#meta garbage

[rainstormcolors]

Seto's been betrayed by the system and adults within the system from his childhood, and therapy for a CEO in the mid-90s and early-00s in Japan wouldn't have seemed like the solution it does now -- there was a kind of taboo to mental illness and struggles as it was expected to be kept private, within the family, and could very much be seen as a sign of poor willpower (the West absolutely has issues with the way mental illness and trauma are viewed as well, and no culture or time period is a monolith, but I feel it's worth considering for my personal view of canon and the characters).

Adult therapists are human beings too, prone to biases, flawed, with limited viewpoints like all people. And it's strange how people say we should be wary of those in authority, but suddenly when it comes to therapists we ignore how therapists can make mistakes or sometimes even abuse their power. (Absolutely not all therapists -- but this is in the context of Seto Kaiba and his life, and I do know the reality of therapists making mistakes with their clients.)

For me, the situation Seto's been placed into and the reality of it, and how turning to others seems so weak and self-defeating to him (and to many others) and how it does have a real double-edged blade, are part of having compassion for how much he mentally tears himself apart.

Having read some of KT's ideas behind how he wrote YGO, and noticing the repeated themes within it of how duty and expectation can destroy people even as it binds them to the people they love, I have to take note of how exception and duty and the "need" to be strong and self-reliant are written into Seto's character and what his story is saying to us. I think pretending the answer and road for Seto to good mental health was actually easy and right there the whole time does a disservice to his struggle, which I don't feel fans who want him in therapy believe BUT I have seen people abandon their compassion because they felt the struggle with trauma and mental health had an easy and universal solution in therapy and that, indeed, people still struggling are weak.

[krickficet]

He was probably waiting a stupid amount of time just to pull that joke

[paesagex]

Shimura Koutaro and wasted occasions for depth within My Hero Academia

Thinking about Koutaro Shimura one day a realization suddenly hit me. If Gran Torino and All Might fully believed for five whole years that All for One was dead, but neither knew of Koutaro’s and his family's tragic passing in a “mysterious Villain Attack”, that means that they never tried to get in touch with him.

That’s not a big revelation, we already knew that, but the more I thought about the implications of this choice, the more fundamentally wrong it felt.

There was one sole reason Koutaro was sent away from his mother, and that was to protect him from Afo. but once Afo was “dead”, there were plenty of good reasons to try to look for him.

Out of minimum decency, Koutaro deserved at the very least an apology and an explanation for his abandonment. He also deserved to know that the death of both his parents had been avenged, as the man that is behind all his family’s trouble was believed to be dead. Besides, was Koutaro even ever informed of Nana’s death? If she tinkered with the documentation, it would mean that there was no legal proof that Koutaro was her son. Therefore, no government official would know to notify him.

One may counteract that they tried but failed, but that’s a weak argument.

Koutaro was a successful businessman who likely had a lot of social connections, and his name wasn’t even changed. All Might, with all his resources, should have been able to find out anything that Afo, the guy who Koutaro was supposed to be hidden from, could.

The motto of this story is “Plus Ultra”.

If it is the right thing to do, you should put the whole of yourself in achieving your goal, no matter how difficult.

Therefore, All Might and Gran Torino, thematically speaking, have no excuses to not have tried to make things right with Koutaro. Even if, let’s say, Afo had managed to make the whole ordeal of the Shimura’s mysterious deaths go mediatically unnoticed, the heroes aren’t excused from their inaction.

Or rather, the narrative that established this theme isn’t excused from not calling this out.

THE WEAKENING OF THE NARRATIVE'S OWN MORALS

In fact, this last consideration is really my main point. This essay is titled “wasted opportunities,” not “heroes suck,” after all.

The problem with this oversight from the two heroes isn’t really that it’s a clear show of neglect towards a man that lost his childhood innocence because of the choices heroes made for him.

It’s that they’re never called out about it.

Making characters mess up, make bad choices and ending up hurting others is not bad writing at all, actually it is very good. This shows that they’re complex and have multiple facets, and that their actions have consequences within the story, which is what makes them well written!

However, when the narrative fails to acknowledge bad, hurtful choices, especially if it is trying to frame a character as a “good guy”, then it creates inconsistency.

