back and forth a little as they descended. He took back the flashlight when she nearly crashed the platform and killed them both.

"Where'd this come from?" Mabel asked, poking the stone. "Did the aliens make this, too?"

"Nope! This is good old local Earth magic. Ever hear of Caterpillar Man?"

"Is that some kind of superhero?"

"Afraid not. Well—ever hear of Grendel?"

"Uh-uh."

They were nearly at the ground now. "I think I'll tell you next time."

As the platform lifted him back up, Bill watched Mabel wheel her bike through the trees, slowly heading toward the main road back into town.

For a midsummer day, it was chilly in the rain.

####

Monday, 1:03 a.m.

And it was even chillier in the post-midnight dark when he knocked on the Mystery Shack's door.

####

(Eager to hear what y'all think now that you've seen the full story of how Bill survived—last week once Dipper and Mabel's roles were revealed, I think most folks thought that fully explained how Bill faked his death. ;) Next week is probably a double length chapter, because there's no graceful way to break it in half and also it'd be nice to get this plot arc wrapped up before The Book of Bill comes out lmao.)

[ot3]

What Is ORV?

The number one question I get asked on this blog, now answered better than ever. Today I am going to formally introduce you to Omniscient Reader's Viewpoint

To start off this recommendation: ORV might very well be my favorite thing I've read. Ever. If I could only reread one thing for the rest of my life it'd be this webnovel.

My elevator pitch is this: something with the cosmic-scale goofy video game nonsense and intricate setting comparable to Homestuck in its prime, paired with the deft emotional poignancy and emotionally-driven fights of Mob Psycho 100, topped off with the sort of compassionate and heartwrenching metanarrative of Undertale.

ORV is a love letter to it's own readers. ORV revels in the joy of losing yourself in fiction, even when it's the kind of fiction that tends to be considered lowbrow or worthless. It's something that dances the delicate line between recognizing the difficult nature of using media as escapism without condemning it. I've rarely seen anything else that accomplishes everything it sets out to do in its narrative with such remarkable precision. Frankly if you're reading a tumblr media recommendation post in 2023, I can almost guarantee ORV has the kind of meat you're looking for in a narrative, whatever that may be.

The story follow the antics of protagonist Kim Dokja, a 28 year old office worker on an expiring contract, whose only real joy in life is reading his favorite massively long and massively boring webnovel. One day, the novel’s events - worldwide deathmatches aired for the entertainment of mysterious higher beings called ‘constellations’ - begin playing out in reality in a sort of reverse-isekai. Kim Dokja, the only longterm reader of this webnovel, finds himself uniquely poised to succeed based on the advantages given to him by his knowledge of future events, but the webnovel’s actual protagonist, Yoo Jonghyuk, is a violent monster who will stop at absolutely nothing to complete his goals, no matter the cost to anyone else. Kim Dokja finds himself in a delicate dance of guiding the events of the story to play out more favorably than the version he read while trying to avoid being massacred in the fallout, all while trying to see it through to the story’s end. 

Below the cut I'll go into a more in-depth (but non-spoilery) explanation of what exactly makes ORV so unique and worthwhile, and what you're in for if you choose to read it.

Clocking in at 550 chapters, and over 1.3 million words in English, ORV may seem incredibly daunting to dip your toes into, but I assure you it's worth every moment. I would read 1.3 million more words if they had them for me. Here are some things about ORV I consider to be selling points, not necessarily in any particular order:

The tone. Its funny, for starters. It is extremely funny, which is very high up on my media priority list. In ORV, there will be incredibly grim things that make you laugh, and incredibly cringe and silly anime bullshit that will hurt you as heavily as any other media you’ve seen. I always love this kind of tonal whiplash when it's well executed, and ORV probably executes it better than anything else I've seen to date.

It’s got fun and fascinating worldbuilding mechanics. the core concept being ‘reality now operates on the rules of a shitty novel’ means that the worldbuilding doesn’t have to function logically, it functions thematically. It’s explicitly stated in ORV canon that some of the internal rules governing this new reality are objectively really stupid and illogical, but they just have to roll with it because that’s what was in the book, and i think it’s a really enjoyable way to do it. This may at first sound like a copout to excuse bad worldbuilding, but I promise it isn’t. The worldbuilding is actually incredibly deeply thought out, but it doesn’t exist for the sake of rational function, it exists for the sake of furthering orv’s thematic arcs. The rules by which this universe operate do a magnificent job of strengthening the core concepts the authors are exploring.

It plays with the trappings of isekai/litrpg in a really thoughtful way. These are genres I'm not super familiar with, so I can't comment on this point too heavily, but with my limited knowledge ORV feels a lot less of a deconstruction of it's genre and more of a celebration/interrogation of it. Despite that, it's still accessible to readers such as myself who are not super familiar with these genre conventions.

It deals with morality in a really wonderful and nuanced way. there are almost no characters in ORV’s extremely large cast who are just explicitly morally condemnable, and almost every conflict allows you to understand exactly why the antagonists believe they’re in the right by opposing the actions of our protagonists. The central conflicts are never pure right and pure wrong; they’re always about contrasting goals, conflicting worldviews, and different priorities between ends and means. this makes the conflicts all feel so much more dynamic and engaging than those where the only stakes are physical harm.

The characters interpersonal relationships are some of the most interesting I've ever seen. ORV is very slow burn and it takes a long time for a lot of these to come out of the woodwork, by design, but by god once they do they fucking hit. Similar to the plot conflicts, the interpersonal conflicts also almost never occur where there’s one side clearly in the wrong. The characters are almost all genuinely attempting to do their best by each other, and the tension comes from the ways in which human communication is fundamentally imperfect and part of our feelings and intentions get lost in translation. it’s very heartwrenching and heartwarming to see unfold, in equal measure.

Following from that, it’s a narrative that really meaningfully prioritizes non-romantic relationships over romantic ones as the central focus. Orv is about love, but not about romance. Obviously there’s shipbait and the ot3 is real and good and my friend but if you’re looking for deep complex platonic, (found or otherwise) familial, and antagonistic relationships that never get ruined with forced romantic arcs, we got em baby!

The pacing is unlike anything i’ve ever seen before. from a purely technical standpoint, it is genuinely a fascinating case study in how to execute a narrative that is almost constantly escalating without exception. there is very little downtime or breathing room in orv, which is insane for something that clocks in at over a million words, and somehow, it still works. i’ve never felt more like a frog in a pot of slowly boiling water than i did when i was reading orv and i can’t believe they pulled it off. it’s so interesting to read something like that.

It is a tragedy without resorting to cynicism and a very adult narrative that’s really steeped in childlike wonder. I’m a big fan of cartoons made for children. Cartoons made for children are some of my favorite things to watch, but of course children’s media will always be simplified and not very relatable to an adult audience. ORV is very much a serious and heavy adult narrative, and a deeply tragic one at that, but it never delves into torture porn. It’s a very compassionate piece of media overall, that holds a lot of reverence and sympathy for the ‘naive’ optimism of children that gets stripped down over time. if you, like me, feel more like a grown up child than an adult some days, I think it’ll hit for you.

It is extremely cathartic and meaningful. I am not exaggerating at all when I say that reading it gave me the closest thing I have ever felt to any sort of spiritual breakthrough. It helped unfuck my head a ton during some very grim times and i think the perspective it offers on the value of human life and our relationship to storytelling is a really really good one.

And if my word isn't enough, here's some reviews from satisfied customers. With that, I'll leave the rest to you, and hope you one day reach the end of the story.

[copperbadge]

Hi Sam! I wanted to ask if you feel lately like you've been getting anything positive out of your therapy, because a lot of your initial thoughts about it kind of mirror mine. I'm very logical (except when I'm upset at myself) and very skeptical, so I feel like a therapist either isn't going to tell me anything new, or that I'm going to just disregard it because I can't trick myself into believing things that I just plain don't believe.

But I'm also starting to come to a realization, two years after my ADHD diagnosis and letting go (without therapy!) of most of the executive dysfunction-fueled self worth issues I was having, that I'm kind of Not Okay in other ways. I'm safe —going to work every day and doing my job so I won't lose my livelihood and have never had a self harm urge in my life— But I'm not really okay. I'm having major self esteem issues related to my personality separate from the executive dysfunction that are putting me in a bad place. I don't want to take antidepressants for reasons I won't go into but that means my other option is therapy and... I don't know if I'm a person that therapy will actually work on. I found a lot of validation in some of your perspectives, about affirmations being bullshit and "mindfulness" exercises feeling impossible and useless, about not having an inner monologue and how that might be causing issues with traditional methods. So I was just wondering, do you feel like therapy is working now that you've been in it longer?

I've wasted a lot of money on "elective" (and ultimately useless, back to square one) medical nonsense this year and I'm not eager to waste more, but I've also met my insurance deductible so it's the best time to try it if I'm going to.

