#like really niche character analysis

[irenespring]

House MD Characters and Their Mentors

Oh look it's more of this very niche character analysis. This time I'm looking at which of @lorata's District Two Victors would be good mentors for House characters. House fans reading this: you would really like Lorata's writing. Only limited Hunger Games knowledge required (basically you need to know the premise); lots of messed up people making the best of things, found family shenanigans, emotional angst, and queerness.

Anyway, time for mentors!

James Wilson: Devon. The essence of a Devon tribute. Really wants to make the world better. Fairly messed up and depressed, but does genuinely care about the district, and even the kid he volunteers for. The one bit of really key information we are provided about Devon's tributes is that Devon's dreamers burn bright, but flame out as the reality of the Games shatters their world view. This reminds me a lot of how House says that "Wilson thinks that if he cares enough he'll never have to die" contrasted with Wilson's feelings of betrayal and devastation that he, a oncologist who gave his life to treating cancer, is dying of cancer. He served the Capitol, believed everything the Center told him, and the truth of the Games ---the pain and the guilt and the injustice of it all--- is a sudden betrayal that completely unbalances him. The only way he wins is through temporary Arena madness, the kind of desperation that caused him to double his dose of chemo in a last ditch effort to survive and make the world make sense again during canon. Devon's main challenge post-Arena is helping him rebuild his shattered sense of self: Wilson thought he was a good person, but you can only win the Hunger Games by being vicious. Devon, as someone who had a similar break, is the best choice to help him form a cohesive identity. Devon can see him for who he actually is, all of it, and still say he cares. Devon can cite his own struggles with accepting care without "enough work" in return to get Victor!Wilson to step back from compulsively ignoring his needs to "earn" affection. Devon can pull him out of spirals about how his mental state is worse than his brother's now and show him how there is a way forward. The Victory Tour almost kills him, all those people hate him even though he only ever did what was asked of him and what he thought was right. Along with Devon, there is probably only one other person who could help him embrace that he does not need to be perfect or liked by everyone, which brings us to...

Gregory House: Adessa. I went through multiple avenues with this one. First I thought Callista, because viciousness and unapologetic attitude. Then I thought Lyme, because abusive childhood, resentment of the rules, and attachment issues. So we had option A and option B...and we somehow landed around option L. I dismissed Callista because of the reasons I thought Lyme. I moved away from Lyme because she works best with tributes who want to open up but can't until after they win. Claudius wants a family, Misha wants affection, etc. House wouldn't want to open up--- he would want respect, validation, and someone to make everything make sense. The reasons Adessa wasn't a good fit for Nero would make her a great fit for Victor!House. Nero wanted to be told Adessa loves him, but House wouldn't trust any obvious display of affection---instead perceiving his mentor's care for him through nonverbal actions she takes: exactly what Adessa expected to be true of Nero. Adessa can make recovery and all the chaotic, swirling feelings fit within a reasonable framework. She can answer his questions and treat him like someone with a rational mind. She knows that if he opens up, he probably doesn't want to be touched. She understands why he doesn't want the cuddly relationship that Victor!Wilson would have with Devon. She wouldn't pressure him to talk about feelings before he was ready and would give him space when he was ready. She understands his intellectual curiosity. She's probably the only one who could get him to invest in therapy. He wouldn't go based on "I've been there" talks or "I care about you" talks, he would go because "after a significant trauma the logical course of action is to seek medical care, so that one can be assigned medications to regulate neurotransmitters, and to remove unwanted chaos so one can better focus on more important matters." Oh, and also if John House every showed up to take credit for shaping his son into a Victor, Adessa has a briefcase full of knives and decades of fantasizing about taking revenge on behalf of her Victors. They would find his body in pieces...probably. If Adessa was feeling nice and wanted Blythe to have closure.

Devon is terrified when Adessa requests a meeting with him. Misha asks him what he did like fifty times and he doesn't know. He almost calls his mentor, but doesn't because he's a mentor too now, dammit and Adessa totally shouldn't scare him anymore. When he shows up she opens with: "Our Victors appear to have significant romantic attraction to each other. Shall we hasten their union via jointly planned manipulation, culminating in an arranged one-on-one meal over candlelight, perhaps involving the exchange of flowers?"

Lisa Cuddy: Nero. This one is hard. Cuddy is a lot more difficult to analyze than House and Wilson even though I actually prefer her over House (Wilson is my favorite, he just has so many problems, weird habits, and hidden depression). She has a lot of contradictions. She's manipulative, but empathetic. She genuinely advocates for the rules, but allows for crazy ass things to take place. She seems to argue for the rules because she has to, but is inherently drawn to the more chaotic, vigilante tendencies of House. She puts on a show of obeying regulations set by those above her, but seeks power so that she can facilitate what she thinks is right (she repeatedly says she's the only one who would employ House). This is reflective of a Nero tribute. She doesn't know why she is drawn to violence and competition of the Centre, but she is. She completes her kill tests with the highest scores in her year, but she mainly only feels guilty for not feeling guilty. She doesn't have a rationalization for why she is like this the way someone with House's history has. She should want to join the Peacekeepers or be a medic. But the more time passes in the Centre, the more she wants to win the Hunger Games. She goes into the Games a year early, the youngest District Two volunteer in history, and even though she knows the killing is wrong she still wants to win because why shouldn't it be her? She's better at this than the others. However, the inner conflict causes problems post-Games, as the criticisms from other districts actually hurt her, because she agrees. She knows there's something wrong, she fears she might secretly be evil. Nero, with a lifetime of dealing with conflicted, crazy tributes, knows how to reassure her that even if that something is actually wrong, she still has people who love her.

Bonus! Ducklings:

Foreman: Brutus. He's just here to do his job. He knows he's better than his Centre rivals, so his job is the Games. Trying to make it right or wrong will only drive you crazy.

Chase: Lyme. Daddy issues, alcoholism in the family history, wants the authority to like him. Lots of weird hidden triggers.

Cameron: Emory. Wants to be a decent person, just kept going in the Centre because she figured no one would pick her and she owed it to her district to keep trying. She had a baby Victor crush on House and Adessa had to take Emory aside and be like "the baby is making my Victor uncomfortable, tell her to calm down."

Thirteen: Misha. Rules are for suckers, enjoy your life while you have it, desperately try to find meaning in the world while pretending you don't give a shit.

Kutner: Lyme. Wants to find a place to belong, shoves his emotional issues down because he thinks nobody cares. Thinks outside the box, but still responds well around authority he respects.

Taub: I have no fucking idea. Seriously, the more I try to think about this the more I have no thoughts, head empty. Maybe Odin? Odin has a "do what you're supposed to do no matter what, no matter the cost" ideology that would cause a mentor mismatch like Adessa and Nero but at least that mismatch is something.

Anyway if one (1) person requests a Victors!House/Wilson I will write scenes so you have been warned.

[moonlit-void-to-the-far-unknown]

The types of YouTube videos I think the main vampires watch:

Armand:

-art restoration videos (he’s seen a few of Marius’s paintings in them those are saved to a playlist to watch if they come up for auction)

-how it’s made compilations

-Minecraft building videos

-those asmr junk journaling videos

-any video of a master craftsman making something: big on watching like hand made things that have been made for millennia in the same way every time.

-Doll Remake videos, the ones where people take old monster high dolls and turn them into a new character (see moonlight jewel, Dollightful)

-weirdly I think he’s into those old English, bard core song videos.

-restock/cleaning compilations

Louis:

-Music channels

-movie and tv review channels

-painting videos

-weird one but he got into watching slime making videos, don’t ask me why, he just did for like a small period of time

-he enjoys just random video essays on niche topics

-book reviews (he watches like 100 of IWTV when it comes out. Won’t read it yet but will watch a million book tubers review and give 2 hour long video essays on it)

-watches Sams DJ sets (what he has good music)

-generally just kind of flips around to see what tickles his fancy

-got stuck in a weird rabbit hole of watching historical reconstruction videos about New Orleans. It lead him to like watch videos about stories and lore of when he was living in New Orleans, some mention the du lac name, but others are just ghost stories to him now.

Lestat:

-piano playing videos

-cat videos

-vine compilations

-French plays that are redone and put on YouTube

-watches Broadway shows that have like recorded releases. His current fav is cabaret. And Chicago.

-history videos

-music videos, like just whatever era he’s feeling he watches a million of them

-candle making videos (I can’t explain this one)

-historical dress YouTube (don’t look at me and say Lestat wouldnt watch every Bernadette banner video)

-over all doesn’t ‘watch’ YouTube more listens to it

Daniel:

-honestly, I have like no idea.

-political analysis videos

-funny fail compilations

-has watched book reviews of his memoire

-music when he’s doing puzzles

-vampire lore videos

-again idk if he really watches YouTube more he just sort of flips around when nothings on tv

[highlordofkrypton]

ACOTAR FANDOM ANALYSIS

…because apparently I miss academics?

PART 1 - CONTEXT & FACTORS TO CONSIDER

This was originally supposed to be an addition to @praetorqueenreyna’s post, but it started to get long and I didn’t wanna clutter your post. If you haven’t seen her essay on ACOTAR fandom culture, please do check it out because she made amazing and very valid points that I’m just gonna ramble on top of.

OKAY, APPARENTLY, THIS IS GONNA HAVE MULTIPLE PARTS. AFTER I WROTE THIS I REALIZE THERE’S SO MUCH.

I do want to disclaim that this isn’t targeted to any one part of the fandom, merely observations from someone who is relatively new to the ACOTAR fandom (around April-ish). I’m also way too lazy to get sources and stuff. I’m also missing a lot of fandom history.

ABOUT FANDOM CULTURE

At its core, fandom culture is niche. It’s strange, it’s not cool in a popular way, it’s geeky, it’s awkward, it’s community-oriented and a place detached from the mainstream. Hobbies, interests and discussions that you couldn’t really have these conversations with anyone in your day to day because they needed to engage with the piece of media and even then, they needed to care about it enough to create, deconstruct, reconstruct, and contribute to the fandom.

Fandom comes with a sense of belonging. It’s about liking the media, yes, but it’s about liking the media enough that you want to immerse yourself in it. You want more than just the book, the show, the song, etc.

With fandom, especially on Tumblr, there are subcultures within fandom, based on a character, a ship, a spinoff, etc. Fans can find (or create) a community to connect with on specific parts of a media, and that’s a beautiful thing. While fandom is not perfect, and it has its dark, embarrassing, painful moments, over the years it’s developed its own unspoken rules. Most of the ‘subcultures’ stay among them, and even with drama, the overlap isn’t as constant as ACOTAR. Usually, it comes in waves, and evens out eventually.

Most importantly, fandom is a place where you can just be yourself. You can shake off the weight of the outside world, and just do your thing! There are so many politics at play and rules in your day-to-day life, why not get a little weird? Fandom is a place where you find your other weirdos, and the judgmental people are usually a minority.  It can also be really small and you know everyone in the fandom—shoutout to my other 4 Orm Marius homies!!

POST-PANDEMIC CONTEXT AND THIRD PLACES

When the pandemic hit, in places that were locked down, habits needed to change and there was nowhere to go. You couldn’t really escape, so online was the best place. You had people returning to old hobbies, such as crafts, gaming, reading, etc. You also had people searching for new things to partake in. Either boredom, coping with the new way of the world or just finding people to talk to, those are valid reasons.