All Might’s arc is one of deconstruction, where he’s supposed to go from A, an untouchable idol, to B, a man with flaws and sins. However, this example I’m bringing up and many other ones people pointed out over the years shows that his arc really goes from A, to B, and then back to A again. The story never fully dives into all the things All Might could have been criticized for, it is afraid to touch upon Deku’s idolization of him.

Despite my opinion in the matter being that Koutaro and his right to know should be mainly Gran’s responsibility, as he was involved personally in the decision to abandon him, All Might is a much more important character, and should be challenged harder.

Of course though they’re both left off the hook, All Might to protect Deku’s moral integrity and refusal to question his idol, Gran because he’s specifically thought out as a stagnant old fashioned hero who represents the suppressive justice system which Deku was supposed (and failed) to surpass.

Letting the matter of these two heroes just leaving a presumably still alive man unaware of the reasons behind a huge injustice imposed on him when he was just a child makes them look bad, but not in a good sense. They seem indifferent. The fact that Koutaro was already dead by the point of Afo’s “head massage” is irrelevant. It’s the fact that they never even think about making things right with him that counts.

Heroes neglected Koutaro when they decided that his right to have a parent was less important than fighting Afo, and they just kept neglecting him even after they believed the fight was over.

WHY THIS CHOICE (in my opinion)

I thought about it, I tried to find a reasonable explanation as to why Horikoshi would just pretend this whole deal wasn’t there. And the only one I could come up with is the same one I reached in trying to explain myself why nobody ever seemed to look into Shigaraki’s past once his identity as a Shimura was revealed:

Horikoshi had already planned the whole Afo/Ofa psychic connection and wanted that to be the way Deku grew any interest in understanding Shigaraki.

All Might and Gran Torino looking for Koutaro would have uncovered part of the mystery behind Shigaraki too early, while the author wanted the protagonist to be able to look directly into Shigaraki’s heart through the power of One for All, the Quirk Created to Save.

However, as many pointed out before me, the last arc and Deku’s newfound interest in helping villains feels incredibly rushed, his empathy forced, which is frustrating since there was, through the whole time of the story, a huge pile of information just lying there gathering dust that the characters had tons of good reasons to look into and be interested in.

MISTAKES AND USING THEM TO BUILD A STRONGER STORY

I fully believe that the story building would have worked better if Deku’s interest in Shigaraki had been gradually built from the start, and Koutaro was the key to achieve this.

Heroes are “forbidden” from focusing too much on the Shimura tragedy because that would ruin the story’s strong plot twists and tragic flashbacks, which are one of MHA’s main strong qualities, one might say. However, this isn’t a true problem.

In fact, if you think about it, making so that All Might was aware of Koutaro’s and his family gruesome death would have created 1) foreshadowing to Shigaraki’s identity reveal, 2) added weight to his shoulders, challenging not any hero, but the Symbol of Peace himself to face the consequences of his neglect directly, and 3) at first, it would have made the assumption that Shigaraki was the one to kill his family even more horrifying.

If we as readers had been aware of the level of violence that the death of the Shimuras involved before Shigaraki’s flashbacks, we would have been lead to believe, just as any character who would have bothered to do any research about them, that they were a perfectly normal, loving family that couldn’t possibly have deserved this tragic fate. Making Shigaraki, who is said by Afo to have killed them, look like an innate psychopath.

For these reasons, the emotional investment of Shigaraki’s flashbacks in the My Villain Academia arc would not have been undermined at all, actually it would have strengthened it, as in this case, they would work both as an explanation of how Shigaraki was manipulated from childhood by Afo and it would unmask an impression of superficial happiness and perfection, one of Mha’s big themes.

Moreso, a gradual investigation through the whole story on the main Villain’s past would, as we already said, have created a more earned interest from the protagonist, but it would have also… made a lot of sense logistically.

His Quirk was known, so was his real surname, by this point the fact that the police never connected the dots and didn’t manage to find his old neighbours, kindergarten teachers, anyone who could have testified that Tenko used to be perfectly normal and even exceptionally gentle before he was taken in by Afo is just a huge, unjustifiable plot hole.

CONCLUSION

Keeping All Might and Gran Torino so disinterested of Koutaro’s and his family’s fate is both a bad choice in moral consideration and, because of the way it is (not) handled, in writing, just as the gaping black hole that is the nonexistent investigation on Shigaraki when there was plenty of information.

The Shimuras are not only amongst the biggest tragedies of this story, they’re a missed opportunity for a fully deep exploration of the story’s themes. One of many, unfortunately.