I mean, it depends on the modality a little but I don't think trying basic talk therapy can hurt, as long as you find a decent therapist. And it's better to try it now when you're feeling Mostly Okay than waiting until you are Really Not Okay. But this entire paragraph comes with a lot of context so....

A lot of what I talked about in terms of struggling with mindfulness, etc. was less related to the therapy I am still in than it was to the DBT class I took at Therapist's suggestion. We were both aware that she was basically throwing stuff at the wall to see what stuck, and while it was an interesting class I don't think for me it was helpful. As you mention, I struggled with affirmations and visualization since neurologically I'm not really set up for those; I don't think they're objectively bullshit but I do think there's an assumption within the mental health industry that they will have function for everyone and that's simply untrue, and the expectation that it will is very damaging. I also struggled with the physical-intervention aspects (called TIPP usually) which didn't work at all for me and felt frankly like doctor-approved self harm. DBT can get very culty, which set off a ton of red flags for me -- possibly false flags, but they still waved real big.

And that's because I also have a lot of trust issues surrounding therapy. To the point where, the minute one of the people running the DBT class made actually quite gentle fun of me for asking a question he couldn't answer, I checked out on anything he said. We were learning about a DBT concept called Wise Mind and I asked, "If wise mind is an identifiable mental state, how do we know if we're in it?" and when he couldn't quite answer beyond "It's different for everyone" I said, "But if we know it's real there must be some kind of common denominator, a measurable data point," and he said "Well, Sam, you're not going to levitate" and the rest of the class laughed. Sorry bud, this is almost certainly an over-reaction, but I'm me and you lost me when you came at me instead of just admitting you didn't know. (Also it turns out I just live in Wise Mind like 80% of the time which is one reason I couldn't tell.)

But basic talk therapy outside of DBT is just...you talk at someone about your problems and come up with ways to try and solve them, which is a lot more straightforward and way less frustrating. You have to be an active participant, you have to both have a goal and be willing to discuss reaching it, but that goal can be as simple as just "figure out what my mental health goals should be" at first. You don't have to learn like, vocabulary for it.

The thing is, while I have seen some improvement in regulation issues, I also struggle with basic talk therapy. Most people, and this blew my mind, see measurable improvement in nine to eighteen therapy sessions. A lot of people don't go long-term, they just are having a moment and get help getting through the moment and then can disengage, with their therapist's approval.

I was in therapy consistently from the age of nine to eighteen and only stopped because I reached legal majority and physically refused to go.

Not one minute of those nine years did I want to be there. And, because none of the three therapists I saw across those years actually explained to me why I was there or how therapy worked, for me it felt like "Your punishment for having feelings is to speedrun every feeling you had this week in an hour, to a stranger." There was also what my current therapist believes to be some extremely unethical behavior going on, which didn't help.

So it has taken actually a lot of time to get to a place where I would even allow her to understand what help I need. I've been in therapy for about a year (generally weekly but there have been some gaps) and it has only recently gotten deeper than very basic interpersonal problem-solving.

Like, two weeks ago I told her, "I had a thought this week that I couldn't tell you about something I was doing because then you'd have material on me" (meaning blackmail material) "and that's a fucked-up thing to think." And once I'd actually identified it as fucked up I had zero issue telling her about it, wasn't even nervous as I did so. Who's she going to tell? She's literally legally constrained from telling.

I think well over half of what she does is either validate that whatever emotion I'm having is normal, affirm my reactions so I don't keep believing I behaved weirdly, or praise something I've done that was a positive act. Does this work? Not always, because I'm unfortunately very aware that it's part of her job to do those things. But yeah, sometimes. Even if you don't fully believe it, "Hey that was a really smart move" is nice to hear. Sometimes she helps me come up with a plan for stressful future events or (rarely) behavior modification, and sometimes she either provides me with research or points me towards research I can do on my own. We don't do meditation or affirmations or stuff like that.

Like, last week I brought up the fact that I hadn't really ever thought about how if I have a disability that causes emotional dysregulation and I got it from my parents, they also likely had undiagnosed emotional dysregulation when raising me. So she said I should look into research on children with emotionally dysregulated parents. I was pretty annoyed by what I found (the ONE TIME adults are the focus instead of the kids is the ONE TIME I needed to learn about the kids, really?) but it led to something that was both informative and upsetting, so we discussed that. And when I was stumped about how to move forward with the information, she suggested that my general coping mechanism of writing about it was probably a good plan.

(At which point I just silently advanced my powerpoint presentation to the next slide, where I had a series of quotes from the Shivadh novels where Michaelis, acting as a parent, repeatedly does the exact opposite of the upsetting thing, because I realized even before the meeting that it's an ongoing theme in my work whenever I deal with people being parents. It's a good thing she has a sense of humor and also that I do.)

So yeah. Going into therapy you have to be ready to reject a therapist if you don't like them or if they get weird and pushy, you have to be ready to be a self-advocate, but you are the client; it shouldn't be super difficult to find someone who can at least walk you through what you want from it and agree not to do the stuff you don't want, and if you want to stop going you just...stop going.

Good luck, in any case! I hope you get what you need, whether or not that ends up being therapy.

[caputvulpinum]

I remember you being something of a scholar on christian theology. I have a question if you don't mind. My tumblr is full of people clowning on american conservative catholics that are angry that the pope basically fired that bishop in Texas, and the tumblr posters saying "lol u disagree with the pope that makes you disagree w/ god's word" or "that makes u a protestant" etc etc.

And while I do enjoy dunking on the trad caths, I think I heard at some point that the pope isn't always talking with his authority as god's most special boy on earth. That most of the time he is just being a human and therefore could be wrong/make errors. Not that I care about the jerk bishop losing his job, but I'm curious, how do we know when the pope is or is not talking with the authority of God backing him up? Does he have to say a special phrase at the start and end of the speech, or hold both hands up above his head, or something?

Okay so what you're referring to here is actually the concept known as papal infallibility, which is one of my favorite pieces of Catholic canon for one very simple reason:

You learn about it as being essentially the Pope is God's most special boy on Earth and what he says is always directly spoken to him from God and therefore is infallible. And if you are like me when you first hear about this concept, you will immediately get trapped in shower arguments for the rest of your life fantasizing about calling the Pope homophobic and arguing for the Catholic church to please stop being so goddamned homophobic all the time.

This is when you learn that papal infallibility is much more fallible than it is made out to be, and this is basically the source of the issue with Strickland, Torres, and any other Bishop that Francyman has decided to give the boot. See, papal infallibility isn't merely a divine play-pretend godmode button, it's a complex and intricate place within theological debate and Vatican hierarchical bureaucratic structure.

Without going into too much of a in-depth explanation, another way to think of papal infallibility is that it's essentially the Holy Roman Catholic version of the President of the United States declaring an executive order that bypasses the Senate. Infallibility is used for similar reasons--it's got a semi-strict set of rules attached to its usage, which means that the Pope is not constantly infallible, but rather that the Pope as God's chosen elect on Earth therefore commands His greatest attention, which allows the Pope direct intercession and communication with God on paths that the Church as a body should walk.

There are usually supposed to be bureaucratic machinations for dethrocking or deposing a bishop, much of which is directly connected to confirming and providing direct evidence for certain crimes that the Holy See would consider too serious to allow him to continue serving in his position. But the Pope is the divinely elected God-Emperor Best Favorite of Oily Josh and his Daddio Self, so generally speaking when it comes to the Pope, there's always the option baked in for him to say "Fuck you I'm the Pope and you're going to do what I say without precedent".

This is the core of the issue for the current Strickland debacle--there might not be hard-and-fast written rules stating that Strickland can be removed from office through traditional means, but Francis doesn't approve of what he's preaching and using his office for since it's causing the minorest of itty-bitty issues with his principled stance of being The Pope That Liberals Might Vaguely Not Hate As Much. So he's functionally exercising a form of papal infallibility by skipping over procedures and etiquette to tell Strickland "Fuck you I'm the Pope and you're going to do what I say without precedent", and Strickland is going "But I thought you would only do that to bishops who belong to brown countries :(", and here we are.

[nekropsii]

I saw a lot of people recently saying they purposely skipped the entire Openbound sequence because of Hussie's self-insert alongside like Meenah being interested in Karkat and characters like Meulin encouraging it

but that like doesn't make sense to me, because if they're going about Homestuck by skipping all the potentially uncomfortable portions, then how are they going about reading the comic in the first place?