I’d like to introduce the notion of third places. Third place is considered to be a place that is not home, work or school. It is a place where you can get out of your routine and decompress. Libraries, coffee shops, going to the bar, or anywhere else where you can just step away from the grind and the routine. These are social spots that help alleviate the weight of your daily pressures. For some, their third place was strictly an in-person event.

With the arrival of the pandemic, these third places became inaccessible and even after lockdown was lifted, some of these places were irrevocably changed—either they closed permanently or the hours changed in such a way that they were not accessible. For example, I used to spend a lot of time in my favourite bookstore because it would open at 8AM and close at 10PM. After the pandemic, it opens at 10AM and closes at 5PM. For someone who works, I can no longer use this as my ‘third place’.

For many fandom members, their third place was online. They already know the rules of etiquette from observing, and joining out of their own curiosity. Time spent in fandom teaches you the unspoken tenets of interaction. ‘Don’t like, don’t read,’ is one example. Additionally, being part of a small fandom, but loving something so much that you want to connect with someone, anyone, teaches you to be a lot more respectful of the space you’re entering. You may not like everyone all the time, but ultimately, your enjoyment of your fandom should precede everything else.

Joining a fandom on your own, or with a small group, is completely different from joining en masse. Now, you have many people seeking a place to ‘connect’ coming in with their preconceived notions learned from other places. Maybe a different subculture that isn’t fandom. Maybe an assumption of how fandom should be. 

BOOKTOK VS. FANDOM - CLIQUES VS. COMMUNITIES

I’ve heard the argument that the ‘popular kids’ joining fandom is ruining fandom. I’ve been thinking about this for a while now, trying to look at the demographics of BookTok and the patterns of behaviour that are associated with BookTok vs. fandom. I’m on BookTok, but I look for smaller communities, but I see all the drama, all the time.

Here are a few of my assessments:

All social media platforms allow you to cater your page and feed to what YOU want, but not all social media is community based. It is geared for content to consume, and feeds the algorithm to keep you on the platform, so that companies can pay the platform for advertising.

Most other social media encourage you to use parts if not your entire identity (photos, video, name, etc.) and I believe that creates a direct correlation to a person’s sense of validation when receiving likes, comments, engagement. Tumblr, on the other hand, rarely focuses on the identity of the person behind the screen, but rather you build your identity through what you share, the posts you make or reblog. It has shifted to be more similar to other social media (for moniessssss) but it wasn’t like this years ago. Over a decade ago, Tumblr used to be the only place where I could get fandom stuff and Deviantart.

Other social media platforms emphasize that you are the product. With the success of influencers, many people try to replicate the same success by using themselves, their talent and most importantly, their opinions on social media. BookTok is essentially an online book club, which means that it’s mostly sharing thoughts, and less about creation.

Content on social media, put out by influencers is created not with the intention for interaction, but rather, reach. People aren't used to the pushback and continuous discourse that happens on Tumblr where many people can chime in at once.

The desire to belong compounded with the impact of influencers on social media naturally sets people into two categories: creators and consumers. Content creators who have achieved success are placed on the same pedestal our modern society places celebrities on. Due to their following, some people might believe their opinions are more valid because there is a large number of people following them. Some people might be influenced by the ‘majority’ they see following an influencer, which is part of the course. That’s why they’re called influencers.

As a former marketing specialist, I’d like to assert that there are so many more factors in play than a valid take. Aesthetics are a big part of it, and charisma. Both of which fall under the same attributes as the ‘popular’ kids in school. As someone with a lot of charisma in person, I know for a fact that if you package something prettily enough, you can get away with anything.

The problem is: fandom doesn’t work like that.

Fandom is a place where unpopular opinions and niche things thrive. It’s the place where no one cares if you’re cool, and the pretty things come in forms of art (crafts, visual art, writing, etc.). It’s also a place for discourse for those who enjoy that, digging deeper into themes and what not.

The problem is: you have a subculture that is largely an echo chamber and largely one-sided 'community' entering a space with an established dynamic with a lot of back and forth. Sometimes, the rule in fandom is that the rules don’t apply. 

I believe that this isn’t the root of the toxicity, but elements to consider when speaking of the ACOTAR fandom which, like Reyna said, feels like an amplification of the worst elements of fandom.

It's super late here, so I'll come back to actually start saying something LMAO CAUSE THIS FEELS LIKE A WHOLE LOT OF NOTHING.

[secretmellowblog]

I hope tumblr doesn’t die because No other social media site is as good for long, thoughtful, nuanced analyses of media. Yeah tumblr is also full of dumb shallow hot takes and shitposts, but you can make dumb shallow hot takes and shitposts anywhere —-there are no other popular social media sites that let you easily format and share long essays on the media you enjoy, and then have conversations around those long essays.

Fandom on all the other big social websites just seems so utterly …shallow. And it’s not because people on other websites aren’t thoughtful or don’t have deep things to say, but because these sites’ formats do not allow for any kind of long nuanced conversations.

Tiktok? Things have to be crammed into a super short video with an attention grabbing headline, and you can’t hyperlink sources. Instagram? Everything has to be in an image format with strict limits on length, and nothing will be shown to your followers anyway because of how Instagram’s algorithm works, and also no hyperlinks. Twitter? Strict character limits, and if you split it into threads it means someone can retweet a part of your essay completely out of context, and also very little freedom with formatting.

It frustrates me so much. If I go into the Tumblr Les Mis fandom I’ll find really compelling long essays on the original novel (including essays being written for the ongoing book club) on the story’s historical context, or the parallels between different characters and their narrative foils, or the way the politics were defanged for certain adaptations, or the way Victor Hugo’s personal life and failings affected the novel. But on tiktok I’ll get the same five shallow stale jokes from 2013 over and over, or maybe the same “DID U KNO THAT IN THE MUSICAL JAVERT AND VALJEAN SING THE SAME LEITMOTIF” style of basic Intro To Les Mis 101 For Babies media analysis (which is what Tiktok considers deep media analysis), or stale “LOL JAVERT ACTS GAY” style jokes as if we’re living in the early 2000s and calling a character gay is still a funny punchline. And it’s impossible to have any kind of deeper thoughtful discussions than “DID U KNOW <x Kool Fact>” or “lol <shallow observational joke>” on tiktok because the platform just isn’t built for building niche communities around in depth conversations. it’s built to churn out bland generic content for as wide an audience as possible, which means pointing out a small detail like an Easter egg and calling it “cool” is deep media analysis, because you cant have longer more in depth conversations without alienating people. And I hate it. Bc like, it’s not because there aren’t smart clever thoughtful people on Tiktok— there are—it’s because Tiktok isn’t built for these conversations, and anyone who wants to have them has to really fight against the things the website encourages or prioritizes!

Or like, if I go into the LOTR fandom on Tumblr, I’ll find tons of extremely long analysis and fanfic, and analysis of queer readings of the story. On Instagram people will still shriek in terror if you suggest the characters are gay, and most of the popular lotr posts are stale memes recycled from like 2007. There’s really no room for thoughtful media analysis, and even if you did create it, instagram’s algorithm would make sure no one saw your post anyway.

And everyone’s going to say “the algorithm shows you what you’ve seen before so maybe it’s your fault ~” or whatever but i do look for things I want! I do! “The algorithm” doesn’t know me or what I want or value or care about beyond this meaningless surface level.

The only thing that was worthwhile about these sites was the great visual art people were creating, but now the websites are overwhelmed with meaningless soulless machine-generated AI glurge, and it sucks. It just really, really sucks.

I’m honestly confused about why people don’t use tumblr….There’s no character limits! You have freedom with post formatting, and can insert images throughout textposts to illustrate specific points you’re making beneath the paragraphs where they’re necessary! You can add hyperlinks, linking to your sources! People can reblog your entire essay and share it, and then add on with commentary that then becomes part of a larger conversation! People can find your stuff through the tagging system! Reblogging means posts stay in circulation for years instead of being dead 30 minutes after they’re uploaded! If you want to have genuinely interesting text conversations about a piece of media, there really isn’t a better social media website for it anywhere.

To be clear, I’m definitely not saying Tumblr media analysis is *always* clever and thoughtful or etc etc. there are shitposts and nonsense here too (plenty of which I’ve created lol.) I’m saying that Tumblr gives people the tools for in-depth insightful analysis to happen. Whether people choose to do it or not is their own decision XD. But the reason lengthy in-depth conversations and book clubs are even possible here is because Tumblr is built for allowing these conversations to happen, in a way other sites simply aren’t.

It’d really suck if it died, because it’d be a huge blow to…being able to easily find long insightful in-depth media analysis written by fans. I currently don’t think there’s anything that could replace it.

[sharkface]

I don't have a problem with a lot of fan content focusing on shipping honestly even stuff that's generic and out of character or clearly so far removed from the original the op has fundamentally just made ocs inspired by certain characters. People harp on these things a lot but I feel like overall shipping is just not necessarily solely responsible for other problems fanbases tend to have and probably doesn't deserve to be seen as THE thing wrong with fanworks, because you really can just avoid it if you don't like seeing it. The thing I have a problem with is that so often people who are only really interested in shipping have to go out of their way to create an alternative version of the source material to make this make sense and then will get mad at YOU for not agreeing that a bunch of hypothetical shit they just sort of made up is an interpretation of the actual text. And because they only care about shipping they kind of have to discard everything that gets in the way of that, creating entire nonexistent character traits and arcs or "fix it" fanworks that fundamentally alter the entire story so that they can creates scenarios where characters can kiss.

When we're at a point where the story itself comes second to having two characters to pair up, and you literally cannot attempt to interpret any part of a story other than deciding what character's you'd like to see paired up, you are not doing "character analysis," you're barely even Watching Shows. It is fine that you like romance centric plotlines, and I think it's great if you like it enough to make fan content of it, but you NEED to be able to separate the thing you do for fun (shipping) from the actual narrative you are engaging with and stop getting so defensive when people just don't see what you see. You are a member of an incredibly niche hobby subculture, most people who are interested in analysis of narratives and characters do not do it the way you do and will find your disregard for the text in favor of irrelevant romances and smut shallow, because it IS shallow. And it's fine to be shallow and have fun in a way others find bland or distasteful, but even so, this behavior is degrading your ability to engage with and understand media. It's making you WORSE at the thing you supposedly like doing.

You don't need to engage with things you don't enjoy, but I think you'll find that if you just stretch out of your comfort zone a little bit and just put the ship goggles down for a second you'll see a lot of value in what you find.

[acourtofthought]

I read that josh body language post. It’s like they’re living in a completely different universe! I mean, seriously, these are the same people who tried to redefine “skittered” and somehow thought it would be a great idea to dive into fly fishing. Because, you know, nothing screams “literary genius” quite like a detailed breakdown of a fishing term and thinking that's exactly what Sarah had in mind. 🙄

Like, do they think Sarah wrote skittered hoping her most dedicated fly fishing fanatics would understand. 😂 Because I can’t imagine a single person outside that niche who cares about how a word used for darting fish could possibly relate to body language IN a romance book.

This is what their post said:

Skitter (v) - to draw (bait) jerkily across the surface of the water as a technique in fishing

The fact that Azriel's shadows skittered back could imply that they actually wanted Elain; that they were trying to draw her in, for whatever reason.