One that fully reflects all the things that make MHA a hypocritical, double standard narrative that parrots its desire to uncover cycles of pain and violence and hold society accountable but then never fully commits to its message.

Koutaro and Shigaraki, father and son, led sad lives, neglected by the people who should have protected them and therefore becoming easy prey for Afo, and then died horribly without this sadness ever being really acknowledged, the people responsible never expressing their guilt appropriately.

There was no improvement between their two generations, Deku’s teachers didn’t manage to be a good example to the new Symbol of Peace by facing their mistakes honestly.

My Hero Academia presents the tragedies of the Shimuras as ways to uncover cycles of violence and societal neglect, when it is actually using them to create empty emotional engagement that isn’t used to add depth to the story and doesn’t even reach a real resolution.

To put it simply, they’re wasted.

[veinsfullofstars]

👑 Kirbtober 2024 Day 27: Control 👑

(ID: Kirby series fanart of Traitor Magolor magically manipulating a lines of plushies(?) modeled after Kirby, Bandee, King Dedede, and Meta Knight. He smiles behind his scarf, resting his head casually on one hand while puppeting his new toys around with the other, the Crown atop his head watching the spectacle with its unnerving gemstone eye. END ID.)

Previous Day | Next Day | Prompt List (made by @/paintpanic)

Started on 10/10/24, finished on 10/13/24. | Kirbtober 2023 Comp

[drwolfnichols]

i came up with a list of what morris has put carol through because it’s time for (murder) divorce:

1) cheated on carol with a psychologically fragile woman who was his subordinate at work

2) lied about cheating until his wife found the messages on his phone

3) tried to guilt trip carol into not separating from him because it was “just one night” and shouldn’t ruin 20 years of marriage

4) lied about the affair being a one night stand

5) lied about not telling alison he loved her

6) used their daughter as a manipulation tactic to get carol to forgive him (i.e. look how much WE love each other and WE love you)

7) gave his affair partner enough sensitive information for her to be able to stalk carol, seek her out for psychiatric services, and entrap her

8) showed no real empathy for the suffering he caused carol after she delayed her dreams to support his career~ which he used as an excuse for cheating on her because the long hours made him “lonely”

9) didn’t immediately deny being in love with his affair partner when carol asked him directly

10) proceeds to torment carol on several occasions by essentially saying: “god carol you’re being so unreasonable, why can’t you just forgive me already and stop damaging the family? smh our daughter is suffering because you won’t get over yourself”

[lilac-sweet]

Solas what the fuck have you been eating

[tequilaasquared]

God the fact that we were meant to fully take Fiona’s side during her whole ‘independent Fiona’ phase in s7 pisses me off. Asking the family that she CHOSE to become legal guardian of to put her at the bottom of their emergency contact lists, (underneath a couple with small children and a business who was unrelated to them, and their bipolar brother who had a super high pressure and high responsibility job) was completely unfair and irresponsible frankly. And doing it after she’d been called to Ian’s work as his emergency contact because he was clearly dealing with hypomania and his colleagues were concerned just felt like an extra twist of the knife. But I understood her reasoning to an extent.

But threatening to make her underage sister and her baby niece homeless because she was still pissed a traumatised 14 year old decided having a baby was the only way to become a part of a stable family environment? That was just plain cruel. Fiona didn’t have to be happy or agree with Debbie, and was well within her right to let Debbie know her disappointment and frustration, but she was still her legal guardian and she knew better! She was an adult and Debbie was a child being threatened with homelessness by the woman that raised her. Demanding Debbie get a job and getting her the application and Debbie following through and going to the interview, only for Fiona to actively sabotage it bringing Franny mid way through her interview was cruel and so unFiona like. Fiona was a grown ass 27 year old and should’ve sat Debbie down to communicate with her. I get that Debbie could be petulant and argumentative but she was a literal child! Fiona should’ve put her foot down and demand Debbie discuss with her how best to organise balancing work with childcare instead of offering zero support. She also lived with 3 brothers old enough to babysit Franny from time to time whilst Debbie worked. One of the overarching themes of Shameless was how the Gallaghers literally raised each other because their parents were awful human beings and you’re telling me Franny’s uncles couldn’t look after her for a few hours a week? It frustrates the shit out of me that the narrative successively villainised a young, impressionable girl because she made stupid decisions, influenced by grooming and the toxicity of her home life and her friends. And her following through with the decision to have a baby was further cemented by her sister’s cruel ultimatum and her only actual support at the time coming from her narcissistic, opportunistic father who used her vulnerability for his own gain.