I think my favorite part of this is how those are, frankly, pussy-ass reasons to skip it. Hussie's Author Avatar sucks on purpose, always, and Meenah is textually in the wrong there. She has a very poor grasp of consequences and the concept of what is right and wrong, it's a big part of her character. It's why her whole relationship with (Vriska) exists, which is also textually immoral, is handled and addressed as such, and paints Meenah as being predatory, intentionally or not, for chasing after someone so much younger than her who is, just... So vulnerable, mentally. Honestly, if they're skipping over the entirety of the Openbounds just for Meenah's weird obsession with Karkat, then did they skip over her relationship with (Vriska), too? Because that was very solid, fascinating characterization for both of those characters. And, again, paints her as creepy for doing it, because... She is. And it was a part of the "main comic", so to speak. What did they do about that? Is that fine? Did they skip all of those pages, no matter what? What's the limit here? Is this specifically an aversion to the concept of abuse in a relationship, period? Did they skip any page circling the relationship between Vriska and Tavros, or Gamzee and Terezi? Is it specifically an aversion to abusive and predatory age gaps? Did they skip all of Doc Scratch's pages and interactions with all of the girls? Is it specifically an aversion to an adult sexually abusing a minor? So, did they skip Dave Strider's entire intro, which is thickly soaked in the fact that he's getting abused, including sexually, by his 30+ year old brother?

Everyone has a right to be uncomfortable about anything, but the author intent is clear here- Meenah is in the wrong, and anyone supporting her actions is also wrong. This kind of makes criticizing the inclusion of her actions into the storyline... Well, bullshit, frankly. Not liking the inclusion of abuse because abuse as a baseline makes you uncomfortable is not a criticism, it is a statement of preference, and with that I have to gesture towards the entire rest of the comic, because Homestuck is full of that very same kind of abuse, and it is bad and graphic every time. Criticism of the inclusion of abuse within a storyline has to be about the handling and execution of that abuse within the confines of the plot, and in this case, and all other cases, I think Meenah's abusive tendencies are outlined pretty clearly as being a bad thing. If you read her actions as an endorsement of being a violent, selfish, predatory bully with basically no concept of morality or consequences, you either are illiterate, didn't actually read any one of the pages she was in and got your opinion from someone else, or you are reading in bad faith on purpose. She is literally a version of Her Imperious Condescension, which is, like, one of the main fucking villains of the comic. Hussie's Avatar is also wrong, and you should hate him. That is the point of Hussie's Avatar. His role in the story is being annoying, weird, and wrong. Hussie's Avatar is not actually very reflective of Hussie as a person. Hussie doesn't like The Avatar. This is pretty obvious if you pay attention to him for five seconds.

So... These aren't instances of the Openbounds being written badly, they're instances of the readers being unwilling to engage with something that could even just potentially be uncomfortable despite that same thing permeating throughout the rest of the damn webcomic and also getting their opinions from other people, uncritically. Sigh. Homestuck being full of weird uncomfortable plot beats is... Literally fine. It's normal, it's handled pretty decently as a baseline, and phenomenally at other times. It's made for adult people who can think critically about these things. A lot of those uncomfortable aspects were... You know... Intentional? There's a point to Meenah creeping on people younger than her, and it's a deliberate one. Skipping the Openbounds for it is stupid horseshit. Doc Scratch already did that. Bro Strider did that to Dave and people love that guy. I ask gently for people to grow a spine. Think for yourself. Read something yourself, unbiased, before casting judgment. Good lord.

[innuendostudios]

new video about Edgar Wright's Cornetto Trilogy, and how everyone* keeps getting them wrong! this video is sponsored by Nebula, a place where you can watch the original version of this video before I had to tweak it for YouTube's copyright bots. (by clicking that link, you can get an annual subscription for 40% off.) or you can just back me on Patreon, which is also cool and good.

transcript below the cut.

I adore Edgar Wright’s Cornetto Trilogy. I flirted with making a video about it ages ago, had a draft of a script, but ultimately decided it wasn’t about anything except “here’s a thing I like, and here are its (I thought) very obvious themes.” So I shelved it. But, in the years since, I have seen multiple video essayists on this here website claim that these movies are about growing up and taking responsibility. (I say “multiple.” It’s not a lot. But it’s more than one! And that’s enough.)

These people are 100% wrong.

Lemme lay it out: the Cornetto Trilogy is not about growing up. It is not about taking responsibility. It is the exact opposite, and that’s not subtext. It is three movies about stunted manchildren thrust into extraordinary circumstances, and each, in the end, is saved - is redeemed - by abandoning his character arc and failing to grow or change. It is a three-part love letter to immaturity.

And I guess I have to set the record straight.

Sometimes making a video about a thing you love is an act of appreciation. And sometimes it’s out of spite.

The Cornetto Trilogy is three movies: Shaun of the Dead, Hot Fuzz, and The World’s End. All three are written by Simon Pegg and Edgar Wright; Pegg stars, and Wright directs; all three center on a relationship between Pegg and real-life best friend Nick Frost, which makes each film a reunion of the core team behind Spaced (excepting, but for a small role in Shaun of the Dead, Jessica Hynes). The three films span three genres: zombie apocalypse, buddy cop, alien invasion; each features a Cornetto ice cream cone: strawberry to represent blood, original blue to represent the police, and mint to represent little green men; this is a joking nod to Krzysztof Kieślowski’s Trois Couleur films, Bleu, Blanc, and Rouge, which were based on the colors and themes of the French flag (I don’t care what you say, Emily: #TeamRouge); that nod is funny because Trois Couleur is high-art drama and these are comedies. All three are parodies of, tributes to, and actually surprisingly good executions of their respective genres. And the hook, the gag at the center of all these movies, is that Simon Pegg plays a character wholly unsuited to be starring in this kind of film.

Shaun, the burnout, is the wrong person to survive the zombie apocalypse; by-the-book British bobby Nicholas is the wrong person to lead an American-style bombastic actioner; and alcoholic asshole Gary is the last person to save the world from aliens.

And I think that’s where people get stuck. Because “schlub finds himself protagonist of a genre film” is the elevator pitch for like a dozen Adam Sandler movies. The genre trappings may be as mundane as parenthood or mandated anger management classes, or as high-concept as action movie, whodunnit, or time travel It’s a Wonderful Life if Clarence were Christopher Walken as the angel of death (that… that makes it sound good, it’s not, don’t see Click; leave Frank Capra alone, Adam). But all these movies have the same basic shape: an extraordinary situation forces a guy to confront his shortcomings, which always stem from having never grown up. And you probably haven’t seen all of these movies, but if you’ve seen any, I bet you have assumptions about how the rest end: even though “Adam Sandler acts like a child” is generally the selling point of an Adam Sandler movie, they all end with some lip service toward becoming an adult: hey man, grow up a bit; appreciate your family a little more; square your shoulders; clean your room. This is so standard, it was parodied mercilessly in Funny People.

And this was a formative microgenre for my generation! Whole universe turns itself upside down to teach some shitty dude to, like, do the dishes and pay his wife a compliment now and then - Liar Liar, Bruce and Evan Almighty (all directed by the same guy, by the way). So I don’t blame people of a certain age for seeing the first act of Shaun of the Dead and thinking “I know where this is going.” And when, at the last minute, it swerves and goes someplace else, you could read that as a gag, a final subversion of expectation, still the same basic shape. But no! No! Once is a gag - thrice??? Thrice is a thematic statement!

So lemme make my case. I’ma take you through these movies one by one - we’ll talk about the manchildren and the expectations set by the genre, and then we’ll talk about that last-minute swerve and what it means. And then you’ll tell me I’m right and apologize!

Shaun of the Dead:

Shaun is a man in his twenties. What kind of manchild is he? He’s the slacker.

What is his problem? He needs to sort his life out. Shaun doesn’t know how to take action. He hasn’t advanced since college - he’s been working the kind of job a teen takes over the summer for like a decade, lives with the same best friend, has the same petty fights with his stepdad, goes to the same pub every week with the same group of people. He can’t make a reservation, he can’t manage a calendar, he’s a washup. This makes his girlfriend, Liz, feel stifled, trapped; he is a weight around her ankle, taking her on the same date week after week, keeping her from living her own dreams, having her own adventures. She gives him one last chance to prove he can sort his life out, and he blows it, and she dumps him.

And then: a zombie movie happens.

The genre forces him to confront his shortcomings: to survive, and save his loved ones, he’ll have to take action, make plans, be decisive. This is a common fantasy: when you feel ground down by the mundanity of life, you might imagine, oh, if only a crisis would happen, like a zombie virus outbreak, where my normal-life problems like “am I gonna make rent,” “is my girl gonna take me back,” “is my roommate gonna kick out my stoner buddy who’s crashing on the couch” become meaningless, and it’s immediately clear what’s really important, what matters. Then I’d know exactly what to do. It’s why disaster movies work as escapism: a necromantic plague - or at least the fantasy of one - is sometime preferable to normal life.

