#group so bad that the guy who normally does a minimal amount of work suddenly has to do EVERYTHING

[cinnamontoads]

speaking of other projects i have i still have to edit an entire video by myself over break this week that was due last tuesday and i also directed and starred in it and wrote the directions and script there are SEVEN people in this group wtf is anyone else doing

[tetranocular]

What rp ettiquite do you wish everyone knew?

oop sorry this is way late since i took a nap

i’m gonna ramble so im putting it under the cut

but anyways it’s not really one thing. it’s more just... there used to be a lot of unspoken rules back a few years ago that a lot of younger rpers just don’t seem to know. most of it is just how to behave out of character. being respectful of your partner and your rp partner’s time, and things like that. there’s also bits and pieces about how to take turns carrying the weight of the rp, because if you’re making only your partner have to lead the roleplay, it gets VERY tiring very fast

like, one of my biggest pet peeves from a lot of roleplays i do nowadays is having to be the one to keep the roleplay going. and it happens ALL the time. i’m on rolechat and cherp fairly often, and i almost always have to carry it. a vague example of this, where lets say im character a, is this-

character a: have you heard of this movie? i really enjoy it

character b: yeah it’s good.

replies like this make it hard to respond. where’s someone to go from there? when people make these curt responses that have no questions, no segue into another part of the conversation or even a new conversation, you’re forcing your partner to do it for you. it’s fine once in a while, if you don’t have any ideas, but it’s always just polite to share the burden. and it’s not that hard to do, too! the way i make sure my responses aren’t dead-ends is i try and always include something my partner can respond to. usually, a question, or some kind of prompt for them to talk. so instead of “yeah it’s good”, a more proper response would be something like

character a: have you heard of this movie? i really enjoy it

character b: yeah it’s good. did you hear about the scandal with the director though?

character a: oh no, i didn’t! i hope it’s nothing too horrible

character b: it’s not that bad, just interesting to read about. i think we should rewatch the movie anyways sometime

and so on. obviously this is like.. a silly little example with just dialogue, but you get what i mean. i feel like people ought to learn a little bit about how improv is done, because in improv, people would get really mad if you gave them responses that were such a halt in the flow. i think there’s really something to the improv rule of “yes, and”, along with some other rules

“1) Say “Yes’and!”

For a story to be built, whether it is short form or long form, the players have to agree to the basic situation and set-up. The who, what, and where have to be developed for a scene to work.

By saying yes, we accept the reality created by our partners and begin the collaborative process from the start of a scene. The collaborative process or group mind helps make us giants, animals, villains, saints and more importantly put us in situations that we would normally avoid.

2) After the “‘and,” add new information.

An improvised scene can’t move forward or advance unless we add new information. That is why new information is added after the “Yes” of “Yes ‘and!”

Example:

Yes, I washed big dawg and I fed him your steak too!

Rather than:

Yes, I washed big dawg. (SILENCE)

Example:

Yes, I accept being your assistant Heir Doctor and will gladly get you the princess’s body from the morgue tonight.

Rather than:

Yes, I accept being your assistant Heir Doctor. (SILENCE)

Saying “Yes’and” does not mean there will not be conflict or that we would accept something our character would not accept.

3) Don’t Block.

The opposite of saying “yes’and” is blocking or denial.

Denial destroys or stops the addition of new information or worse negates what has already been established. Blocking is a way of minimizing the impact of new information. It is also a method for the performer to play it safe. The performer maintains control and avoids vulnerability by blocking. But in improv we say the opposite of what we would say in real life, “go there.”, rather than don’t go there.

Blocking at its simplest levels involves saying “no,” or avoiding a subject. At a more advanced level, blocking is something that keeps the action from moving forward or the players from changing.”