You know, having opposite intent of recoiling.

Honestly, it’s impressive how they manage to spin these absurd narratives. Incorporating fishing lingo into their analysis of character relationships. “Oh, his shadows totally skittered away, just like a trout escaping a hook!". 😂😂😂😂

These folks are really grasping at straws, and it’s hilariously cringeworthy. Keep it coming, though—this level of delusion is pure entertainment!

If you ever watch any of Sarah's interviews where Josh is present you see he's a bit of a fidgety guy. Also both Sarah and Josh become evasive when they're tip-toeing around questions that they know Bloomsbury might want them to answer in a certain way so as not to give anything away. I would bet money on the fact that he has absolutely zero emotions towards the possibility of Gwyn and Az together, that he is 100% supportive of what Sarah chooses to do with her characters. It's wild that they'll believe reading the body language of Josh is somehow a major clue while completely ignoring Sarah's friend directly saying "I don't think E/riel is happening." That they'll ignore Sarah laughing at the theory they had of Gwyn being a child but Josh somehow has skin in the game over who Az ends up with.

To your point about skittering. My guess is that a seasoned author is going for the obvious definition of skittering in her writing and not the answer that only those with fly-fishing terminology awareness have. Not to mention Sarah made sure we understand the point Az was making when he followed it up with "they'd always been prone to vanish when she was around." How can anyone claim that in one breath he's suggesting they're trying to lure her in when the next sentence literally tells us they often disappear around her. You know, that's the same issue I have when they try to claim Elain's scent of Jasmine and Honey has anything to do with night blooming Jasmine. First off, Jasmine is first mentioned in the Spring Court (book 1). But also, Sarah followed up "jasmine" and "honey" with "like a promise of SPRING." Is that not the author nudging you in the direction of her meaning? Especially when later we have Nesta thinking how the SPRING COURT had been MADE for someone like Elain? I guess they'll keep seeing what the want to see but I don't think they're going to like what the end result looks like.

[dvasva]

Tbh? I think the radiant emperor duology deserves more critique than it gets in its tag, so after stewing it over for a couple weeks and also discussing it with my friend, I have decided to do it myself.

So. Spoilers for She Who Became the Sun and He Who Drowned The World ahead.

First off, so nobody accuses me of hating the series, I liked the series. I'd say I'd give the first book a 4.5/5, I thoroughly enjoyed it, and I like both books. I truthfully skipped the fisting scene, it triggered some dysphoria that I wasn't comfortable with personally but I don't have problem with it existing in the book, it's good where it is, no changes.

No, my critiques come mostly from the second book, hwdts. Which sucks because I absolutely loved Baoxiang in it, it's a well known fact that my ideal type is pretty, really mean, characters. ('What about Madam Zhang?!!!???!? Shes mean and pretty!!' I hear you ask. Give it a second cause i will get to my beloved madam zhang) So, my critiques are mostly organized as 'The first part I didn't like in Hwdtw that signals the thing that became my biggest issue, the bits in the middle that i did like along with the bits that I felt didn't really work well, and Act 3 which is where my issues really were exacerbated.'

By the end of book one, I had a general annoyance but acceptance that Ma Xiuying was a bit of a weak character, and not weak as in 'dang shes a woman and cant fight' or any other sexist way you may interpret that, but weak as in structurally, she didn't really have as much depth as other characters. I thought she didn't have as much time put into her character as others. And yeah you could have a million character analysis essays over Ma and her place in the story and etc, but for me, her setup for the next book as potentially having conflict with Zhu or her own morals was the most interesting part of Ma. In general I think a lot of people tend to overlook this flaw partly because Ma is a cis lesbian character and the main 'love interest' in a book that is usually marketed to people as sapphic, which yeah there is certainly a sapphic relationship in the book but I think saying it's a major part of the book is really giving the relationship a load bearing wall ot isn't strong enough to carry. The Radiant Emperor Duology is not a romance, first and foremost. To describe it as a wlw romance is gonna leave people who read ot specifically for that reason kinda dissappointed by the end of book 2.

My big critiques didn't start until book two, and a particular scene, though. Ma, at the start of book two, was generally filling the niche of 'nagging wife' to zhu, which yknow, is a fine place to start from. I was a little disappointed there was no further discussion of Ma's disapproval of the morality of Zhu's actions, and in fact the dead child was pretty much entirely forgotten by Ma in favor of being Zhu's wife. Which, yknow, sure.

The Scene I had issue with happened (Spoilers once again) after Zhu finally captures Ouyang and imprisons him at her base of operations. Ma, dressed in her empressly regalia enters his room with the intention of being the bigger person. She walks in, looks at the stripped down and humiliated general who killed her father and famously is also really a women hater, and tells him she forgives him for killing her father. And then she gets upset and cries when the prideful general who hates women gives her a dressing down and taunts her and is like 'I'm glad I killed your father'? She nearly cries because Ouyang was mean to her (notably only cause he was mean to her and didn't gracefully accept her forgiveness, not because he killed ehr father) and runs off to Zhu. And Zhu responds with 'Wow, he's just a weirdo, everyone likes you and everyone in existance immediately knows you're a good person and you change people.' Which, my friend suggested before she finished the book, was a case of Zhu placating Ma and dismissing her feelings which would be an interesting dynamic.

Really my hangups with this scene come from multiple parts.

1. Ma' few character traits including being observant and reading people really well (a thing she's praised for in book 1) and having good social intuition are completely thrown out by her thinking being alone with ouyang and forgiving him would be a good idea and then her being shocked and upset when he spat on her forgiveness. And

2. Zhu's response is never once treated by the text as her dismissing Ma and placating her, and Zhu's statement despite never being shown to be true before and that moment being the first time it's ever mentioned, ends up becoming Chekov's moral purity by the end of the book, where the plot hinges on Ma being able to magically heal a damaged character's mind enough for Zhu to win in the end. Which I will get back to. There's a lot of other stuff happening between here and the end.

So, before I get back to Ma and her role in the story, I'll address some other bits from after this scene. Both problems and things I enjoyed generally.

Madam Zhang and her parallels to Baoxiang and her being the absolute queen of dissociating really was interesting (before act 3). She was a very compelling character who I completely understood and felt positively about. She had a way more interesting relationship with gender imo than Ma did, especially in book 2. I didn't really like that she was overwhelmingly shown having sexual villence done to her, that felt weirdly like a punishment. But, I did like her a whole bunch, and I liked the look we got into her head. She was probably my second, maybe third, favorite character in the whole book until Act 3.

I really, really liked Ouyangs dynamic and relationship with Zhu. The weird sexual tension between them, their weird kinda nonsexual but also kinda very sexual S&M relationship. It was somehow the most sensual, sexual part of a book that featured Madam Zhang having sex with multiple people, and Zhu going down on Ma, and a lot of other mentions of sex or scenes involving sex. Tbh I feel like, in a way, Ma was left to the sidelines for most of the book because Ouyang became the primary 'love' interest for a hot second there and the only reason Ma could get her spot back was Ouyang and Zbu's separation. Also, from what I've seen when people talk about this book, they always kinda try to express Zhu and Ouyang's dynamic as very nonsexual and nonromantic, as platonic mostly. And there is no inherent superiority of romantic over platonic, but I think to insist that it is only platonic, and not a strange swirl of romantic, platonic, sexual, frustration and relief, and a swirl of familiarity and vulnerability all wrapped into one, is doing the dynamic a bit of a disservice. And ther is, imo, very clearly a subtle hint of romantic intent and interest on Ouyang's part before he realizes Zhu has a body he hates.

Which is also another point I didn't like. Ouyang and Zhu's relationship end felt off. The entire bit with the pirates felt off, but especially how Ouyang found out about Zbu's body, and how Zhu reacted. I think Ouyang finding out second hand, from a combination of being suspicious and from Jiang saying it, was a poor way for that to be revealed. I think there was a better way for that to happen that woyld have felt more like a betrayl to zhu than this did. The fact that Zhu and Ouyang were so in tune and could see each other perfectly, but this one thing was a blind spot for both of them because of how unaffected by gender Zhu was compared to how overaffected by gender Ouyang was is a really interesting thing to explore, an interesting disconnect between two character's whose entire basis for their relationship is 'like recognizes like'. I think Zhu seeing it as a betrayl would have been more impactful if she had presented this informatuon to Ouyang herself and been rejected than how it went down. And, I think her not realizing Ouyang would be disgusted that he felt connected and felt a sameness to someone with a body he found grotesque and that he feared would have been more interesting for zhu, who views herself outside of womanhood and didnt really think that other people would not see her outside of womanhood, if she was the one who told ouyang herself.

Also, less importantly, think going into Ouyangs annoyance that zhu kept moving his target further away was a good move but it wasn't expanded on as much for my taste. I also really liked it when (spoiler) Xu Da dies, and that entire part despite some minir bits, was extremely good in that Zhu finally has tasted loss. She had, up until that point, been riding a wave of positivity, she was the underdog who won over and over again despite all the odds and despite her own reckless choices. So I did appreciate that everything went wrong for her at least once. that would have been, imo if other things were changed, a good place to end a book two in a three book series. Which will make sense as to why I mention it im a bit.

I also didn't like how Ma was nonexistant unless the plot was like 'ok we need to remind people that Ma exists.'

And there's of course other stuff but those are the main points of acts 1 and 2 that i wasn't fond of or that i liked.

Act 3 is a wholely different behemoth which can be encapsulated with 'I wish it was longer but also different' (courtesy of the convo my friend and I had).

My friend and I both agreed that we liked this kind of courtly drama game it was playing. My friend doesn't tend to like the structure or writing style of a lot of the chinese wuxia, danmei, or courtly drama translated books i read, so it was nice to know that the genre content isn't the issue for her there.

The biggest problems I had with the ending though was 1. I think Baoxiang and Ma had an interesting dynamic despite it being really rushed and how distasteful I found the entire concept of Ma being such a good wholesome goody good good person that she could change Baoxiang, quiet his demons and fix him in some way. That was annoying in an otherwise interesting dynamic. And 2. I think Madam Zhang's character traits and cleverness and all that were wiped away to make her inexplicably jealous of Ma in a way that I don't think fit her character and just served to fit a trope of jealous empress who hates the favored concubine.

So, here's my major proposed changes.

1. Ma gets sent to Khanbaliq extremely early on. Like, act one maybe after ouyang is captured early. This serves three purposes. A. Ma has something to do and is more present in the story. this could be a good xhance to let her actually feel frustrated or upset at Zhu in some tangible way that needs to be resolved or talked thru eventually. B. she gets more time to build a relationship with Baoxiang, whose entire defeat hinges on him having a strong connection with her. and C. Her absence in the other parts of the book feel less like she's being ignored or forgotten. It makes Zhu's lack of haste more than just a way to annoy Ouyang, and turns it into an interesting moral choice. Should she rush to Khanbaliq to save Ma or trust that Ma will be ok in favor of gaining power? Her lack of haste means Ouyang leaves, depressed, and she loses Xu Da, all while she doesn't even have the assurance that Ma is ok, she is truly at her lowest point with nobody with her. If Ma is in Khanbaliq and that's explored, then Zhu and Ouyang can also explore their dynamic without Ma feeling a bit like she is battling for Zhu's attention.