Hot Fuzz:

Nicholas is a man in his thirties. What kind of manchild is he? He’s the hall monitor.

What is his problem? He can’t switch off. He is a hypercompetant police officer with a rulebook where his brain should be. He’s so good at being a cop that he’s spotting and unraveling crimes even on his day off. He can’t maintain a relationship, has no friends, all his coworkers hate him because he keeps finishing their work for them, and his stats show up the rest of the force so badly that they scuttle him out to the country.

Now you might be thinking, “Mmm. A fastidious police officer who can’t have fun? How is that a manchild? Sounds pretty grown-up to me. You’re reaching, bud.” Ohhhh ho ho, smartass, do you remember this scene? [bar scene] Yeah! Nicholas Angel has a five-year-old’s notion of law and order. He’s still playing cops and robbers.

And that’s a problem, because then: an action movie happens.

It doesn’t happen all at once: he goes out to the country and finds they do things a bit differently there. They are (ostensibly) less concerned with rules than what than the rules are for: if the purpose of drinking laws is to keep the streets safe and orderly, and letting some people off with a warning or allowing kids drink so long as they do it inside achieves that end, the rule can be bent. That’s a judgment grown-ups can make; I mean, they’re the ones who wrote the rules in the first place. So be lenient with shoplifters, don’t hassle people for speeding; this isn’t the Big City, you can use your better judgment. But Nicholas never got past doing whatever Mom & Dad said; obedience, and trusting whoever’s up the chain, is his entire moral framework. He can’t accept that bending the law could be more righteous than following it.

But also maybe there’s a criminal conspiracy murdering people and writing it off as accidents and the police chief might be in on it. Or maybe Nicholas is so desperate for a big case with no moral ambiguity that he’s seeing things where they aren’t. 

The genre forces him to confront his shortcomings: either there’s nothing going on and he needs to chill out about procedure, or the department is corrupt and he’ll have to go rogue like it’s Point Break - and this is how he experiences Point Break. [“paperwork”]

No matter what, he’ll have to bend the rules, which he constitutionally cannot do.

The World’s End:

Gary is a man in his forties. What kind of manchild is he? He’s the delinquent.

What’s his problem? Pfffft. What isn’t his problem? Gary is a manipulative, narcissistic, lying, self-destructive, ignorant, violent, thieving, shit-talking, unapologetic asshole who peaked in high school when being all those things was still kind of badass. The greatest night of his life was the drunken pub crawl after graduation he and his friends didn’t even finish, and he’s been tumbling downhill ever since. He’s spent his life ruining everyone who knows him until there’s no one left to ruin but Gary King. So now it’s time to bully the old gang into going back home with him to relive that night by finishing the pub crawl, because, in his own words, it’s all he’s got. And he and his friends have to confront how home has changed since they left - the bars have gentrified, not everyone recognizes them; the defining, epic deeds of Gary’s youth have been forgotten. You can’t actually go back because that place doesn’t exist anymore.

And then: a sci-fi movie happens.

Turns out the town’s been taken over by aliens, and all the people who couldn’t conform to their new order have been replaced with robots! That’s why no one recognizes them! And that’s why the pubs all look the same: the aliens are homogenizing everything! And it’s clear, if they can’t get Gary and his friends to play ball, they’ll roboticize them as well! The obvious move is to get the hell out of town, but Gary keeps inventing excuses to stay and finish the pub crawl, and they sound pretty sensible because the group’s already five pints in. The genre forces him to confront his shortcomings: sooner or later he’s gonna have to give up on recapturing his youth and do what’s best for him and his friends now, even if it means running back to the city where all his problems live.

So there we have it: the characters cross the threshold into an unfamiliar world where an external conflict cannot be addressed without resolving the tension within. The slacker will have to get his shit sorted, the hall monitor will have to break the rules, and the delinquent will have to do what’s good for him. And, to an extent, all three know this! The movies Wright and Pegg pay homage to exist in these stories - Shaun knows what a zombie is, Danny keeps Nicholas up watching Point Break and Bad Boys II, and Gary and friends know bodysnatcher movies so well they have philosophical debates with the robots about whether “robot” is the PC term.

So, yeah, if you turned the movies off there, I could forgive you for thinking that’s where they’re headed. But you goofballs watched them to the end and then made content about them, what is wrong with you???

What actually happens in the second halves of these movies?

Shaun twigs that he’s in a zombie movie and, at first, tries to play the part - his survival plans are miniature hero’s journeys with him as protagonist, wherein he’ll save the day by neatly confronting all his flaws. He’ll resolve parental conflict by saving his mom from his zombified stepdad, resolve romantic conflict by showing his girl he can come through when it counts, and resolve internal conflict by being a man who saves the day. And all his plans suck! It’s just the same plan he always comes up with! Dragging around the same useless liability of a bestie, collecting the same group of people, and holing up in the same pub! He doesn’t save his mom: his stepdad apologizes, resolving their conflict for him, and then survives in zombie form but Shaun’s mom gets killed; most of the friend group gets killed because the crisis does not actually suspend but in fact amplifies their personal grievances; and he doesn’t save the day, just manages not to die long enough for the military to show up.

But… well, Liz wanted adventure and now she’s had enough for a lifetime, so… she’s down to just be boring with him for a while - sit on the couch, watch TV, hit the pub. Beats running for your life. Tensions with the roommate are gone cuz roommate died, but rent is covered cuz Liz moved in. Zombies don’t get eradicated, just folded into normal life, so Shaun can mindlessly play video games with his bestie forever, and it’s not a problem that bestie doesn’t have an income cuz he doesn’t need food or shelter.

The zombie apocalypse doesn’t make Shaun sort his life out, it changes the world til he doesn’t have to.

When Nicholas discovers that, yes, there is definitely a murderous criminal conspiracy inside the police department, he recognizes the only way to bring about justice is to become what Danny has always wanted and go Dirty Harry on the town. It’s either that or just swallow the crimes. But he does neither. He and Danny go on an epic shooting spree, recreating famous movie scenes, taking out the entire criminal organization against all odds, and spouting badass one-liners… but everyone who helps them is a cop, they don’t actually kill anyone, all perps are formally arrested, and they fill out all the paperwork. I think he even properly signs out the weapons. He never switches off, never breaks a rule, does absolutely everything by the book, only… louder. And this violent showdown saves him from the chill town with lax rules he thought he’d moved to. Now he, with his five-year-old notion of right and wrong, is in charge of the police department.

The buddy cop actioner doesn’t make Nicholas bend the rules, it changes the world til he doesn’t have to.

Gary knows exactly how a movie of this sort is supposed to go and spends the whole movie running from it. Friends and secondary characters keep sharing these poignant moments with him, because they know this story, too: yeah, he’s gonna reject help at first, but sooner or later he’ll hit rock bottom and then someone will get through to him. And, as the night goes on, and the characters get drunker and drunker, and Gary passes up more and more opportunities to abandon the pub crawl and go home, these moments take a tone of desperation. They start to sound more like interventions; like, Gary, we all know you’re going to come to your senses but could you hurry up with it??? How many of your friends need to literally die for you to shape up? Are you gonna get them all killed?

And the answer is: Gary will never shape up! To Gary the Human Dril Tweet, his friends trying to save him, psychiatrists trying to treat him, and aliens trying to assimilate him are all the same thing. He doggedly makes it to the end of the pub crawl and confronts the alien overlord who tells him all the technological advancements of the past few decades - all the efficiency and homogenization that’ve changed the face of his home town - are their doing. The Information Age is an intervention on behalf of Earth, a pan-galactic effort to save humanity from itself. And the reason they’ve been replacing people with robots is some people are too fucked up to go along with it.

And here’s Gary, King of the Fuckups, brashly declaring that fucking up is what makes us human. There is no freedom without the freedom to ruin your life. We are endowed by our creator with the right to be drunken, ornery pieces of shit.

He tells the aliens to piss off and he’s so fucking annoying that they do, and they take the Information Age with them.

Now… I know… ugh… I know a lot of people love this movie, say it’s the best of the three. Some friends who’ve struggled with mental health or just being an adult under late capitalism really identify with Gary, and the valorization of being a mess. I see you, you’re not wrong, I get it, I really do. But can we just… not “but” but “also” can we… can we also admit that this ending is… this is Space Brexit.

Like, literally it’s an alien invasion but symbolically this is Gary rejecting the adult world of rules and authority and doing what’s best for the community and that’s how Brexiters view the EU. And people keep telling him “Gary, this is in your best interest” and Gary says, I don’t want my best interest! I am registered in the anti-Gary’s Face Party and I will cast my vote by cutting my nose! I choose to do what’s bad for me.

And, like a true Brexiter, he chooses for everybody.