(from here https://www.pantheater.com/rules-of-improv.html)

now of course, i feel the need to mention that “yes” doesnt mean you always agree to things like questions, but rather, you agree to the setting your partner has laid out for you. likely, they have ideas for how they want to proceed, and blocking their story from unfolding just makes it more difficult on the both of you. keeping the flow going is important for both of your enjoyment, so when you block or refuse to fully engage with what your partner is giving you, it makes the roleplay stutter a bit, and your partner suddenly needs to find some other way to keep it going, or else it’s just going to die out

now, obviously you don’t NEED to do what i say, i’m not some big authority on roleplay, but the amount of times i’ve dropped roleplays because my partner was dragging their feet through the whole thing, expecting me to carry the entire plot, or constantly blocking every idea i feed them is WAY too much. if you rp, consider how fair you’re being to your partner, and whether the rp is fun for them, or a chore. and if you’re uncertain where to go, there’s nothing wrong with talking to your partner ooc to figure out where you guys want to go and how you’re supposed to get there. things like timeskips are your friends, but it’s usually polite to ask before going ahead with them

all in all, the main thing is just to respect your partner, and try and make it fun for the both of you. roleplaying shouldn’t feel like a chore, and being educated about how interesting dialogue unfolds in stories and improv can actually help both you and your partner really enjoy your rps more!

[toongrrl-blog]

Part One of Barb Series: Why Barb Died (Character Device Talk)

*Please watch the Betty Draper Francis video first, for extra credit, check out the channel’s vid on Jack Dawson and come with knowledge of Beth March*

Happy end of the 2010s! Before I discuss what Barb could have brought to the Party in Stranger Things I need to discuss how as a character she needed to die.

1. Beth March

In one scene in Little Women, the girls and Laurie discuss their ambitions for adult life. Oldest sister Meg wants to marry and have kids, oldest middle sis Jo wants to become a known and successful writer, youngest sister Amy wants to become rich and famous as an artist and maybe a socialite, and middle child Beth wants things to stay the way they are for her, with her loving family at her side. What’s wrong with this? What the other three sisters have in common is that they are hoping for adult lives which include a lot of change, responsibility, independence (either as a career woman or running a household with little kids underfoot), new experiences, and even new people in their lives (Meg would need to meet a guy to marry and have kids with him, Jo would need to meet people in her professional life, Amy would entertain guests and appeal to patrons). Shy Beth is a talented pianist, vet, and doll collector and is very charitable but she doesn’t seem to want to take the risks it would take to grow as a person and thrive and mature or be noticed for her own merits aside from “Angel of the House” and the future looks pretty hostile; so by the end of the novel, Beth has died in her early 20s while sisters lives have changed (Meg married and had children in a cottage while gaining confidence as a homemaker, wife, and mom; Jo sells her writing and meets a professor who wants to start a school where she becomes headmistress after they marry; Amy goes on a Grand Tour of Europe and marries wealthy and happy).

The series Stranger Things, on a whole, is a coming-of-age series that borrows from the John Hughes and Steven Spielberg films of that era that captured the joys and pains of growing up, while Joyce’s and Hop’s storylines borrow from conspiracy thrillers around that era and somewhat from Hitchcock films. All these films captured ordinary people undergoing extraordinary (E.T., North By Northwest, The Goonies, The Stepford Wives) and life altering events (Jaws, The Breakfast Club, Silkwood) that force them to encounter challenges and make decisions they wouldn’t normally make in their mundane lives. Joyce ends up facing a monster with an axe and even makes demands of people who could wipe her off the Earth, the boys have to ride their bikes to evade murderous men in vans and hide a young traumatized girl, Nancy has to learn to create and use deadly weapons and use her skills of sneaking out for something besides sex, Jonathon has to cut his and another girl’s hand to lure a monster to their trap, Hop sneaks into a morgue just to slit a dead boy’s corpse and find cotton stuffing, Will has to use what knowledge and skills he has to survive another world filled with creatures out to kill him, most of the kids throughout the series have to lie and break laws to save their town. 