2. Madam Zhang is suspicious of Ma, or feels actually tangibly threatened by Ma. In act 3, Madam Zhang's anger towards Ma feels really out of place. She got exactly what she wants, she is empress, her emperor isn't interested in removing her from her position and her position isn't threatened by anyone. Baoxiang won't get rid of her, he won't demote her, he has shown zero sign of ever even considering it. So, why is Madam Zhang jealous of Ma? Imo, especially since she very clearly has dissociated into oblivion and has no love or affection for anyone anymore, and no real desire or motivation to secure her position further aside from maybe producing an heir to make sure shes taken care of after Baoxiang dies, there's no reason for her to be inextricably jealous of Ma. It kinda just erases all of Madam Zhang's political savvy and cunning into jealous, petty woman, and that sucks. If she was suspicious of Ma's intention, or Baoxiang genuinely expressed spmething that actively threatened her position, her hatred of Ma would make sense, but instead she hates Ma cause Ma is ugly and spends every night with Baoxiang. She hated rice buckets concubine cause that concubine used a lot of funds and competition genuinely made her position less stable. She needs better motivation for hating Ma.

3. As I mentioned earlier, Zhu needs to be the one to tell Ouyang that she does not have a dick. That's just all around better, it feels more like a betrayl to bare your secrets and be rejected, etc etc.

4. The duology should have been a trilogy, with book 3 starting when Zhu is at her lowest, ouyang is dead, ma is in khanbaliq, Xu Da is dead, a new guy is the emperor. This is where a book three should have started. in a series that has so many important characters, i feel like it needs more space. she's in a 10 gallon tank when really she needs a 30 gallon tank. Lots of it, especially towards the end of book 2, felt rushed and the extra book will absolutely push that back a bit and make it less rushed.

Anyways that's my critique of The Radiant emperor duology. Once Again, I liked the series, its one of my favorites i've read all year. I don't dislike it, and having a critique or opinion about something doesnt mean I didn't like the book or understand the book (because obviously if i understood it i would understand why its flawless). I liked it, there are things I wish were different, that's it.

[velvet-vox]

The insane, untapped potential of Rebecca from Murder Drones.

Hello Murder Drones Tumblr. My name is Markiplier, and I'm the fastest man alive.

To the outside world, I'm a regular Reddit user hiding in their mother's basement, but secretly, I've done nothing except consume Rebecca content for the past 72 hours, with only one objective in mind: spread the truth about this one, singular character that I didn't give a single damn about to convince you that she could have been someone important in an alternate universe.

To do so, I had to consult the classics. Rewatch the entire series again, hogging the murder drones rebecca tag, checking out her Wikipedia page (which has to be rewritten by the way, cause it sucks), create a new Rebecca centered gallery on Pinterest, and stalk the channels of her main worshippers, all in the name of my research.

Once I had collected enough data and ideas, I was finally ready.

Today, I'm going to shed light on some unknown traits and misconceptions surrounding the character, all the while showcasing all the ideas that I've gathered that would have made Rebecca a more prominent part of Uzi's and maybe even N's development.

This was by far the hardest undertaking I've ever imposed upon myself in the history of this blog. Please, enjoy the following content at your own risk and expense.

Chapter 1: The Origins.

Some context for those of you who are uninitiated in the Becca cult, Rebecca is this girl:

She's a minor side character inside of episode 3 and 4, and a background character inside of episode 2; she's infamous in the community for being a "bully" and trying to steal N from Uzi while already dating and making out with other classmates.

Despite never committing genocide and being the only member of the cheerleader trio to not have been responsible for anybody's death, she's pretty hated by the fanbase at large or plainly forgotten/dismissed, at best people just don't care about her and see her as just too unimportant to be hated, at worst they kill her in the most gruesome of ways or accuse her of racism, homophobia, eccetera (before killing her, of course).

Although pretty unpopular, she still has her own niche of fans who gather up at the table to worship her; furthermore, there are a lot of fanarts from people who don't even like her where she survived the events of Cabin Fever but is now disabled and confined to a wheelchair.

The reason behind such treatment is due to the fact that Rebecca has committed five of the worst cardinal sins a fictional character can make: being an obstacle to the most popular ship in a fandom; being mean to a fan favourite such as the main character without any clear motivation; being annoying by proxy according to other characters reactions without doing anything to disprove it, thus reinforcing the idea in the audience that you are annoying; being unimportant to the overall story without having any obvious redeeming or interesting qualities while being perceived as graving in each and everyone of your few scenes; and, of course, being a woman.

But besides all that, whose mostly common knowledge, what else is there to say about Rebecca? What are some of her less noticeable traits and characteristics that make her worth it of an analysis and a rewrite to better include her inside the plot?

Well, unfortunately, the answers are not as uplifting and as satisfying as Rebecca's stans were hoping they would be. Even in an alternative universe, I doubt she would really be as important as some of the other characters, more so an important character for Uzi's development. Maybe even N's.

But don't let this statement fool you into safety: I genuinely believe canon Rebecca is simultaneously so much better and so much worse than the community believes her to be. Rebecca is as much of a freak as Uzi, but not in her obnoxious, extroverted way, nor in Doll's sociopathic, introverted way: she's their uncommon middle ground who somehow manages to be more messed up than the both of them in certain aspects.

Chapter 2: "The quirks"

Upon commencing my research, I've quickly realised that I might be even more unnerved by Rebecca than I was with Yeva, and it's all due to the fact Rebecca facial expressions and body gestures might be the single most obtuse and undecipherable details that Liam has decided to insert into the background of his story. You probably don't understand what I'm talking about because you haven't been losing sleep at night like I did, but let me show you the pictures:

Noticing anything wrong?

Everyone else upon seeing V is immediately frozen in terror or just surprised by the Disassembly Drone presence, but Rebecca instead just looks mildly.... annoyed? Intrigued? It's hard to tell by the image's shots alone but the only time where Rebecca's facial expressions change to the shocked looks of the Worker Drones on the right is when Lizzie says her infamous line and socially excluses her from the popular kids table.

There could be more to say about Rebecca's following lines "Fine, I forgive her! Settle." and how they don't really mean what you think they mean, because, just like we are going to see in a moment, Becca really doesn't give a damn about murder, in some ways, even more than the other Workers, but I haven't found a single more compelling meaning besides, you know, Rebecca's family, which we are soon going to be talking about.

Other weird facial expressions that she does are the weird look that she has when escaping Prom, her reactions to people dying in Cabin Fevers, and probably every single scene she's in when you think about it hard enough.

She also does this weird thing with her fingers. A sign of anxiety? She looks fairly inexpressive. Yet again, she might have learned to mask her emotions and the hand gesture could be a way to let it all out without putting too much attention upon herself. But why? Is the guy standing right beside her one of her parents? More of that in a minute.

Finally, and this is the biggest point of speculation, there's a high possibility that Rebecca might have sensory issues, a possibility that we are going to treat as fact, thus explaining why she's so afraid of falling out of the boat in this scene: aside from the fact that Worker Drones are probably not waterproof judging by the text in episode 1; Rebecca is literally experiencing sensorial discomfort from the erratic movements of the boat, and even if she was able to survive in water, she wouldn't be able to swim due to her disability. (Other possible evidence of this is the squirm she emits when the door of the abandoned cabin Uzi is in slams shut. Darren also reacts to it, but in a much more normal manner).

But now you might be asking: "If she really had sensory issues making these moments where she lacks balance scarier, why did she pick up cheerleading?" Which nicely segway's us into the next part:

(Side note, I've only specifically searched for sensorial discomfort in relation to sex, and based the rest on preemptive knowledge, thus I might have messed up some parts of this analysis; I'm sorry to anyone who experiences these issues and didn't find their inclusion in this essay accurate.)

Chapter 3: Becca the 13th

In the following segment, the line between canon and fanon, reasonable and made up blurs, but I beg you to stay patient and follow my thought process: the far fetched parts are based on the elements already present in the show to make Rebecca a more interesting characther while tying her to the themes of the show and to the preexisting dynamics.

In my research to answer the question "Why did Rebecca pick up cheerleading" I looked up a site explaining all the reasons why girls decide to get into cheerleading, and I've singled out these answers as the most likely possibilities for Rebecca's interest in the sport.

Passion for the Sport: Many women who become cheerleaders have a genuine passion for cheerleading and enjoy the physical and artistic aspects of the sport. They may see cheerleading as a way to express themselves creatively and be part of a team.

Opportunities for Performance: Cheerleading provides opportunities for women to perform in front of large audiences, which can be a rewarding experience for those who enjoy being in the spotlight and entertaining others.

Team Camaraderie: Cheerleading often involves working closely with a team of other cheerleaders, which can foster a strong sense of camaraderie and friendship. Many women value the sense of community and teamwork that comes with being a cheerleader.

Scholarship Opportunities: In some cases, cheerleading can provide opportunities for women to earn scholarships for college or other educational benefits. This can be a motivating factor for women who are looking to further their education.

Personal Development: Cheerleading can help women develop valuable skills such as teamwork, communication, leadership, and time management. These skills can be beneficial in both personal and professional settings.

Love for Dance and Performance: Cheerleading often involves elements of dance and performance, which can appeal to women who have a passion for these art forms. For some women, cheerleading offers a creative outlet to express themselves through movement and choreography.

Which one of them is the most likely?

If your answer is all/some of them, then you are probably right, as there could always be more than one reason driving an individual to commit the actions that they do.

If your answer is none of them, then you must be pretty bold to make such an assumption, but you can't be blamed as it's finally time to bring up the two big elephants in the room:

These two.

Rebecca's relationship with the other cheerleaders can't be anything but toxic, it just makes sense to me: Lizzie's not afraid to throw people under the bus if it means that she gets to stay on top of the social hierarchy, with Doll being the clear exception at this point of the story due to their closeness and intimacy, making Rebecca the most direct victim of Liz and Doll the main target of Becca's jealousy; she can't act too much on her jealousy though, cause Lizzy can just cut out her wings whenever she feels like, so most likely all of the bullying that she does on Doll is subtle and only at most convenient of times. Doll probably doesn't react to Rebecca's bullying seeing as she is Lizzy's second best friend and killing her would inconvenience the cheer's squad, but if her reaction to Rebecca's speech in The Promening is anything to go by then she has at least built up a certain resentment for her throughout their time spent together.

Rebecca is kind of like Heather Duke with the personality of Heather McNamara and Veronica's shaky presence inside of the trio. No, I'm not going to diagnose Doll and Lizzy as Heathers, do that yourself.

But we're going to bring back up the DLR trio back in a moment, as the time has come to fire up the Chekhov's gun:

Remember when I said that we were going to bring up Rebecca's family later on? It's finally time.

In the same boat scene that we talked about earlier, Rebecca asks N this question: "So, my friend wants to know if you've killed her family... and are single."

In case you didn't pick up on it, this is a common tactic used to taste the waters in a relationship, when someone uses the excuse of having another friend who has a crush on you to see if you are up for dating. Naturally, the underlying message of this tactic is "I'm the one friend who I was talking to you about, I'm interested in you. Are you interested in me?" but that's not where Rebecca's sentence stops, no, before doing that Rebecca specifically asked N if he might have killed her friend's family, with the implication that she's talking about her own family.