Now tell me that’s a movie about growing up. Gary collapses human civilization in its entirety rather than change, and in the world that follows, he thrives… by being an immature, irresponsible bag of garbage.

To Wright and Pegg, growing up is death, and these are movies about being alive. These characters don’t cross the threshold back into the ordinary world with the ultimate boon of character growth; all three stay in the extraordinary world. The zombies remain, the robots remain, Nicholas is offered his London job back and chooses to stay in the country. These are stories about normal life spontaneously turning into a genre film, and they are made with deep love for those genres; why would they end with leaving those genres behind? Because it’s what Adam Sandler would do?

So there you have it. I rest my case.

“Okay Ian. Why does this matter?”

…what was that?

“You’ve made your point: these movies aren’t about growing up or taking responsibility. So what?”

Uhhhh.

“Bring it home for us.”

…

“Why do you care so much?

[breath]

I wrote the first draft of this script when I was around Shaun and Nicholas’ age, and “so what?” is why I shelved it. Now I’m Gary’s age, this video’s been in the back of my brain the whole time, but I got this far and “so what” is where I got stuck, again. This is why the CO-VIDs came out quicker, cuz I let myself end with “so that’s interesting!” and got on with my life. But there’s clearly something sticky here, more than “someone is wrong on the internet.” (Also, to the YouTubers I’m vaguebooking, who said these were movies about growing up - I’m way more annoyed at the folks I’ve argued with on Twitter about this, you just made a better rhetorical device; you do not owe me an apology!) (Also, to the commentariat: I am not extrapolating this from like two data points, this is chronic and recurring and has been bothering me for years.)

There are a few directions I could take this to give it some “cultural weight.” I could put on my social justice hat and talk about how the “crisis of adulthood” doesn’t play as broad comedy unless you look like Adam Sandler or Simon Pegg, or put on my class analysis hat and talk about how signifiers of adulthood are, traditionally, ways of spending and accruing capital which are, today, often inaccessible to people under 40.

And that’s all legit, but here’s the real deal: I’m just mad at Gary. The world changed around Shaun such that he could stay a child. And Nicholas ended up somewhere he could stay a child. If you missed that, you’re wrong, but whatever. But to say that Gary grew up grinds me, because Gary chose this. The whole movie is people telling him to grow up, and he says no! He says it out loud! He says it to the literal end of the world. To walk out of the theater and say “that’s a movie about growing up” is more than a mistake, it’s a refusal. It’s trying to “fix” the movie by fitting it into a more familiar shape, so it doesn’t say what it says, so Gary isn’t who he is, who he chooses to be.

I’m being cheeky when I say this because he’s a fictional character, but saying Gary grew up is enabling.

Gary says there’s no freedom without the freedom to ruin your life, which is the problem with alcoholics and libertarians: it’s not just your life, Gary! You live in a community, a culture, and an ecosystem! Your actions - everybody’s actions - impact other people! That’s just the way the world is! You can’t shit yourself at the bar without other people having to smell it. We’re all fuckin’ connected, man! You don’t want anyone’s will imposed on you; you spend the whole movie imposing your will on everyone else! You say humans don’t wanna be told what to do, and then you decide humanity’s future by yourself with no input or consent from anyone!

People point to Gary ordering water in the last scene instead of beer as evidence that he got sober, like that’s proof that he did grow up in the end, which are you fucking joking??? Getting sober is a shorthand for maturity the way buying a house is, it doesn’t signify anything in and of itself! Gary drank to escape the adult world of rules and responsibilities! So, yeah, under normal circumstances getting sober would mean he’s made peace with that world and is ready to integrate. But that’s not what happened! The thing he was escaping doesn’t exist anymore! He literally destroyed it!! People died! Probably millions! Now he lives a happy life LARPing as Omega Doom - no I don’t expect you to catch that reference! He doesn’t need to drink! He is literally reliving the best day of his life forever. And even if it did mean personal growth, the idea that a person could make what would be, unequivocally, the most selfish decision in human history, and then spend his life celebrating the outcome, oh but if he overcame a personal demon in the process then on balance that’s maturity? That is lightspeed solipsism! Who are you if you think that way? Are you all Adam Sandler???

And none of that makes this a bad ending, or Gary a bad character. I mean, he is the reason The World’s End is my least favorite, and I don’t like the ending, but I don’t think it’s bad that I don’t like the ending. Rather than watch another addict pull his life together or destroy himself, we watch a downward spiral with so much gravity the whole world self-destructs alongside him. And that’s why The World’s End is the most interesting of the three: it is a bold choice, and I think we are free to feel however we want about the conclusion Gary engineered for himself. I don’t think it’s valid to pretend it didn’t happen.

In the context of the trilogy, we see that Shaun’s immaturity is mostly a problem for Shaun: he would be, at worst, a footnote in the lives of the people who love him; “yeah, I liked Shaun a lot, but I couldn’t carry him through life anymore.” Nicholas is the kind of overachiever that is useful if pointed in the right direction; juvenile code of ethics aside, he is, empirically, helping the community (within the entirely fictional framework where that’s a thing police do). If the world hadn’t changed to turn their flaws into strengths, they would still be relatively harmless. Gary is what happens when immaturity isn’t harmless, and shows us how a world built by that immaturity would look.

There is an appeal to Gary King, a wish fulfillment. Letting your id fully off the leash because you no longer care what anybody thinks - it’s why some people drink, and it’s why some people would like to drink with Gary. But if that’s not just your Friday night, not just your twenties, but that’s your life? There is a destination at the end of that road, and it’s Gary doing something truly ugly. And we see that ugly thing the way Gary sees it: as awesome. But then you see the reality: the Monday morning after the Friday night. We went out with Gary and he did something terrible.

And I’m not telling you to hate Gary for it; I’m not saying Gary can’t be forgiven. In fact, seeing it for what it is is the only way Gary could be forgiven, because, if he “grew up and took responsibility,” there’s nothing to forgive.

I think this is the only way the trilogy could have ended. I mean, you make stories about boys who get older and older and don’t grow up, it eventually becomes a problem. There’s only two ways to resolve it: you either end with a guy actually sorting his shit out, or you go for broke and show what happens if he doesn’t. And I think some of us boys saw that and said, “no, noooo, they did grow up! all three of them!” rather than say, “haha! hahaaa! ……………shit.”

[absolutebl]

This Week in BL - Lesbians WIN & I'm excited about a Thai BL again!

Organized, in each category, with ones I'm enjoying most at the top.

April 2024 Wk 4

Ongoing Series - Thai

My Stand-In (Thai Fri iQIYI) ep 1 of 12 eps - Adaptation of Chinese novel Professional Body Double by Shui Qiang Cheng. Stars Up (Lovely Writer) and Poom (Bake Me Please) directed by the same team as KP (not a recommendation IMHO - my biggest criticism of KP was the clashing directing styles). The MDL description made it sound complicated af but actually it's not so bad. In fact it's GOOD.

Stuntman Joe dies on the job and wakes up in the body of another Joe who has an entirely different life. But our Joe just gets his new body right back into his old existence, full of friends, enemies, and one troublesome ex. Poom is absolutely killing it in the lead. Mek is perfectly cast as the Actor du Jerk. I’m not sold on Up’s bratty brokenhearted rich kid... yet. The show though, I like it. I like a one (two) night stand starting things off and I like a lot of morally gray characters. Fun fun!

Deep Night (Thurs iQiyi) ep 8fin - The lesbian moms are the cutest thing in the world and my favorite thing this week. Bar none.

Summation:

It's about a host club and all the gay boys in it and some stuff that's not important because... PEOPLE OF EARTH WE HAVE A HONEST REP OF POLY IN A BL. Stand up and raise your hands in prayer to the Thai BL gods because sure as shit no one else was ever going to give this to us. For that alone this show gets 8/10 from me. Bonus Lesbian moms and great kisses.

Two Worlds (Thurs iQIYI) ep 7 of 10 - Say what you want about MaxNat all these years that they've been paired makes them great onscreen boyfriends. And you know me, I'm a total sucker for linguistic negotiation. Makes my heart go all mushy. That said, now that the leads are together, I’m really uninterested in all the drama around the ex-boyfriend/triangle. I'm glad this is only 10 eps.

1000 Years Old (Thurs iQIYI) ep 11 of 12 - They gave me the tiniest teaser for the kinky vampire BL that I have wanted my whole life. And now I'm just fucking annoyed with the rest of the show. 

We Are (Weds iQIYI) ep 3-4 of 16 - Q & Toey are the only interesting thing going on. I actually didn’t like this pair in My School President, but I’m enjoying them here. The others are all fine but these two have my heart. I have questions like: did Phum ever get his shopping bags back? And why is Phum driving a different colored car half way through the ep?