Fiona was let down and emotionally neglected by Monica and she participated in that cycle of abuse with her pettiness towards Debbie. And I say that as someone whose favourite character for most of Shameless’ run was Fiona.

[eyeline-r]

I opened whatsapp today and suddenly there's this new meta ai feature? and you can't even opt out of the shit or make it go away

and why would I want to communicate with fucking artificial intelligence when I have actual human contacts on there and why would I need ai on whatsapp, I was fine without it?! why would I need ai on whatsapp? God everywhere I look it's ai ai ai ai and I fucking can't anymore

[rainstormcolors]

So much appeal in Seto Kaiba for me is how it seems so viscerally painful for him to embrace kindness, "goodness," and to see his own feelings as a positive force, and him cracking himself open and reaching for the "goodness" within him being sporadic and sudden is part of that characterization.

[pocketgalaxies]

still trying to wrap my head around keyleth's "i trust orym and orym trusts you so i trust you." bc when she said that my first instinct was disappointment, i think? or at least wishing it was a little different.

i think it would've been so much more meaningful to imogen if keyleth just said "i trust you." to have someone trust her and her integrity, not just bc of the company she keeps but because of her. and to hear that from keyleth, someone that imogen has come to respect a lot. i also think keyleth would be keenly aware of those things – if there's anything i'm sure she's learned over the years, it's that her words have immense weight. this is absolutely one of the reasons she pauses so much when she talks (both a marisha-ism as well as a character moment!)

so i guess i just wonder if keyleth actually doesn't trust imogen enough yet and has to filter it through orym, just enough to give imogen the confidence and validation she desperately needs but not so much that it's a falsification or overinflation? would she lie about trusting imogen in order to instill confidence in her, i want to say probably not? but it could probably go either way and would be heavily dependent on what she's experienced in the last 30 years – what is keyleth's relationship with telling white lies and keeping little secrets, after a few decades as the voice of the tempest? it's easy to imagine that it's changed, but also perhaps remaining honest is something keyleth has come to greatly value. tbh i don't think this was particularly explored in c1, and vm did deceive quite frequently, but never in the role of Mentor to a younger, more naive adventuring party like bh

i do love the follow-up of "i see a lot of myself in you" bc the parallels were there all along and i just never noticed them. young women who grew up in a publicly broken family with the weight of their destiny becoming progressively heavier on their shoulders. unimaginable, overwhelming power coursing through them as they explore a foreign and vast world. questioning every single decision they make along the way. the responsibility of the fate of the world frequently, unrelentingly, falling to them for reasons completely out of their control. not knowing anything but knowing they love their companions and knowing they want to do good. not knowing at all what good is anymore. still striving for it regardless.

it does make me lean more toward yes keyleth does trust imogen, because keyleth knows that imogen does not trust herself but keyleth can recognize that she can be trusted, because keyleth was the same way and she turned out okay. if anyone would understand the simultaneously terrifying but also unquestionable reliability of a truly good person trying to survive in a harsh world, it would be keyleth. but then why didn't she say so! and also i just personally would like to think that keyleth does trust imogen after seeing all that she's sacrificed and the level of dedication she's demonstrated over the last several months. but maybe that's just my bias after seeing every little bit of anguish and anxiety that imogen has experienced, and it's very hard to tell/remember how much of that has actually been perceived by keyleth. but also to see herself in imogen would suggest that she's seen at least some of it?

anyway i'm driving myself crazy. but i wish she could've told imogen she trusts her, and idk what stopped her. :(

[echodrops]

If the "straight women are much more likely to write a spicy and well-written m|m romance with complex male characters because they're naturally attracted to men" claim is correct, then why do straight male authors have acquired the stereotype of writing one-dimensional female characters and lame romances if they're naturally attracted to the opposite gender? Why do they prefer to focus so extensively on the male characters and their bromances then?