So... Rebecca is without parents, just like Doll and she was probably left with just her dad much like Uzi. Where the differences between Rebecca and the rest of the cast starts to shine is in her reaction to the death of her parents. Where Uzi's and Doll's mood worsened after the death of one or both of their parents, Rebecca seems to be happier for it.

We can take this a step even further and assume that the possibility that N might have killed her family could be the big reason as to why she's so attracted to him, even more than the other classmates (keyword "family". It means that she could have had a brother or sister too, though I doubt it): she hated her parents, is happy with their deaths, and views N as her saviour and white knight in the dark for killing them.

If we look back at the shot from episode 2, we can come up with a couple of theories: she's probably alone at the parents teachers conference, or, and this is the most interesting alternative, the guy who stands right beside her is her dad, the weird hand gesture that she's doing with her fingers could be genuine anxiety about her dad finding out that her teacher has some bad things to say about her school performance and punishing her for it, which could also further explain why she does anything that Lizzie says if the theory that Lizzie's father is the Teacher is true.

Due to her sensory issues, it's possible that Rebecca's hatred for her family stems from a streak of physical abuse received at home and exacerbated by her already frail physique. She probably has been living alone with her dad for a while, like the girl from the 2017 It movie; so for her to hate her mom too, unless she was still alive and didn't show up to the parents/teachers conference, there are a couple of possible explanations: A, her mother died when she was too young for her to give a s##t about her; B, her mother was also just as abusive as her dad; or C, the most compelling explanation, as it parallels Khan's and Uzi's relationship: Rebecca's father uses the death of her mother as an excuse to wallop into self pity and be abusive, similarly to Khan but ten times worse, thus leading Rebecca to hate her mom even if she never knew her just by virtue of constantly hearing her name being used as justification for her dad's awfulness.

Rebecca could have, in just a couple of minutes, grown attached to N in the same way Uzi's grown attached to him throughout the course of the series: by viewing him as a sort of comfort net for the horrible things that have happened to her and as the one who saved her from her awful home life (by killing her parents).

Her dad probably did the interview right after Khan and thus implying a small space of time where he left her alone for god knows whatever reason, died to Eldritch J right before Uzi and N came in to stop her and Khan finally arrived to the crime scene, thus leading Rebecca to assume that N killed him in episode 4 and, through a connection made up by her wild immagination, her mom aswell.

So, for Rebecca, unlike Uzi and Doll, the day her parents died must have been the best day of her life; knowing how Doll lost her parents and looked pretty happy on the outside, Rebecca took this as a positive that her life could only improve; leading to the time spent between the ending of episode 2 and her death in episode 4 to be happiest period of her life, especially after episode 3 where Doll was revealed as a serial killer and went into hiding, making Rebecca the only friend Lizzie had left and solidifying her place in the social hierarchy.

When you think about it, we never see Rebecca being "happy" before episode 3, and while it could just be because we don't see enough of her, it could also really be that she was unhappy with her home life; Lizzie and Doll clearly weren't helping as despite Doll being at the bottom of the abuse trio of Lizzie and Rebecca, it's pretty clear by the framing of the show that Rebecca was always the most replaceable member of the trio, Lizzie was the master manipulator holding all of the cards of the social hierarchy thanks in part to her dad's influence, and Doll was Lizzie's irreplaceable (until V) main enforcer who at any moment could have just snapped and physically threatened Lizzie with her powers; leading Rebecca to feel constantly anxious of her every move. Plus, it must have been fairly obvious to the entire school that Doll and Lizzie had an affair going on and Rebecca wasn't part of it, therefore other students could have definitely picked up on her anxiety and started a gossip behind her back, leading her to feel even worse about herself than she already was. Which also, in turn, parallels Uzi and her feelings of being socially ostracized, making them even more of a foil to each other, with the main difference being that Uzi tried to fit in by becoming a hero to the colony and failing, while Rebecca carved her own unstable niche into society that she has to constantly struggle to maintain (Doll being at the positive end of the spectrum in this case, by being popular without struggling and willingly giving up said popularity for her revenge fantasies).

Her fear of losing the social stability and bullying immunity provided by Lizzie and Doll eventually turned into paranoia, forcing her to make up lies about dating people, like the guy "Brad" who she supposedly went to Prom with despite that apparently never being the case. To maintain the lies as truthful, she eventually benefitted from the ripple effect that those lies had created for her thanks in part to her good looks: now having the reputation of a nymph, she could get people to have sex with her, probably using it as an excuse for never actually being in a relationship with anyone (Darren is one of those people, she wasn't dating him, she was just making out with him).

There's also much to be said about the way Rebecca views sex and relationships as a whole; I'm not too sure about this talking point due to the aforementioned sensory issues that she has, but she could view sex as a sort of escapism fantasy, which also carries over in her love fantasy of N, and her relationship with the other cheerleaders as a semi functional support system, yet again other similarities with Uzi who, at the start of the series latched onto her fantasy of becoming a hero as escapism from her unfortunate school and home life, and, with a little stretching, we could say that Lizzy and Doll were to Rebecca what N and V are to Uzi, though not quite as healthy.

To ensure that Rebecca's views and actions on sex don't jive with her possibly having sensory issues, I've looked up information regarding the way people with these types of problems engage in sexual activity, and luckily for me, none of what I've found seemed to contradict any of the points I've brought up.

Here I have isolated all of the results of my research that fit Rebecca the most. Note: all of these apply to "some" individuals, not "every" individual. You don't have to check out all of these to have sensory issues regarding sex and other similar activities. I'm not a medic, so don't take any of these as gospel.

Perhaps the most obvious way that disordered sensory processing can affect sexuality is through physical touch. Some individuals may dislike hugs and embraces. Others may seek out a lot of touch or intense touch experiences.

Bright lights may agitate individuals with disordered sensory processing during intimacy. Play around to find the best lighting for you and your partner. Try using candles, soft bedside lighting, or turn off the lights completely! Avoid engaging in intimacy directly in front of a window or another uncontrollable light source.

An environment with a surplus of visual stimulation can be overwhelming and distracting. A cluttered environment can limit your partner’s ability to engage in intimacy because they are using energy to process visual inputs. For this reason, seek out clean, neutral, and minimalist spaces! In turn, assure your partner that it is okay to close their eyes during intimacy. This can help to calm their senses and allow them to focus on you, rather than the environment.

Background noises such as music, television, or roommates speaking next door may be distracting to individuals with disordered sensory processing. Find a quiet, private place to engage in intimacy. Avoid integrating music into the environment unless your partner suggests it!

Some individuals with disordered sensory processing have difficulty understanding where their head is in space; they may become disoriented or sensitive to different head positions. On the other hand, they may seek out intense vestibular sensations by engaging in extreme movements and positions. While some individuals may feel more comfortable being stable and stationary, others crave motion.

Sex is also most likely viewed as a coping mechanism for Rebecca, even if the main reason why she probably does it is to remain upon the popular girls in the school.

All of this added context makes Rebecca's death in episode 4 far more tragic, yet less random than some of the other campers. It comes as a result of one, yet fatal flaw: Her need to stay at the top of the food chain.

At this point in the story, Rebecca was getting closer to N, she could have just simply kept nurturing this relationship until it would have developed into something more genuine and mutual. It could have come to the point where eventually, once N would have chosen Uzi over her (because of course he would), she could have come to accept it and move on with her life instead of keep chasing her escapism fantasies and fawning over her parents possible murderer, maybe she would have even befriended Uzi in the process. But no. Her ego was her downfall: once N went away and could no longer satisfy her current needs, she decided to keep improving her social position, an easier thing to do now that Doll was out of the hierarchy, and proceeded to reinforce her reputation by making out with Darren, which got her accidentally killed by Uzi.

Accidentally, just like the death of her parents probably was.

Her death is almost perfect, even better than some of the others in the show: while Doll's death was brutal and heart wrenching but not really satisfying, Tessa's death mostly happened in the background and the show spent very little time on it, Alice's, Beau's, Yeva's and her husband's death depend on how you view their characters and if you think it fits, and V's death is the closest to perfect but wonky in certain aspects of its execution (just like V's arc in general), Rebecca's death is the perfect conclusion to her character.

She dies segmented, broken in pieces, part of her still lives for a couple of minutes, while the other gets eaten by what is essentially the character's foil of the one girl she was jealous of, and whose disappearance greatly benefited Rebecca. While crawling to the other campers, she must have suffered the whole time, just like she suffered her whole life before episode 2, the split of her torso represents her inability to pick up just one road, and in a meta context represents the fact that she is the middle ground between various character's situations.

It also represents the split in her life's trajectory: she was unhappy with her parents and was happy when they died, then became happy with her life and is now unhappy as she's slowly dying of a pain comparable to the one provided by her dad. All of this because of her ego.

And then lastly, as the final nail in the coffin, once she finally reaches the other students, her insides spilling out (reference to Melissa-titanium Doll's death post), everybody immediately forgets about her, just like they did with Uzi. She spent so much time climbing the social ladder, afraid and paranoid that she might tumble down and her parents would punish her for it, only for her to be immediately forgotten about once her systems shut down, still considered meaningless, tying her death also to Doll's and possibly Uzi's one, as the middle ground exploration of the theme of failure: Uzi fails but manages to achieve everything she had ever wanted, Doll fails but manages to achieve nothing, Rebecca fails but manages to achieve half.

It also ties back to Tessa as an alternate version who got freed from her parents abuse and had a chance to live a better life but still died soon afterwards because of a mistake she made.

Chapter 4: The Results

As you can see, just by using all the stuff present in the show if you squirm hard enough for it, with some added details we get a lot of utility out of Rebecca as a character:

- She develops Uzi, develops N, and develops and challenges Nuzi even more than she does in canon, but in a much more meaningful way.

- She works simultaneously as a foil to Uzi and Doll due to her benefiting from the death of her parents, and as well as a foil to Uzi and Tessa, who both had pretty bad parents but never wanted them to die.

- Her relationship with her dad also serves as a foil to Uzi's and Khan's father/daughter relationship, possibly helping to strengthen Khan's arc by showcasing a worse version of himself to the audience, rendering the reconciliation between father and daughter all the more sweeter.

- She deepens Uzi's and Doll's relationship in a different way than the Nori/Yeva parallels, by showcasing us a middle ground between the two characters that is simultaneously so much better and so much worse than the both of them.

- She also deepens the parallels between Uzi and Tessa, by showing us what could have happened if Tessa had the same sadistic tendencies of Uzi and left her parents to die intentionally (side note: Rebecca leaving her parents to die intentionally is also what could have happened in this made up canon. I doubt Rebecca finds joy in other people's suffering, but I can't help but think that she might have finally felt relief when the source of abuse in her life was finally gone), basically doubling as the middle ground between Uzi and Tessa but without their engineering skills, yet again, being so much better and so much worse than both characters.

- She serves to make Uzi more interesting by virtue of being foils but not in the obvious, narrative way of Doll, rather, in a more subtle, social way: if played right, her death could have hunted Uzi in ways the deaths of her other classmates didn't, by finally making Uzi question if she was ever in the right or if she isn't as much of a monster as Doll is.