While the official guide does list Barb as being a varsity softball player and a mathlete and Shannon Purser concurs that Barb would have been the Velma of the group if she lived, there is one big thing that separates the Velmas from the Barbs and Beth’s of the world: Velma takes risks, she would trespass private looking property and dilapidated buildings to solve a mystery. Barb is a loyal friend and honest and studious and smart, but she’s ultimately the good girl archetype: cautious, obedient to her elders, predictable, conservatively and femininely dressed, chaste. An archetype that Nancy is trying to flee (not that the alternative of being a girl who sneaks out with her boyfriend to makeout is going to help Nancy at all) to avoid ending up like her mother. Barb has the fangs (talent and means) to be a Party member, she just lacks the nerve to jump and sink those fangs.

2. Commentary on the Patriarchy and the Tyranny of Beauty Standards

Most of the female characters in the series don’t fit the strict criteria of their Reagan era Indiana small town regarding what makes a good woman. Joyce is a single mother who doesn’t come with well-coiffed hair and she appears to be hysterical and is a working mother in a time and place where all these factors would label her a “bad mother”, Nancy is a frank young woman who takes risks and even asserts her sexuality and herself when plenty of people (like the shitheads at Hawkins Post) would prefer her to be a delicate virgin in pastels, El is physically stronger than the boys with her powers and she is very direct in her manner despite her soft-spoken demeanor, Max is a girl who is interested in arcade video games and skateboarding and brightly colored summer clothing and reads her Mom’s Cosmo cover to cover and is assertive, Erica is an assertive young girl who can talk truth (and shade) to adults and has a knowledge of My Little Pony and Cold War Politics, Robin is snarky and has a style that makes her stand out from most girls in Hawkins and is a teen genius, Kali’s rage and Joan Jett-esque appearance would make the preppy and pastel and autumnal tone wearing residents of Hawkins in Cardiac Care, Suzie has defied notions about girls in science and math and even the Mormon beliefs of her parents by french kissing and dating a non-Mormon boy like Dustin, and Karen despite her appearance of hot housewife perfection is dissatisfied with her marriage and comes close to cheating on her husband. 

In contrast Barb is pretty much the most conventional character: she dresses conservatively in ruffles and pink, she is seemingly chaste, follows the rules diligently and worries about getting punished by the Holland and Wheeler parents, and has a more common body type found in cis-gender women (correct me if I’m wrong, hopefully I don’t offend trans pear shaped women) and not often found in the older members of the female cast. But despite Barb’s body being common among women in general and specific to her region (the American Midwest is noted for starchy and creamy and fried foods and is historically farming country, where pioneers would find her strong for work in and out of the log cabin and give birth to the necessary amount of children i.e. extra hands for work), the delicate and slender builds of Joyce and Nancy, the classic proportionate and slender grace of Robin, and the leggy and toned image of Karen are closer to the female standard of beauty in the 1980s. In Barb’s lifetime (1967-1983), the image of beauty was dominated by leggy, toned, slim, busty women or lean women with minimal breasts: no room for tall, broad, pear shapes like herself. And in 1983, Molly Ringwald wasn’t yet a household name that freckled redheads with dry wit and atypical images could look on with pride. Hell I remember reading a copy of Color Me Beautiful where they recommend that women with heavy hips and small waists (similar features of Christina Hendricks and Shannon Purser) shouldn’t cinch their waistlines, the celebration of Marilyn Monroe pinups with round hips, pillowy thighs and tummies, rounded tushes were long gone by then. Basically Barb being her natural self, was not seen as “feminine enough” and combined with her glasses and style (any plus sized or early developing gal can tell you that it is hell to find junior styles that suit your body size and shape) have ruled her as “uncool”. 