First, I think we need to clarify: Absolutely nowhere did I say the spicy mlm fanfics were uniformly "well-written." 😂 There are beautiful gems among fanfiction that have moved me to tears like nobody's business, but there's also just a whole lot of... not very... philosophically deep works out there. I don't want to sound mean, but just being brutally honest, I'd wager if we considered all fanfiction across all fanfic sites, a pretty solid majority of it wouldn't meet most people's definitions of truly "well-written." (Which is completely fine! Fanfic writers aren't getting paid! They're usually amateur authors who are writing for fun and often include younger writers just learning the ropes of grammar and character building for the first time! A fic doesn't have to be perfect to be enjoyable for readers!)

On top of that, let's also just be real--a lot of the explicit-content-for-explicit-content's-sake fics out there aren't really trying to write the most realistic and three dimensional male characters ever. They're trying to write sexy fics; realistically depicting men with life-accurate emotional depth and nuance is often... not the goal. 😂

Of course there are standout fanfics and incredible fanfiction authors. But, if we're being 100% transparent, I think a solid majority of fanfic authors don't actually write male characters that well. A lot of them have limited development, unrealistic or unclear motivations, out-of-character behavior, or a lack of interiority to their thoughts and feelings. A lot of times male characters in mlm fics are even reduced to caricatures of what women want men to do and feel. (I'm not judging here though--if a woman author is writing for women and her women readers want to see men who meet women's expectations, then hey, give the audience what they crave!) Just like Disney princes, a lot of men in fanfiction would seem very unrealistic and flat if you compared them to actual men from the real world!

I think we fanfic readers are just a bit biased, you know. If you're an average fanfic reader, I'm sure you've had the experience many times of being willing to give fic writers the benefit of the doubt even if their works aren't perfect--far more than you would give an actual published author or TV showrunner.

We don't scrutinize fanworks to the same extent that we scrutinize published media. Most people aren't grabbing someone else's fic and writing a ten page essay on how their male love interest wasn't properly fleshed out. Fanfic is full of poorly written men too, we're just not looking for the writing flaws when we read fanfics, at least not to the extent that meta analysts notice flaws in published media.

Side note that I also think is worth thinking about here: Because most fanfiction readers are female (and statistics suggest that a majority are even cisgender women), I think we're already at a slight disadvantage. Do female readers really have the most accurate perspectives on what realistic and three dimensional men would feel or act like? People are people, of course, but my perspective as a cisgender woman is never going to be as "100% genuine" as the perspective of someone who actually identifies as a man.

Second, and sorry, I know this is already long, but I think it's actually a mistake to buy into the stereotype that a majority of male authors can't write believable and interesting female characters. I think this illusion comes because fanfic fandoms congregate around very specific types of media, and often (though of course not always) that media is geared toward younger audiences. The bulk of the fandom claims that "male authors suck at writing women" come out of the shounen anime and young adult genres which are so prevalent in fandom spaces.

The target audiences for both these types of media are teenagers, who (I'm going to be completely honest) are usually not that picky about the development of the characters in the stories they read. I don't mean that no teenagers care about well-written stories (obviously there are many who do!), but that the typical standard for philosophical depth and nuance to which media for young adults is held is, for better or worse, lower than the standard we hold media for adults to.

We don't expect Twilight to be as deep as Moby-Dick. We don't expect My Hero Academia to be Maus.

This isn't an insult to young adult media; we have different genres of content for different reasons, and I definitely would not have wanted every single manga I read as a teenager to be as mentally or spiritually challenging as Moby-Dick. Content for teenagers should be designed to resonate with teenagers, both intellectually and emotionally. Many works for teens can have excellent writing and punch above their target audience demographic too. But the bulk majority of teenage readers are not (yet) going to be experts in literary criticism and sociocultural theories, capable of pounding out advanced meta analyses of the gender dynamics of characters in their favorite stories. Some will, but most won't.

Stories for young adults just don't have to hold up to that level of scrutiny, at least among their target audience.

At its core, however, the issue with the lower standards for depth of character building in young adult media is that it corresponds with lower standards for becoming popular as an author in fields such as YA lit and shounen manga. You don't have to be Leo Tolstoy or Emily Brontë to gain recognition among younger audiences. Sometimes, you don't even have to be good. Twilight was a roaring success, even while people lambasted it for being poorly written.

You don't have to be a literary giant whose books will be short-listed for addition to the canon of classical literature to develop a massive online fandom; Voltron was insanely popular despite being terribly written. 😂 You don't have to be god's gift to storytellers to become a popular shounen mangaka; Naruto is still one of the most popular manga in history and I hope no one genuinely thinks its characters were masterfully developed.