- Further explores the themes of abuse present in the show and better ties said themes to Lizzy and Doll, who are currently lacking.

- She could have been used as a "tease" for Cyn, something that I haven't talked about until now (Uzi's and Cyn's middle ground). From what we know about Cyn, it seems like she was coded with some sort of robo neuro divergence, similar to the one that Rebecca possibly possesses; the details of Bec's story could have been reworked to parallel some of Cyn's story details, giving Uzi (and the audience) a taste of what Cyn's story or personality is like before meeting the real deal.

- She also, canonically, served to develop me.

Before I started working on this project, I never gave too much of a care about Rebecca. I didn't hate her like many people did, I actually liked her even if that liked soon turned into contempt once the serious writing for this essay actually started, but now I can confidently say that I'm a Rebecca enjoyer, the ideas that I've come up with for her are just too interesting for me to view her in the same way ever again, and I hope that this lecture might have also slightly changed your opinion of Rebecca as well.

[maniacwatchestheworld]

Several small BatFam notes

@moss-covered-thoughts (I'm answering questions and providing information for DPxDC fans.)

lol don't worry about it! Nothing about you talking about your fic will make me feel left out! I'm just happy to help you out with your work! If anything will make me feel left out, it's the lack of rogues content and people within this fanspace underutilizing Vlad and not having much of that juicy, juicy polycule content (specifically Vlad/Jack/Maddie) that I keep coming back to Danny Phantom for. :p Speaking of, I want to be as transparent as I can with the information I'm giving out, because just like all comics fans, I'm not an expert on everything and I am very much in my own specific niche and haven't read everything out there! I'm actually not much of a Batfam fan and am much MUCH more of a rogues fan! (Specifically my hyperfixation is focused around Harvey Dent and Two-Face.) So while I do have some information about the members of the batfamily, my knowledge isn't nearly as comprehensive as someone who's deep dived into that part of the DC universe! I'll give you the information I can, and hopefully someone with more cohesive Batfam knowledge can reblog this post with extra notes to fill in the holes I have in my knowledge. >.<

Adoption Order

So I can't tell you the specific specifics of adoption specifically, but I believe that the order of each member joining the Bat Family would probably be along the lines of: Dick Grayson -> Barbara Gordon -> Jason Todd -> Tim Drake -> Cassandra Cain -> Stephanie Brown -> Damian Wayne -> Duke Thomas.

Batgirl and Duke recs

Again, I haven't read much Bat Family stuff because my primary focus is on the rogues. But I do have a handful of recs! If you're willing to watch a long-ass video instead of reading, I would actually highly recommend Linkara's retrospective on Cassandra Cain and here's the link to said video! It's very good and goes into just about every major comic appearance she was in at the time of the video first coming out (in 2019)! You will get a very good image of her character from that, I like Linkara's analysis, and by watching that video, you will definitely be able to come away from it with a number of recommendations for both Cassandra Cain and Stephanie Brown! (He does talk about Steph some in this video, but it's limited.)

Speaking of Stephnie I'm sorry to say that I don't really have any recommendations for Steph as I sadly have just not really happened to come across any works that have her in them in my poking around in different comics and related media. But honestly, while I can't give you any recs for Steph, maybe you should toss Linkara (@atopfourthwall) a message! He's actually a decently active Tumblr user and given that he wants to do a different retrospective on Stephanie Brown, certainly he would have things to recommend!

As for other Cass reccomendations... The only thing I have in my back pocket is Spirit World. It's not about her, it's a solo series about the brand spanking new character, Xanthe Zhou, but Cass IS a main character in it, and people seem genuinely happy with what they did with her in that story!

If you're looking for good Barbra Gordon content... Well... Personally I would recommend giving her episodes in Batman: the Animated series or the issues that include her in The Batman Adventures a look-see...? It's always a solid time with her around in B:TAS, or in the Batman Adventures! They characterize her very well in those serieses!

If you want both a Cass and a Barbra suggestion... Maybe check out No Man's Land...? Asking you to read all of the comics that were part of that saga might be a little much, but there is a novel adaptation of the No Man's Land storyline out there, and personally I listened to the reading of that novel as done by Graphic Audio and it is genuinely excellent! Like, the marketing may be tacky, but it is on the level of quality as something like an audio drama podcast or a Big Finish Audio. It just happens to be a book reading. :p But No Man's Land IS where Cass was first introduced, (also where Harley Quinn joined the comics universe fun fact!) and it has plenty of good moments from Barbara in it too!

As for Duke... Honestly, if you aren't already reading the Wayne Family Adventures, then you really ought to. >.< That series is available for free on webtoon and the first several strips have him as the main character before it becomes more of an ensemble cast thing. (And in case you were wondering it IS official DC media!) >.< I also haven't read much of Duke's stuff, and so in terms of his backlog, I really don't know what to recommend. The one story that I did happen to read that heavily featured Duke... Was "My Own Worst Enemy" (it's like volume 1 of All-Star Batman) which was... Fine...??? Like, as a Two-Face and Harvey Dent story, it was pretty bad and ablest in how it portrayed Harvey's DID. (But this isn't necessarily unusual for books that include him... SIIIIIGH!) But it was also incredibly stupid and fun, and had a lot of good forwards momentum and offered a number of interesting ideas that I don't entirely hate! So overall I find it... Fine... But as a Duke story... Honestly it's not bad as far as a Duke story can go! And the back-up story for that little arc (the Cursed Wheel) was pretty alright too! I do feel like after I read My Own Worst Enemy that I did understand Duke just a little better as a character! So while it's not good... You might find it to be decent in what you're looking for...? Because I really cannot speak on any other stories he's been in. >.<

So uh... Sorry about my whole limited perspective thing... But I do hope that you find some of this useful at least! I wish you the best of luck in your writing endeavors!

[scarabjewels]

Why is No One Talking About The Hellboy Animated Movies?

This is probably a very specific cult following, a niche niche if you will. But let me tell you, if the 2D underrated classics such as Atlantis, El Dorado,Treasure Planet and Anastasia have a strong cult following, why not this?

Every one of these essays, I always have some short origin story of me discovering it and OF COURSE THIS IS ALSO HAS ONE.

I came across one of the movies in a DVD of a mix of different cartoons, such as Static Shock and maybe 70s/80s Fantastic Four episodes.

It was The Sword of Storm movie, where my love of dark mythological action animated movies continued. I was already a mythology enthusiast as a kid. My past times were reading encyclopedias and watching my mom's extensive collection of documentary DVDs. As for dark animated action movies, DC and Marvel had a lot, and it slipped into pirated DVDs back in the day.

Anyway, it was AMAZING. Hello, JAPANESE AKUMAS, THE ATMOSPHERE, THE LORE.

Fast forward to some years later, I found out that there was another movie and one that was unfortunately cancelled. Loved it too much that I went ahead and tried to read the comics, specifically the ones produced by Dark Horse, as it was related directly to the animated movies.

I craved those kinds of genres in animated media at the time, but I couldn't find ones that I really stuck to, the DC animated movies were good, the old Marvel ones were great and then Trese came, and it was just perfect. Then Castlevania and Blood of Zeus followed after, I have yet to watch it.

So again, why are these so underground niche.

I don't really have qualms or analysis about these movies, I just want to write just how much I appreciate it.

The Dark Action Comics Feel

I am not a comic reader at all by the way, I barely read them. I like manga a little more, and I like my action in moving pictures more than in panels. That said, I appreciate the art of it.

Western dark comics hit a lot different. The simplistic animated styles work well with suspense.

Though Guillermo directed the animated and live action of Hellboy, I would argue that he got the feel of it best in Hellboy Animated. I have yet to see the live action movies, but I recall seeing a glimpse and was very dissappointed. I liked the costumes but I didn't like the brightness and the subplots. It felt like Fantastic Four (2005) with Chris Evans and Jessica Alba (no hate to the movie, I actually really like that one). It wasn't dark enough, but these materials getting adapted into live action are difficult already. That's why a lot of superhero animated movies surpass the action in live a lot of the time.

Hellboy Animated was the best way it could've been adapted. Do note that Hellboy was not an original idea of Guillermo. It existed way before, and it was even darker.

It was dark enough, not too cringey. It was serious but not taking itself too seriously. it was the right blend of dark action, witty, and visually appealing.

The Dialogues and The Characters

Okay, this is one that really sold me on the movies. Somehow, the lines were humorous and short. SHORT.

I also loved that Hellboy was a character who didn't give two shits and just done with the world, yet does his job anyway and is kind. He is like a broody cool but drunk 40 year old man who just exists. WHICH IS BY THE WAY A PROTAGONIST TROPE USED IN A LOT OF LIVE ACTION MOVIES. I don't know if it's the same in the live Hellboy movies, I am really hoping that his lines are just "Crap" and have simple fun expressions.

Also, I find that Abe is a lot more ...attractive in the animated ones? I have seen the costume of him in the live and I think it also inspired a project of Guillermo after, "The Shape of Water". It's not bad at all, just...creature like than humanoid creature. If anything, maybe the creature in The Shape of Water was closer to Abe's hotness. Guillermo has so much of these characters that ...he just might be a furry (HAHAH). Anyway, Abe is like a hot fit nerd action hero, which I think a lot of us wish would even go to that level.

Okay now, Liz. First of all, why is Liz Hellboy's gal? HE HAS HIS OWN IN THE ANIMATED. Her name is Kate, and she has known him a lot longer than Liz. She is also a hot nerd ( opposites attract a type of deal). Liz is similar to Hellboy, but younger and getting used to her powers. Hellboy sees her like a younger sister, too, and is affectionate to her like one. Liz is more of the action hero that Scarlett Johansenn could play her. Her lines would be sarcastic, and her voice was very Megara, just under your breath sassy. Also...her chemistry with Abe...you can not tell me it's not PLANTED.

The other characters are also perfectly voiced and don't drag on too long in a scene even when they are the focus. Again, their "budgetting" with visuals and dialogue in a scene were straight to the point. They say a little bit while saying, just perfect in Show, Don't Tell. Other than the main trio, I found a few more characters memorable: Kate and The Professor.

I already mentioned Kate, she is this quirky girl who is hot, rocks a blonde bob undercut and dangling earrings, and almost always appears 5-10% in the movies but always memorable. Her relationship with Hellboy was told through her dialogues, without even telling us too much. It's not "We've known each other for so long" it's "He could be a big grump and he's even older than he looks", that's how you do dialogue people. Ehem, I'm looking at you. "Truth or dare." She does appear little but is clearly significant either to the plot in the story (in the Sword of Storms) or by the characters (in Blood and Iron). I just think she's cool too. She is so excited with going on about the scientific details related to missions, and the characters adore her.

Professor Trevor, aka Hellboy's adoptive father and one of the founders of BPRD (Buruea of Paranormal Research and Defense), is definitely one of the more important characters in the Hellboy Universe. He was the one who raised Hellboy, as well as doing operations at the same time. They showed me his importance with just dialogue and the smallest cutscenes ever. The mastery of that technique was evident in underrated comic movies.