There is also that Barb does a lot of things that the boys do: being slightly geeky, a loyal friend, has innocent and wholesome interests, chaste, and is quiet (like Will) but she still gets killed. One can sense that #JusticeForBarb came out of an anger with misogyny in media and society that tells women to be a certain way and punishes them whether they fit a mold or not. Women are still underpaid in the workplace, underrepresented in government, still deal with unequal and toxic relationships, are shamed for being virgins or for having sexual experience (Carol pokes fun at the idea of Barb finding the sex sounds too much and yet contributes to the slut shaming graffiti of Nancy), are told on one hand to look a certain way to attract the male gaze and shamed when they indulge in sexual desire (something Nancy can attest to with her glamorous mother who offers to lend her black heels and focuses on Nancy’s beauty before a funeral, the same mom who was angry her daughter had sex), they are either too fat/skinny/busty/flat/frizzy/straight haired/pale/slutty/prudish/dark/feminine/masculine/full-butt-ed/quiet/loud/naive/cynical/smart/dumb/angry/happy, and they deal with a media that sells a very narrow standard of beauty to the point that when they see a drop dead gorgeous actress or model with similar features they feel seen.

Oh Bondage, Up Yours!

*Read this is not a “Barb is a slut shamer!” piece yes that was shitty but she was a teen girl in a small 1980s town and she ISN’T starting a (paraphrasing Kimberly Nicole Foster quote) “no whores allowed campaign” OR trying to pass a law that demands women keep their ectopic pregnancies to full term*

3. End of Innocence

When Barb died, it marked the end of Nancy’s childhood and her needing to grow up. That was the night Nancy went straight from childhood (Barb), teenager (sex with Steve), and then shortly became an adult when she realized that Barb had disappeared. For many women (like myself at ages 9 and 10), the moment they get their period or grow breasts or reach a certain age, marks a dramatic end of their childhood. Suddenly many are told to police their behavior and language around boys, even policing the food they eat or their bodies. There is also extra responsibility and stress, demogorgans being one of them. Nancy is now having to deal with the sorts of issues that adult women dealt with on Mad Men along with scary monsters threatening her town and the fact her parents are not as happy as they look to the world, there is a gap between the experiences of her and Mike, she has a baby sister who probably was conceived to save the marriage, and Nancy can’t confide or trust either of her parents (who are absorbed with their own issues). Now Nancy is making big decisions that Barb, with the sheltering and seemingly close parents, will likely never deal with. Nancy is even taking fashion risks with clothes that are more functional, stylish, show off her figure, and can even withstand flayer blood and exorcising her boyfriend’s little brother.

4. A Huge Threat

Barb was intended to be a character that we connected with, someone to be built up somehow. There was a character like this in a movie: her name was Marion Crane. She was a secretary who has been supporting herself and her little sis since their parents died, patiently waiting for her boyfriend to make more money at his job so they can marry and stop sneaking around sleeping with one another, in desperation she steals a lot of money from her workplace, drives to California where she meets a mild-mannered but strange young man who manages a distant motel in the vicinity of a Victorian house where an older woman is croaking about promiscuity, after talking with him over a dinner of sandwiches in his taxidermy themed office, she goes to take a shower and has decided to return to Phoenix to return the money, then a strange figure comes with a large butcher knife in horribly out of date clothes and starts stabbing her to death.

This was from the Hitchcock film Psycho, the forerunner of the slasher genre that dominated the earlier half of the 1980s, and it premiered to shocked audiences in 1960. The meaning of the grisly murder of Marion, a character the audience was following from the beginning of the film, was that Norman Bates was a huge threat and intensified the need for Marion’s killer to be brought to justice.

The same thing can be said about the deaths of Benny and Barb, to show how much a threat the demogorgan and Hawkins National Lab were to the townspeople of Hawkins (and the world as a whole), basically such big threats that a little boy can be kidnapped from the safety of his home, a young teenage girl could be snatched up and killed from a suburban swimming pool, and a kindly cook and owner of a local diner would be executed for knowing about a runaway child. 

5. The future of Women in Stranger Things

Not all is lost, Barb’s death forced the Duffer Bros to take a look at how women were written and treated in their series, and even helped spurred tv viewers (who ordinarily wouldn’t pay attention to social issues) to take a deeper look and interest in how people especially women are treated. For some reason I like to think: Max, Robin, Erica, and Suzie are a way of recognizing Barb’s potential within the series and even what viewers saw. 

Now stay tuned to where I figure out how Barb could have been beneficial to the party.