Only Boo! (Sun YouTube) ep 3 of 12 - The quality is good (it’s GMMTV) but the acting is... not. Still I loved that Moo just made the confession for both of them. Very in character. Does this plot remind anyone else of Footloose? Just me? Side couple was cute but now a bit too stalker for me. 

Ongoing Series - Not Thai

Unknown (Taiwan Tues YouTube & Viki) ep 10 of 12 - It’s fantastic. Such a great show. We are so lucky. This is basically Taiwan’s The Eights Sense. I didn’t know they had it in them, but I’m really glad that they did.

Living With Him AKA Kare no Iru Seikatsu (Japan Thurs Gaga) ep 3 of 10 - As JBL’s go this is way more my speed (than Alaska). It’s just so sweet and awkward but charming about it. The confession was so earnest. 

Blue Boys (Korea YouTube) 2 of ? No MDL link - It’s very sexy this one. Not sure what Korea thinks it's doing, but I’m not mad about it. 

Gray Shelter (Korea Thurs iQIYI) ep 5fin - summation: About a slacker nursing a crush on the (brief) older stepbrother who abandoned him. Upon finding him again he moves in with him, upends the mans lost suffering life. A dark gritty piece with confusing subs making it too chewy to really grok. It's trying to do too much for its length. The tension is real and the acting is good, it's just everything else stymied clean execution of the core concept. Frankly I spent this show expecting (and wanting them) to just fall into bed together - in a kind of desperate fight sex. It didn’t happen, and I’m disappointed by the non-ending we got. (Whether it’s going to have more in the series or not.) 7/10 I'm open to changing the rank if a part two fixes this one's flaws.

Boys Be Brave AKA Roommates (Korea Thurs Viki) ep 1-2 of 8 - Oh dear. Terrible hair. Jock nerd pairing. OCD baby cakes. Cohabitation trope. Killer side couple. Def unhinged. 

At 25:00 in Alaska AKA 25 Ji Akasaka de (Japan Thurs Gaga) ep 2 of 10 - I’m still genuinely not sure about this one. It’s just a little too awkward for me in the wrong way. I expect all Japanese BL to have a certain aura of awkwardness so I don’t know what it is about this one turnign me off. I do enjoy that we’re getting both stories, the one between the actors, and a little bit of the roles that they’re playing on screen but... yeah

Love is like a Cat (Korea Mon Viki) eps 7-8 of 12 - The leads finally had a moment but there is negative chemistry. Why am I watching this? 

It's airing but...

Lady Boy Friends (Thai WeTV grey) 16 eps - reminds me a bit too much of Diary of Tootsies only high school. Not my thing. DNF unless it turns a corner and is truly amazing.

Memory in the Letter (Thai WeTV) - 6 eps, when it's done, tell me if I should bother?

In case you missed it

Kiseki Chapter 2 (Sun iQIYI) 6 eps - finished its run but I won't be finishing it. Stays dropped.

GMMTV announced the second half of their 2024 line up. I got excited and picked my favorites, details + trailers here. Basically my ranking is:

The Heart Killers

ThamePo

Revamp

Sweet Tooth

Perfect 10 Liners

The Ex-Morning

Ossan’s Love Thailand

Next Week Looks Like This:

What happened?

Knock-Knock Boys (Thai WeTV) - 4 college friends conspire to help their friend lose his virginity. Familiar faces like Seng (yes, Billy's previous pairing) and Best, news here. But will it actually air this month?

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

THIS WEEK’S BEST MOMENT

I have adopted him. He is MINE. I love him, your honor. (The Stand In)

I love them SO MUCH. (Deep Night)

(Last week)

Streaming services are listed by how I (usually) watch, which is with a USA based IP, and often offset by a day because time zones are a pain.

The tag BLigade: @doorajar @solitaryandwandering @my-rose-tinted-glasses @babymbbatinygirl @babymbbatinygirl @isisanna-blog @mmastertheone @pickletrip @aliceisathome @urikawa-miyuki @tokillamonger @rocketturtle4 @blglplus @anythinggoesintheshire @everlightly @renafire

If ya wanna be tagged each week leave a comment and I will add you to the template. Easy peesy.

[franzkafkagf]

How do you personally think they massacred his potential? I fully agree, by the way. He could have and should have been a fan favourite. He's one of the most tragic characters I've seen, honestly. He's interesting and definitely the most complex character of the season, but the lack of catharsis the writers gave him for his issues is anger inducing.

the concept is just so good to me. the prince with no sense for duty or responsibility, who did not want the throne but feels forced to take it anyways. he takes the throne to save his family and yet, he watches all of them die anyways.

At first, the prince refused to be a part of his mother’s plans. “My sister is the heir, not me,” he said. “What sort of brother steals his sister’s birthright?” Only when Ser Criston convinced him that the princess must surely execute him and his brothers should she don the crown did Aegon waver.

that's just amazing. i cannot stress this enough; it's so profoundly tragic and sad. i don't hate everything they did with him in the show; they have many good ideas actually. him rejecting his valyrian heritage, him being kind of a failure at everything, him being desperate to my accepted/loved... this is all profound and good stuff! but i feel like his tragedy has been squandered by how the writers decided to frame the story. i could go on about how rhaenyra and alicent are potrayed so blandly in this show in order to make their embarrassing gender essentialism theme going but this is about aegon so i won't go into that.

aegon reminds me so much of theon greyjoy. maybe it's just me, but in my head theon and aegon start the story in similar places. they're spoilt, vain and indulgent. then they get their "calling", for aegon it's the crown. it's the first time in his life that he has a reason to get out of bed, to actually do something good for once. also, him believing his father actually wanted him to take the crown and it hurting him when otto scoffed at him for believing it? AMAZING stuff. I love s02xe02 to bits.

because [my father] didn't like me

theon's calling is to finally get his father's approval. balon, obviously, has no fatherly affection towards him and theon kind of knows it, he still betrays the only person he ever truly loved. and what happens to theon? he loses everything, absolutely everything; he is stripped of his pride, his dignity, of his entire identity. i've never seen a character go through something theon went through.

and i see parallels to aegon here! aegon is quite literally made and broken by the weight of a crown he never wanted. his story is more tragic than theon actually; the thing that destroyed him was quite literally forced on him. it actually kills me to think about it. he rushes into rook's rest because he feels powerless; because everybody around him shows him not even one ounce of empathy. his baby is dead and no one seems to care!

and he fails; of course he does. he is BETRAYED by his own brother, the brother he thought was loyal to him. this is just such good stuff my head hurts. his arc after the fall of KL is so amazing too, i'm desperate to see him go on his adventure to dragonstone and actually grow into the type of man that can turn rhaenyra's own people against her.

now, what could've been done to make his arc better in the show? well. let's start with not making him a rapist. i cannot stress this enough. the single worst choice was to introduce him as a rapist. it's actually crazy to me. it's so easy too... just make him like theon; make him promiscuous, make him vain, make him spoilt! they should've introduce his adult version with a drunk sex scene actually. set the tone for his character from the beginning.

he is not suited for the throne; he seeks pleasures, doesn't care for his valyrian lessons (based!), he drinks all day... like, what was the POINT of making him a rapist? what was it? -> the answer is obvious.... they didn't want us sympathizing with him. they were scared of people liking the villain. why is this hbo show scared you might have people sympathizing and pitying the "villain"? are you okay? YOU HAD ONE JOB. DEAR GOD.....

so with that said; make his motivations clearer. have him scream at aemond after jaehaerys dies, change up the godawful brothel scene to actually drive the point home; he is still grieving and his way of grieving is lashing out and drinking himself half to death! focus on his alcoholism and his rashness. I actually rewrote the brothel scene here

make us understand him bettter; there are moments like the "do you love me?" or all of ep 1 and 2 of season 2, but it's too little, too late. the writers in general have such a hard time with writing characters with actual qualities. all of them are so empty and act like robots. only aegon, criston, daemon and rhaenyra (in episodes 1 and 2 at least... then we went right back to robot mode lmao) show moments of actually being a character with rich inner workings. i hate it so much.

[dduane]

Hope this isn't an ask you get all the time, but how do you track your progress when you're doing editing?

Everyone talks about word goals, and that seems fine for a first draft, but doesn't make sense to me when it comes to revisions. Do you have any kind of system for setting daily goals for your revisions?

Actually, I don't think anyone's ever asked me about this. :) So no sweat.

Briefly: I think you're wise in not attempting wordcounting in this phase of dealing with an MS—or trying to push yourself into a structure so rigid. ...There's this, too: there's a whole lot too much emphasis out there at the moment on trying to force yourself into other people's writing and editing paradigms—so many of them riddled with bar graphs and "demonstrable" daily progress. You need to find what works for you. More words dealt with in a day, sure, that's encouraging in its way. But are they the right words?