I'm not saying it doesn't take talent! It absolutely does! What I believe is that there's just not a guaranteed correspondence between "this author is popular and has a huge fandom" and "this author is actually good," especially in genres where the target audience is younger and therefore a little less likely to deeply critique the media they consume. Even if your characters--male or female--aren't that well-written, you can still get very, very popular in internet fandoms, especially with younger and more forgiving audiences, where only the rare few in the fandom will dedicate hours of their lives to performing meta analysis of your work, picking apart the writing quality and development of your characters.

So, long story longer: It's not that male writers overall are incapable of writing women. It's that a lot of fandoms spring up around kind-of-poorly written stories in the first place, and male authors who are not great at writing in general are equally unlikely to be great at writing women.

In fact, I'd suggest that male writers who are poor at writing women are probably also not great at writing men. Like, come on, don't tell me you think Bakugou and Midoriya's writing was good by the end of My Hero Academia.

Many popular authors with big fandoms are just being given more of a pass when it comes to writing poor male characters than they are with their female characters, and I'd argue that's likely because of the same reason I highlighted before: Their fandoms are dominated by women who like men and are willing to do more work to flesh out/fix the male characters they're interested in.

(It also helps that, with an overwhelming number of fic writers being female, they have less insight into truly depicting the male experience in authentic ways in the first place; if you are a woman, you're more likely to recognize a poorly written female character on the spot, while having at least slightly less ability to identify the unrealistic or inaccurate elements of male characters.)

Essentially, it's confirmation bias in action: We think men don't understand women, so we scrutinize male writers' depictions of women very closely, all while giving a pass to the fact that a lot of these writers just kind of suck at writing men too.

The "lame romances" in stories written by men aren't exclusively lame because of flat female characters--if the female character is flat, half the time the male character is flat too, and the romance is lame because the writer overall is... kind of lame... 😂

But why all the bromances? I wrote about this in my big long essay before, and I think there's plenty of very complicated reasons that men write so many male-male friendships and relationships into their story (re: coming from genuinely misogynist cultures, deliberately baiting fans with hints of BL, an actual internalized desire for greater emotional connection with fellow men due to perceived male loneliness, self-projection into their own characters, having been told they aren't good at writing women so they've given up, etc. etc.), but I honestly think one of the simplest reasons is genre. The majority of these "bromances" are coming from shounen manga, and shounen manga has some very common recurring tropes, chief among them being the whole "me and my ~RIVAL~" dynamic.

A lot of mainstream shounen stories have had such enormous success with this "young male protagonist and his best bro/rival/arch-enemy" dynamic that, frankly, I think many modern manga are just piggy-backing on the trope. "Dudes who beat each other up and become besties" has worked for so many series now that it's just become a staple of the entire genre.

I also think the market for Japanese manga in particular is very unique, with male manga artists recognizing--and capitalizing--on the power of the "fujoshi" reader early on. It's easy for shounen manga artists to see the benefits of over-stocking their stories with male characters and queerbait, because hinting at mlm ships they have no intention of ever paying out on 1) rarely reduces their male readership and 2) actually broadens their readership dramatically by deliberately bringing in female readers.

Basically, so long as the endgame is a het ship (or at least no ship), male readers will still read a story even if it has mlm shiptease, while more women will be drawn to the story for the mlm shiptease when they otherwise might not be that interested. There's no way to lose.

In essence, on the topic of queerbait, the shounen manga artists were just really savvy and realized faster that "having your cake and eating it too" is possible by incorporating a higher number of male-male relationships in their stories in order to broaden their readership and sales. Comparatively, western media was just much slower to cotton on to this technique, and I'd say it wasn't until relatively recently that western series have begun hyper-emphasizing male-male relationships specifically to appeal to women readers and viewers (see Supernatural, Good Omens, probably Teen Wolf [I don't actually go there so I can't confirm but I feel like this is true lol], etc.).