And HELLBOY, the titular character was the best one ever. He is probably Sleeping Beauty because he has the fewest lines in those movies. That man is stoic, unbothered, laid back and incredibly CHILL AF. I see these characters aa side characters a lot, so seeing a character like this as the main character is so fun to watch, like he does not need development yet it's his world and we're all living in it. That man is zen to the max, yet is sad to be destined to lead the world. Reminds me of older Kratos (God of War), just 100 times more chill and more swag, out of the two, he is that gentle giant you can hang with in a bar and maybe even get high with, Older Kratos is way too intimidating but you'd feel very safe around him more.

The Mystique Tone weaved with the World Building

The dialogues already brought out the world building, how the organisation of paranormal defence is a serious thing. See, taking something so fantastical so seriously can counter its intention, when done correctly and properly, you can hone a cult following, which is why DCU, Marvel and the X-men evolved from comics for the children into basically modern art and literature for its niche. That's also why I am wondering why Hellboy is not as beloved. The comics before Dark Horse are pretty hard-core. The world building is pretty good in movies alone. It's like a contemporary take on supernatural noir. It's mysterious, dramatic, and (this is specific to me, I dunno why) smooth.

Trese (the filipino horror/thriller comic that had its show adapted during the pandemic in netflix) reminded me of Hellboy, and even Trese too, small cult following when I think it does deserve do much more.

Now, the world is building specific to the movies.

I'm referring to the inadequate tone with the existence of the BPRD, the people who work there, and that they are literally like a private organisation with connections to the government. Think S.H.E.I.L.D from Marvel. Only the organization is not dramatically futuristic and really in your face about it. It's super chill and like an underground organisation, too. They are literally normal anywhere and everywhere. Also, they feel so much more mysterious because, again, they don't say what they are doing in detail like blockbuster movies. They do it straightforward, and you figure it out quickly. An example is in Sword of Storms, Hellboy disappeared into another dimension, the BPRD is looking for him. What's so funny and awesome about it is that dimensions aren't new to the BPRD and that Hellboy's disappearance is also not uncommon. They literally casually said that he was not on the planet. The reactions are just "great, looks like we'll wait this out again." That's a subtle node to the world building of this universe, the inadequacy.

The Sympathetic Aspect and Humanity of the Story and Characters

I watched a video essay about the movies and he pointed out two stories of how much it has humanity and sadness in it. I think this is what somehow makes it separate from grandiose epic tales of the hero vs the monster.

In the Sword of Storms, the first scene is a mission in a Mayan Temple where they had to fight with a giant bat worshipped as a God in that particular setting. Long story short, the bat rose an army of the undead, and Liz, Abe, and Hellboy had to fight them all. Liz, having pyrokinesis, unleashes her powers like hellfire, burning the bat and the undead army. The score of Liz's powers feels exactly like hellfire, which is to cleanse the soiled. The sad part is that the bat may have been monstrous, but it was shown glimmer of complete sadness when it looked at its army and accepted its gruesome fate to burn with them. It reminded me of Shen's last scene in Kung Fu Panda 2, where he fought Po with everything he got, in the midst of the fight, a pillar was doomed to hit him, Shen sees this and he just closes his eyes, accepting his defeat.

The other one is a fleshed out subplot in Blood and Iron. It was about a priest the professor had met years ago in a mission. He was once a young and proud priest but faced an existential crisis, losing faith in God as he witnessed the acts of a vampire, later became a servant of that same vampire. Professor Broom and him met again, a little after the former priest killed a man as he was ordered to. The professor gave him words of wisdom and gave him a crucifix, a symbol of his faith restoring. However, it was not to be a happy ending, as he was transformed into a werewolf to become a hindrance of the BPRD succeeding in their mission. When he was eventually killed, we got a small shot of the crucifix in his transformed hand. It was incredibly a sad and dark ending, which was sort of beautiful and came full circle for him.

The point of these kinds of comics is to not glamorize the formula of epics but to emphasise the protection of humanity. Trese also did the same (Man, I should make an essay about this). Professor Broom is pretty much the character that really showed my point. He acts within reason, and even at a younger age, he was very wise beyond years. He didn't come in a monster killing hero, but at best consultant. In Blood and Iron, Erzebet, the serial vampire, was beyond saving and needed to be killed to save countless lives she plans to take. When he met the priest again, he witnessed that the priest murdered and his words alluded that he did it many times before. Yet he urges to forgive himself and that it was never too late for him as he hands him the crucifix. The professor literally adopted a demon boy and raised it as a son, to whom we know as Hellboy. He doesn't believe that everyone is inherently bad, as he chose to believe the good can be taught and redeemed again. He is probably the most beautiful person in this universe, damn to stay true and grounded with those kind of values in that kind of work, reminds me of a quote from the Emperor from Mulan : " No matter how much the wind blows, a mountain cannot bow to it".

Most of the members of The BPRD are not fully human, similar to mutants of X-Men. Hellboy is literally a demon, raised as a human, Liz is pyrokinetic, and Abe is a humanoid amphibian. Yet they are incredibly human. They would casually have a conversation about pastries they tried when they were out on a mission.

Conclusion:

While I was researching about Mignola and Del Toro, I had just found out that a new movie live action Hellboy is coming out, with an indie film feel!

Honestly, I don't think it's going to go on par with the block buster films, but what I have seen from the trailers so far, it just might do Mignola's Hellboy justice. Though, I do have a comment on the movie's filter and lighting, I want it to be close to Egger's "The Witch" if that makes sense. Just a tad but darker, like a small nod to the aesthetic theme of the comic, the noir feel. But the effects are amazing 👏 . The indie-ness of it is perfection.

Now it's obvious that I love this, and for some reason, I think my love for the animated films manifested this information of a new live action instalment.

[makoredeyes]

Hello, I hope you're doing well! This is probably an odd question, feel free to ignore it. I wanted to ask you as a fellow writer I admire, who is mostly focused on unpopular/dead/deep lore characters. Do you also sometimes feel like what you're writing is irrelevant and unexciting for everyone, except yourself? If so, how do you deal with this? For me sometimes this sudden realization is so crushing, that I cannot bring myself to finish a single work.

Hello! That’s not an odd question at all in fact it feels pretty relevant tbh. (Omg sorry long reply you got me going 💙)

I think I have several kind of interrelated answers for you so let me lay them out.

1- I am powered by autism and a MIGHTY hyperfixation. I have no choice I am compelled. I am blinded to all other things and so while the little bit of feedback that I do get is AMAZING and so extra sparkly motivating it is not entirely what compels me (but BOY does it help)

2- I joked with a friend just last night that, “this season is, as usual, does not have NEARLY enough Felwinter content and so I must therefore create my own.” - as she pointed out, there have been exactly TWO seasons with ANY Felwinter content at all and I wasn’t playing destiny yet for one of them. My point being, sometimes you gotta create what you want to see yourself. I’ve always found myself in some really niche corner of whatever fandom I’m in and have to do this a lot. Probably how I got to writing and drawing etc. fun thing is tho you find a really special group of people who think and love like you that way, and if it’s a smaller crowd, it’s all the more intimate for it Imo. I’ve made some super special friends in the last 9 months or so in my weird little corner here and it’s magical and I think that quality over quantity filter is awesome. (But yeah i know the validation machine is SO good too)

3- the BEST magic of borrowing from obscure content, generally unknown or undeveloped characters or lore is the creative freedom. The headcannon swapping the worldbuilding the background gathering… the RESEARCH! Gleaning what little bit I can from what we DO have. Who the fuck is timur?! We don’t know. I borrowed the beautiful designs for his face and general personality that Sylenth has developed because she’s done such an amazing job and was kind enough to allow me to play with him as she made him, and took that as jump off point for my writing etc but I have all the wiggle room in the world with but a few widely dispersed canon signposts to lead my direction and that is just so fucking fun for me.

(And that doesn’t mean more mainstream characters like Osiris don’t have their creative appeal to me either. I will deep dive on lore and character analysis for YEARS but living in the peripherals is comfy for me)

Those are all the positives to my work, but yeah, sometimes I do feel a little dejected. I have definitely felt a drop off in reader response weirdly in converse to the effort I put into my writing. Housefire has evolved into much more of a cohesive Plot(tm) that is going somewhere very specific from its origin of a few interlinked fluffy anecdotes and funnily enough about the time I started really digging my heels in and plotting and planning and putting in twists I was REALLY excited about, people started responding less. Some of my favorite fics are the least popular. Some of my art I am most proud of gets the least attention but that damn doodle of poor Felwinter getting splattered by a warsat has 200+ more notes than my next most popular art. (The shitposts always win Damnit! 😩🤣😅)

I get frustrated and yeah sometimes a bit discouraged sometimes and I spend Way Too Much time sitting here refreshing my notes because I am a sad lonely person chronically online just way too thirsty for a little validation or a conversation with someone but like. Every piece gets better. Every piece SOMEONE appreciates. Every piece **I** enjoy and is also a chance for all of that when I share it with the world and that’s exciting and good, and like I said the people in this community as niche and little as it is, are really something special, and some of the people that have come into my circle because of it make it SO worth it.

**I was done but then I read your ask one more time and I’ll add this since it popped into my head last-second:

If we are creating works for dead characters we love, we are keeping them alive.

How magical is that??

[thatpodcastkid]

Magnus Archives Relisten 21, MAG 21 Freefall

Tom Petty plays in the background as a man falls to his death

Is this too niche a joke? Not possible. MAG 21 analysis, spoilers ahead!

Facts: Statement of Moira Kelley, regarding the disappearance of her son Robert. Statement given October 20th, 2002.

Statement Notes: I have some friends with thrill seeking hobbies and I've really just been waiting for this to happen to one of them. RIP Robert Kelley but my bros are NOT built different and the sky will eat them.

The intensity of Robert's fear in this episode was so deep and profound. The way that he fell for so long that he actually wanted to hit the ground. The fact that he didn't open his parachute on time because he was so desperate to reach the ground faster. You were really able to experience and understand his emotions.

"The sky ate him" is usually the line that gets a lot of press in this episode, and for good reason. But the line that's always stuck with me is "Enjoy sky blue." It's only three words, but it says so much. The word "Enjoy" highlights the normalcy of life in the Magnus Archives universe. Rober is doing what he loves, he should be happy, he should enjoy the jump. But he won't. Fairchild won't let him. The horrors won't let him. The narrative won't let him.

But the second half of that sentence--"sky blue"--adds a whole other element. Syntactically speaking, Simon Fairchild presents it as a noun. It could be an activity or experience to Fairchild, like skydiving. It's something he does often, experiencing the thrill and horror of the fall by "sky bluing." It could be fun for him. Maybe if Robert had enjoyed the fall, Fairchild would have recruited him as an entity. It's not capitalized in the transcript, but because it is being spoken by Moira Kelley who lacks context, it's possible it is a proper noun. Could it be a place? An area the Fairchilds blip in out of and send hapless victims to, the same way the Lukases send people to the Lonely? Or is it a name? A living entity that got a taste of Robert on his first dive and decided to finish its meal on the hill?

The wind sfx in this episode is so great. I've been suspending my disbelief with the sound effects in the early episodes because I assumed they were mainly just to build ambiance for the listener, but they do have interesting implications for future episodes. If, in recording early statements, Jon begins experiencing/developing his Eye powers, then these effects (the wind in this ep, the heart beating with Julia Montauk, etc.) could be him "hearing" what the victims felt and experienced. He is looking through their eyes as he reads the statement.