Today’s Writer Take that will probably strike some as Hot (and ask me if I care): Some kinds of writing progress are just neither graphically nor numerically quantifiable. And damned to the least TripAdvisorally-acceptable regions of [insert your preferred underworld here] be those who’ve tried to sell people the idea that they are.

(sigh)

Now, for what it's worth: here's how I do it. Which may be useful to other people, or not so much so. And that's fine, because I'm not editing their novels. :)

(Adding a break here. Under the cut: advice + advice = advice, and some images of text I shouldn't be letting y'all see just yet... but WTF.)

Revision for me is a fairly relaxed business—unless my editor has told me WE NEED THIS ON TUESDAY, which thank sweet Thoth on his e-bike is very rare.

It also helps that I like revising. (When I was a kid, I liked liver, too. And spinach. Just call me Miss Outlier and let's move on.) I really enjoy the feeling of the work’s rough edges being filed down and the sparse places being filled out.

And also: second draft/first revision draft is nowhere near as tense for me as first draft. Because, thank God, at least there's a book.

First draft is where I sweat blood and otherwise suffer. While I can see the story just fine in my head, it's not really real for me until the first draft, whole in narrative and action, is complete on paper/in the machine. And till it's achieved at least that level of reality, I can't relax.

But by the time I hit my second/revision draft, I can be confident that any really serious problems in the novel have already been solved—because I'm an outliner. In the outline stage, potential thematic or structural troubles will routinely have revealed themselves way long ago: before drafting even got started, as I first wired the story's bones together. The successfully-executed first draft acts as proof-of-concept for that structural wiring. By the time that draft’s done, it’s immediately apparent whether the skeleton can successfully stand up by itself. And gods is that a relief when it does! You’re tempted to jump around yelling “It's aliiiiiive!" as the lightning strikes around you.*

However, if after submitting that draft my editor's found something structurally or thematically troublesome in it that I've completely missed until this point, my first order of business becomes to fix whatever their notes involve and submit the fixes. Nothing further happens until the editor sees what I've done about those problems, and until I get agreement that whatever intervention I've enacted has now sorted the problems out.

After that, everything happens in bed.

(...casually noting that for a line to use somewhere else...) :)

But seriously: I do my best revision and editing before getting up in the morning.

Some of this is because, for me, the mind's nice and quiet and (theoretically) at least moderately well rested, right after sleep. I might take the briefest glance at my email first to make sure nothing urgent needs attention... but once that’s done, I refuse to let myself go any further down that hole. That early-morning calm is a mental state I'm glad to exploit, and one I jealously guard. On days when I'm forced to do without the working lie-in**, I use a different approach: when there's a pause, sit down and do nothing—no reading, no video, no music, no phone, nothing—for half an hour: then start editing. Routinely, the quiet I need will once more have fallen.

The in-bed-editing approach also works for me because (since I'm working in Scrivener) it's absolutely no big deal to finish a day's editing on a file by exporting a version of the file containing the day's edits to ebook format, and into my Dropbox. From there, in the morning, without ever getting out from under the covers, I can pull that .epub file into my tablet and read it as an ebook, making corrections and notes there.

This is what it looks like (on a page without too many corrections) if the app you're using is "Books" in an iPad. The second image is what you get when you touch on the marginal yellow square of the note to examine it.

Then, when I'm finished looking over the previous day's/evening's writing and adding notes to it, I go downstairs, get some caffeine in me, and make the changes in the main Scrivener file. (If I was running the project in question on the iPad version of Scrivener, I'd just make the change right there. But who knows when I'd actually get up, then? Better to do it this way.) :)

In the normal flow of things I'll attempt to deal with a chapter or two a day in this mode. (Always bearing in mind that my chapters in early drafts typically run long—often 10K or so—and I'm likely enough to rebreak them later.) This first level of revision is the easy one: catching typos and bad or clumsy phrasings, reworking character interactions that need smoothing out; adding better descriptive passages (with particular emphasis on staying in the visual, audio and tactile senses), etc., etc.

So again: no way I'd ever bother worrying about word counts, with these. What seems to count for more is giving yourself time to recognize, gradually, at a reader's pace, what's working in the prose and what isn't. Rush—or try to force the pace to a given number of words per day—and you run the risk of missing something vital. To me, at the tracking level, it seems sufficient to note which chapters have been dealt with, and which are still hanging fire. (I can change the chapters' color labels in Scrivener to make this status visible at a glance, if I need to.)

When everything's dealt with on this pass—which if I'm lucky will take no more than a couple/few weeks—I try to take a couple weeks off before dealing with the MS again. Sometimes that's possible: sometimes not. The longer you can leave the book alone to let your perceptions of it rest and reset themselves, the better. Distance—mental or temporal—seems to lend clarity.

In any case, for me, next comes another pass, tougher to describe. Casually, I refer to it as the "Missed Opportunities/Complications" pass. This is a thing that one of the very best writers I know, John M. Ford, used to do. One of his editors (I think it was) came across him working on an MS one time, and asked him what he was doing. "Complications," Mike muttered. "Removing them?" said his editor. Mike shook his head. "Adding them," he said.

In this pass you look for in-novel connections you've previously missed making. Some dramatic moments have their impact significantly increased if you've found a way to connect them, even casually, with previous events, situations, character thoughts, or dialogue. (The cheap and easy mnemonic for this kind of thing: "Say a thing twice, and it echoes. Say it three times, and it resonates.")

Equally, events (and people) may turn out to require more complex backstory than you've given them in your first draft; so this is where you take care of that. And of course there are almost certainly character and emotional interactions that can use attention; fewer words, more depth, more complexity. What things do these people, in this situation, need to say to one another that they haven't? And also, what drama got scamped or passed up on because you were just too damn tired in the last draft? —Because you too, poor baby, are human; and that state can, entirely logically, make you want not to deal with any more damn drama just now. Even though drama is the lifeblood of your narrative, usually, and tying a tourniquet around it really doesn't help. You are the conduit of power into your narrative, and your varying ability to conduct it is always an issue… so you need to keep an eye open for places where the flow may have temporarily failed.

This pass, ideally, might take no more than another few weeks or a month. And again, I'm not sure any attempt at wordcount tracking would do this work any good. Because, again... are they the right words? And to make the narrative more effective, you may wind up removing as many words as you added in previous passes.

Finally, with all things taken together, I usually reach a point where (by myself, anyway) I can't think of anything to do that'll make this book any better. That's where there then comes—and again, impossible to assign a word count to it—a time when you know you're as Done As You Can Be. If you've been doing this long enough, you may even hear a strange kind of sigh in the back of your head, as the book gives up and lets go...

...into the next stage of production. But even then you keep an eye on it… because in my experience it’s rare that any book's ever that easily just finished. Even in page proofs, something may happen to surprise you.

Anyway, that's when I throw the book the hell out of the house—because no matter how much I've loved it previously, by that time I'm usually seriously tired of it—and wait to see whether the editor feels it needs one more draft. (Disclosure: this has never happened. There might be a few notes that need to be handled. But another full draft? Never yet.)

Anyway: hope this is of help to you.

But the heart of it all? Find your own way, and screw the bar graphs.

*That line, too, is an indicator of trouble to come. "It's?" Not "he's"? Tsk tsk.

**Usually sort of 7-9 AM. Sometimes way earlier, depending on the time of year. Dawn comes real early in the summertime in Ireland…

[mornington-the-crescent]

The Poll

So, for those who don’t know, I put up a poll of, “Who was the worst American President?” The list was FDR, Woodrow Wilson, Lyndon Johnson, Herbert Hoover, and Richard Nixon. It got up to about 13k notes before I deleted it, because I was tired of the notes clogging up my feed. And the results were... telling.

About 75-80% of all the notes were, “Where is Reagan/Andrew Jackson?!?” Many of the rest, though, can be seen below:

What this tells me is that more than ten thousand people didn’t have an education; they had an indoctrination.

You want to hear it? All right, buckle up, because it’s time for a stroll down memory lane.

Why was FDR a bad president?

It is almost hard to know where to begin with this. Let’s start with one of the most basic ones: The belief that FDR got us out of the Depression.

Point of fact, No the fuck he did not.

Making American Depressed

If you ask almost any historian or economist, they will tell you flat-out that not only did the New Deal not end the Great Depression, but that it made it significantly longer and worse than it would have been otherwise. Hoover bears some of the blame for this, but the pseudo-socialist dogshit that was the New Deal bears the brunt of the blame for this one.

The stock market crashed in late October, 1929. Two months later, unemployment peaked at 9%. Over the next several months, unemployment started to fall, down to 5-6% by the spring of the next year. Half a year after the crash, unemployment had not hit double digits. Hoover’s intervention, though, did cause unemployment to reach double digits. Roosevelt was elected in 1932 and took office in 1933, and unemployment did not fall out of double digits for the remainder of the 1930′s. The thing that actually pulled the US out of the Depression was the second World War; turns out that removing roughly 12 million people from the labor force to go and fight does wonders for unemployment numbers. FDR even said that Doctor New Deal was replaced by Doctor Win-The-War.