Entity Alignment: Tom Petty continues playing quietly in the background

Really great Vast episode. I've never been particularly scared of heights, so I don't often find the vast episodes "scary," but I do find this one to be particularly unsettling and thrilling. The sky being presented as semi-sentient, with the ability to not only steal but eat a man makes the idea of falling through all the more terrifying.

When Moira Kelley began the statement, she explains that she "doesn't have the words" and doesn't know what to write. But of course, she explains everything in perfect detail anyway. By virtue of being in the Institute, she is compelled to tell her story. The Eye is urging her to relive the horror that she sold her home to escape. She says that "knowing won't bring him back," but the Institute doesn't care. It just wants more knowledge and fear to consume.

Character Notes: In MAG 111, Gerry explains that families are often just tools for avatars to ensure transfers of power and increase their own power. This vaguely seems to be what Fairchild is doing with Harriet, although less so. But I also wonder if the same can be said of the businesses that avatars and entities involve themselves in. According to Jon, Open Skydiving isn't a "real" company with any records, but it clearly has been operating for many years and people utilize its services. Similar circumstances seem to be true for the Magnus Institute, as well as Peter Lukas' real estate and shipping companies. They provide moderate services merely to provide funds and resources to avatars, while also functioning as mediums through which they can create more fear.

(Something something a company treating you like family means they want to use your success to increase their own status something something)

Slightly less relevant, but Robert says the jump was a charity event for Simon's deceased wife. I would love not only to know more about who Fairchild's wife was and how she died, but also what charity he could possibly be leaving any money to. "Defective parachutes for youth" "Old men against OSHA" "Wheelchair kitesurfing fund."

Slightly more relevant, but Martin!! He's back! Oh no!

The most important thing about Jon's reaction to Martin bursting in is when he shouts "What are these things?" Not only has he never seen the worms before, but he has no idea what they are. Even after reading Timothy Hodge's statement, he can't connect the worms he sees to Jane Prentiss. This is totally reasonable for any regular person, as he likely never expected to see the worms in person nor would expect Martin to burst in covered in them, but Jon isn't a regular person. At times, Elias has allowed Jon to make leaps in logic that lead him to the actual truth as a means of hiding his Eye powers. Elias wants Jon to know things he shouldn't, but only on his schedule. Jon needs to explore Prentiss more deeply so he will be marked for the ritual, so he's rationing information.

[real-fire-emblem-takes]

Yeah the fe3h fandom can be really shitty with discourse and all that, but it's positive side are too overlooked! Like I have never seen so much love, so much fan creation ( Fanart, animation, fanfic, theory, analysis, ... ) for such a long time and that despite being a relatively niche franchise. The game will reach five years old this year, and yet we're still getting new fanzine.

Like seriously, this incredible. Literally every playable character got love ( there's even Hanneman fan account, he got a zine too ) and it is still going. Fe3h cast really took so many hearts.

Incredibly cool how the game brought so many new fans to the franchise too :)

.

[arminreindl]

Baru iylwenpeny: The Last Baru

Happy to announce that there's just been a major new publication for mekosuchines. The Alcoota Baru, which I briefly touched upon in my post on the genus, has finally been named. The new name, Baru iylwenpeny (pronounced eel-OON-bin-yah), derives from the Eastern Anmatyerr dialect (part of the Arrernte language) and means "good at hunting". A name that seems quite fitting when you look at the skull.

As a reminder, this animal stems from the Alcoota Fossil Site in Australia and dates to the Late Miocene, making it the youngest of the three recognized Baru species.

Previously this species was already referred to as being "the most robust Baru" and they weren't kidding. This thing looks more like something out of the Cretaceous than an animal that lived a mere 8 million years ago.

The morphology is interesting in many ways. Many of the ridges that are so prominent in Baru wickeni and less developed in Baru darrowi are absent. The seventh and eight tooth are so close they theres basically no space. Instead of four teeth like other Baru it has five in each premaxilla and the nasals reach the nares, like in Baru wickeni but unlike in Baru darrowi. The teeth also show the same small serrations as Baru darrowi and, unlike either of the other species, the jaws appear much less wavy not because they are but because the first festoon of the maxilla is followed up by a second one so developed it makes the first look almost flat. It's a fascinating mosaic of characters that makes its relation to the other species a puzzling question. You'd think that the ridges for instance point at it being derived? After all wouldn't it make sense? Baru wickeni had the most developed rigdes, Baru darrowi smaller ones and Baru iylwenpeny none. Plus, the teeth of Baru wickeni are smooth unlike those of later forms. Yet at the same time.... The fact that it has five teeth instead of four and the fact that the nasals reach the nares are both ancestral traits, so you'd expect it to be closer to the base.

Left: Baru wickeni Right: Baru darrowi

Well, while I think this isn't going to be the final place of this species among Baru, the most recent phylogenetic analysis suggests that Baru iylwenpeny was weirdly enough the basalmost species. Which means that it must have split from the other two species at the latest during the Late Oligocene and outlived the both of them without us ever knowing.

The paper also discusses how these animals may have gone extinct. If you look back at Kalthifrons, you might remember how I mentioned that mekosuchines kinda had a drop in diversity when transitioning from the Miocene to Pliocene. While the new paper avoids calling this a drop in diversity, it does highlight that there certainly was a turnover in fauna. The reason is an old enemy of mekosuchines. Climate. Yates and colleagues suggest that Australia was hit by an especially nasty dry period at the end of the Miocene, severe enough to drive Baru to its death but not severe enough to whipe out all mekosuchines. And after Baru was gone, Kalthifrons and Paludirex moved into the open niche.

There's also a final little piece of information that's not focused on yet really fascinating. Baru iylwenpeny had a friend. At least one other croc lived at the Alcoota site during the Late Miocene and tho it hasn't been studied in full yet, one thing is apparently known. It was a relative to the Bullock Creek taxon that coexisted with Baru darrowi and a relative to "Baru" huberi, the small croc that coexisted with Baru wickeni. This grouping has yet to be given a name, but its fascinating to me that each Baru species seemingly coexisted with a much smaller mekosuchine. Alas, like Baru this lineage seems to have fallen victim to climate change.

Baru wickeni and "Baru" huberi, in truth an unnamed genus.

The paper is accessible here for those that wan't to dive deeper into the matter. I'll also be working on an updated size chart, this time featuring all three species of Baru, tho I can already tell you that despite being more robust its surprisingly not that much larger.

The last Baru (Crocodylia, Mekosuchinae): a new species of ‘cleaver‐headed crocodile’ from central Australia and the turnover of crocodylians during the Late Miocene in Australia (wiley.com)

[jacquesthepigeon]

You know that tweet that that went 'do people actually LIKE ml or just the character designs' made me realize that most of the popular posts in ladybug right now are fancomics. With, very, very different characters than that to canon. And from what i remmember from ladybug yt? Just rage rage rage at mari, the protagonist. Twitter's too large for me to get an actual common opinion but with a Great chunk of them having been blocked or mocked by That Guy? You really gotta wonder Who Does Like Ladybug. It makes me intrigued about what's going to happen to it like 10 years down the line popular conscious wise considering they have owl house, ducktales, Kipo and Amphibia as contemparies, like im not gonna be the one saying that in the future ladybug's gonna be remmembered as this niche thing that was made in the great Cartoon Renaissance but i do just Wonder what will happen.

I live under the assumption that the people who enjoy ML the most genuinely don’t touch it’s internet fanbase at all. Like, they stream the show, have a laugh, never get emotionally invested, maybe buy a sticker book, but don’t ever try to deeply analyze it or interact with other fans. Cuz I don’t think anyone in the tags is having a good time about it 100%.

It’s hard to put into words but like. While I love getting brain worms for a series, I do tend to be more critical of it when I’m thinking about it nonstop and the hyperfixation becomes more about participating in analysis of the series than just going along for the ride, which is easier to enjoy.

So basically I think the people that enjoy the show the most are the ones invested enough to put on new eps when they come out but not enough to interact with fans.

[thydungeongal]

Hey! If you don't mind a little game design question for you, do you prefer classed systems or classless? Personally I always find myself drawn to classed systems since they tend to give a stronger character identity of what they can do, but would love to hear your opinion!

I don't have a strong preference for one over the other, because I think they are both valid answers to the question of how to differentiate between different characters! As you mentioned, classes (and similar features like Skins, Playbooks, Professions, Careers) can provide a character with a strong archetype and if designed really well can also really tie them into the setting from the get-go. Having said that, they can often feel constricting, especially if the fiction and the mechanics aren't in harmony! In some cases it can lead to this weird design where new classes are allowed to proliferate because there are so many niches that need to be filled. Pathfinder 1e is a great example of this design: of course its roots are in D&D 3.5, but D&D 3.5 never went quite as hog wild with the proliferation of specific classes and alternate versions of those classes and so on and so forth. Which is to say, a class-based system absent coherent design goals can often end up as effectively being a weirdly designed classless system. (I know there are people out there who like Pathfinder 1e and the number of options it has, and I don't think they're wrong. I just think that type of design dilutes classes and puts the entire need for classes into question since they're no longer arguably fulfilling their role of providing a clear archetype and place in the setting.)

I think one role that classes fulfill very effectively in the context of cooperative action adventure games (the most ubiquitous genre of RPGs) is that they provide a clear method for niche protection as well as allowing for an intraparty metagame where each character seeks to fulfill a different role! However, if party balance is not a concern (or the idea of a party isn't even present) in the game, classes might not be necessary, but they can still act as like. Almost comeddia del arte style archetypes so each character's niche in terms of the narrative is still somewhat unique. This is how I look at Apocalypse World playbooks and Monsterhearts skins.

On the flip side, a classless system often gives players a lot of freedom over character creation, which is really cool, but without some structure or scaffolding it can easily lead into analysis paralysis. This is why I like classless systems that while relatively open when it comes to advancement provide the player with very clear discrete choices at character creation. For example, RuneQuest and Mutants in the Now and Gamma World 7e are all classless systems, but none of them overwhelm the player with too many choices. Like, in RuneQuest you don't just start spending skill points until you run out, your character has a set of skills determined by their culture and career that those points can be spent on! Conversely, Hero (as much as I love it) and GURPS commit the cardinal sin of simply giving the player a bunch of points and. Telling them to go at it. (Some versions of GURPS, like Dungeon Fantasy, effectively have class packages to help with character creation, which is basically what I just praises RuneQuest and Mutants in the Now for!)

Anyway I think there's also something to be said for games that don't have classes as such but also actually kind of do. Vampire: the Masquerade's clans are not as prescriptive as classes, but they effectively serve as a package that grants access to a small set of abilities. Or you could take an even wider view: comparing the different splats of Chronicles of Darkness to each other one could argue that Vampires are a class and Werewolves are a class and so on, because each of them unlocks very specific abilities. Heck, even though Eureka: Investigative Urban Fantasy explicitly doesn't have classes, it has multiple monster types straight out of the box, and arguably those all represent strong archetypes.

Anyway point being classes and classless design answer very different questions. If you want something that tries to go for a world sim approach I would generally advise against classes. Classes, however, are perfect for your party-based adventure games because it provides players with a quick way to gauge party balance, and even in some non-party based games they can provide an interesting means of making sure each character has a specific role in the narrative that is theirs.