This was hardly the first economic downturn in American history. For the first 150 years of this country, there were downturns all the time. And what the government did was nothing, and the economy recovered on its own. But Roosevelt represents the first massive large-scale intervention in the economy. And government intervention in the economy slows economic recovery; when you have no idea what the government is going to do tomorrow in regards to the economy, it’s hard to make smart financial decisions, so you just don’t bother. After all, why do anything if tomorrow, the rules of the game are going to change?

Separation of Powers Who?

FDR issued more executive orders than any other President of the 20th century. He may, in fact, have issued more than all the other Presidents of the 20th century combined. Rather than letting Congress, the legislative branch of government, you know, legislate, he preferred to try to do everything himself.

The President is supposed to be the weakest branch of the government, but Roosevelt did everything he could to try to establish its supremacy over the other branches. When Congress didn’t give him his way, he used executive orders. When the Supreme Court challenged some of his acts as unconstitutional, his response was to threaten to have them replaced, or to simply pack the court with judges more sympathetic to his aims. This is a man who was openly contemptuous of the concept of the rule of law.

Here’s a fun entry from the notes:

Hey, you want to talk about fascists? Actual, honest-to-goodness Fascists, not just the modern definition (i.e. anyone a nanometer to the right of Noam Chomsky)? Let’s talk about the originals. Let’s talk about the inventor of Fascism, Benito motherfucking Mussolini. And how FDR openly admired him, and was “deeply impressed by what he has accomplished”, calling Fascism the “cleanest, most efficiently operating piece of social machinery [he had] ever seen”, and that it made him “envious”. And Mussolini, for his part, said of Roosevelt that, “Reminiscent of Fascism is the principle that the state no longer leaves the economy to its own devices … Without question, the mood accompanying this sea change resembles that of Fascism.”

When the guy who fucking invented Fascism is saying that he thinks that you are also doing Fascism, then maybe you’re not a good person.

Concentration- I Mean, Internment Camps

And just like his buddies on the other side of the Atlantic, right when World War 2 kicked off, Roosevelt thought it would be a good idea to take “undesirables” and throw them into prison camps. Roughly 20 thousand Italian- and German-Americans, American citizens, were thrown into camps, simply for the crime of having ancestors from countries we were at war with. And then, of course, there’s the 120 thousand Japanese-Americans who were likewise rounded up and put into prison camps, two thirds of whom were natural-born American citizens.

Almost 150 thousand American citizens, thrown into literal concentration camps, without the bother and expense of due process, stripped of their constitutional rights simply on the basis of race.

As for the concentration camps set up in Europe by the Nazis, however? Despite being told of their existence by people who had escaped, as well as journalists and lawyers from Germany, once American planes gained the ability to attack those camps, to shut them down? FDR refused to grant them permission to do so.

Commander in Thief

Executive Order 6102 outlawed the private ownership of gold, allowing the government to confiscate all of it. Once that was accomplished, the Gold Reserve Act allowed him to change the value of gold, debasing America’s currency (which was on a gold standard at the time), which permitted him to steal literally billions of dollars from American citizens, without any compensation.

World War, Too

There is evidence to suggest that Roosevelt knew about the imminent attack on America by Japan in December of 1941. He discussed with several high-ranking people in the War Department, and in his own cabinet, how to get Japan to fire the first shot in the war, so that he could get America involved. It would make sense: His oil embargo was designed to provoke a Japanese response, so as to draw America into the war. And once America was in the war, ordered the Philippines to be abandoned, outright lying that there was an army waiting to retake it once it had been conquered by Japan.

And as the war dragged on, he got quite cozy with Uncle Joe, Stalin himself. He helped to repatriate two million people to Russia, who very much did not want to go back, many of them ending up either in the gulags, or simply killed outright. And his constant concessions to Stalin helped the Soviet Union hold on to eastern Europe, setting the stage for the Cold War. Even when he was informed of Soviet spies within the American government, and provided evidence of their disloyalty and subversion, he simply let them keep at it.

Racism, Racism, and more Racism

Remember how you cheered when lynching was made a federal crime a few months ago, and asked why it hadn’t been done before now? Well, the main reason was good ol’ FDR himself. A bill was proposed in the Congress which would have made lynching a federal crime, and Roosevelt refused to pass it.

Or what about during the Olympic games in Berlin, when black athletes from America took home multiple gold medals? Roosevelt invited the white athletes to the White House, but not a single black one. Jesse Owens, who won four gold medals, said, “Hitler didn’t snub me --- it was [Roosevelt] who snubbed me. The president didn’t even send me a telegram.”

And then there was his nomination of a KKK member to the Supreme Court; Hugo Black, who had zero judicial experience, was nominated simply because he supported the New Deal.

He also was of the opinion that America was, and ought to remain, a white and Protestant country, and that too many Jews was inherently a bad thing, because of how distasteful he found them. He boasted that there was no Jewish blood in his veins, as a mark of pride. He even went so far as to turn away ships of Jewish refugees, fleeing Nazi tyranny in Europe.

In conclusion

FDR was a massive piece of shit. He massively overstepped his constitutionally-appointed bounds at every available opportunity, massively expanding the power of the Presidency at the expense of all other parts of government, and at the expense of individual liberty. He was openly racist and anti-Semitic. His economic policies brought ruin upon the American economy. He openly praised fascism right up until the moment that it was no longer politically expedient to do so, and switched to deferring to authoritarian communism instead. Almost everything that you hate about the modern United States can be traced directly back to this one man.

The fact that he is remembered as not just a good President, but one of the best Presidents, shows how utterly broken American education is.

[amevello-blue]

Things in Rise that Echo 2003 TMNT

Hi Ame here back on my bullshit-- getting right into it. I can't remember where or who said it, but one of the creators of Rise mentioned that 03 was their favorite iteration, and it really shows sometimes. Spoilers for 03 and Rise below ;)

The first thing that comes to mind is Shredder. "But Ame, 03 Shredder was a little alien guy-" NO I'M TALKIN ABOUT THE ORIGINAL SHREDDER. In 03, Ch'rell took on the mask of a well-known boogeyman at the time; the Shredder, who was a demon that had lived 1,000 years ago. Oroku Saki was a man who defeated the demon alongside the rest of the Ninja Tribunal, and after he defeated it, became possessed by it after falling prey to its promise of power.

The most obvious I think are their markings. In 2003 they use 'chi' to give them mystic abilities. It's the act of becoming one with the world around you, but it also seems to work when you are connected to the people around you. Even the medallions over their chest mimic the Hamato symbol that glows on Rise's chest when activating their ninpo.

Their markings even mimic each other (except for Raph, whose Rise version doesn't have any markings, which is a travesty). Leo has slash-like marks, Donnie has geometric marks, and Mikey's got a lot of circles!

NOW OKAY THIS ONE'S A BIT OF A STRETCH, BUT-- Leo has made portals with his sword before! Specifically, he held one open with it.

It's the little things <3

Like the ghost of dead Hamatos coming back to assist their rat sons in the final moments :)

Some more small things! Raph and Donny's brains being rifled through! (Which also happens to 2012 Mikey)

Raph's and Leo's shoulder! (Hard to get a good shot of Leo's, thanks 4kids) Ironically both happening at a moment where Leo has "failed" to protect his family.

Rise Mikey being the "greatest mystic warrior" reminds me a lot of what is alluded to many times with 2003 Mikey; he's very good at what he does! He's a Battle Nexus Champion! He's the one who can channel chi the best! He could surpass Leo even in skill if he actually applied himself, but he doesn't. Because he just doesn't find it fun. But it's shown a little in the episode Same as it Never Was, where he's able to dispatch a whole group of guys with guns all on his own, including three armored cars and a HELICOPTER.

Also making comparisons between 03 SAINW!Mike and Rise F!Leo losing their arms is kinda a stretch but I'll point it out anyway.

And speaking of the movie. My absolute FAVORITE thing to compare is the Krang of Rise to Sh'Okanabo of 2003's Fast Forward season. It's like they took all the concepts of Sh'Okanabo and made it BETTER. Everything was executed SO MUCH BETTER.

Gooey tentacle villain? Check

Weirdly organic flesh ship? Check

Alien invaders turning people into drone versions of their species? Check

(Also side note about that one, I think it's hilarious that in 03 Raph's the only one who DOESN'T get Kanaboe'd but in Rise Raph is the only one who DOES get Krang'ed.)

Taking over structures with their goop? Check

And finally. Small boy son that is a descendant of Casey Jones. Check :)