And, one final sidenote: I think it's difficult to compare published media to fanfic in terms of "featuring what you're sexually attracted to" because in published media, people are at least supposed to pretend their own sexual preferences aren't entirely warping the story, especially in young adult series (which have the biggest fanfic fandoms). Like... Compare: If you're a shounen manga artist you can get away with some panty shots but you can't be a flat out gooner--conversely, if you're a fanfic writer, you can write hardcore porn without hesitation. If we want to make an actual comparison in how much sex appeal sways character gender ratios in fanfic versus published media, I'd say the only comparable match would be comparing the ratio of female characters in harem anime and straight up hentai to the ratio of men in fanfics. We can't be out here comparing like... the original story content of Harry Potter (made for children, cannot be overly sexual) to its AO3 content (where nearly 40% of all HP fics are labeled explicit/mature). You gotta compare 18+ apples to apples.😂

Phew, sorry, that was a lot.

tl;dr: Tons of factors--yes, including misogyny--affect how men write women, but the issue of male writers being bad at writing women is likely being exaggerated in fandom spaces because 1) Fandoms are overwhelmingly female and women are better able to identify and critique poorly written female characters than anyone else, 2) Most of the biggest fandoms on the internet center around stories for younger audiences who haven't had enough time to develop strong media literacy and literary criticism skills, allowing writers to become popular without necessarily needing to be of highest quality, 3) Female fans are more willing to forgive poorly written male characters because they're more likely to be interested in and attracted to those male characters, and 3) A lot of writers just suck in general; it's not localized to just being shitty at writing women.

[veinsfullofstars]

✨ Kirbtober 2024 Day 11: OC or Fav. Character ✨

(ID: Kirby series fanart of some of my favorite lads in no particular order. From bottom to top - Magolor winking mischievously at the viewer and pointing up, surrounded by stars; Daroach wrapped in his cape and tipping his hat with a smile at the viewer, surrounded by sparkling snowflakes; Dark Meta Knight leaping up and scowling at the viewer through his mask, surrounded by mirror shards; and Marx cackling maniacally overhead with his golden wings spread wide, surrounded by hexagonal plates. END ID)

Other favs not pictured: Kirby, Adeleine, Meta Knight, Shadow Kirby, the rest of the Squeaks, Galacta Knight, Blade Knight, Susie, Drawcia, Zero Two, Dark Matter Blade, and probably a bunch more I’m forgetting. (Listen, there’s only so much room on the canvas, and I simply do not have the stamina to draw a billion little guys at once.)

Previous Day | Next Day | Prompt List (made by @/paintpanic)

Started on 09/12/24, finished on 09/14/24. | Kirbtober 2023 Comp

[cyberpunkboytoy]

Hey y'all, I might be taking out my ass here, but the timing of this new data-selling AI business is either an extremely unfortunate coincidence or a calculated attempt to draw attention away from Tumblr's transphobia problem.

Like, if they were hoping to use bad press to distract from The Thing They Have Lawsuits Over, a pretty safe move would be to shift focus onto something that by Tumblr's own admission has very few existing laws. Just a thought.

[gayofthefae]

Scenes do not exist unless they facilitate a change or tone shift, a "value change". Something that occurs in the scene must motivate a character to do something they would not have otherwise in future scenes. Good to bad or bad to good etc but never no change in emotion. This applies to every scene, regardless of length. It provides a piece of information that changes the emotion and causes and affects the direction of action.

But we have a scene in 3x01 of Mike and El talking on the radio as he bikes away from her house. He says Hopper looked funny. She laughs. She says he wishes he was still there. He agrees and says he'll be back tomorrow...but his delivery changes and his face falls. That's the entire scene.

Then, as I covered in this post, he arrives at the movies irritable.

Only two things are stated in that scene: Hopper made a funny face, El wishes she and Mike were still together (implied: kissing).

The scene is started with the Hopper comment by Mike himself, so that certainly isn't the gained information over the course of the scene. So gee golly, what could have altered him?

Yeah. So what we know of scenes are writing is that Mike starts this scene happy. A single thing is said: "I wish I was still with you". Mike is required by screenwriting structure to leave the scene differently then how he came into, which is, as we just established, happy.

The only reason for this scene to exist is for the idea of being with El again how they just were to upset Mike.

[polwigle]

ok hey tumblr can we talk for a sec?

i don't necessarily object to the whole banner thing, i mean it's got a big visible close button and everything so that's fine, but uh

i do actually have my ad blocker disabled for your domain,

bc I'm already paying you to go ad-free?? so i don't know why you keep asking me to do something i'm already doing

[the-labyrinth-of-me]

Alan enters Zane’s room, hoping he’d find the manuscript there. But all he finds is another artist who looks exactly like him, who left his markings and traces everywhere. Ahti keeps reciting his poems, The Old Gods of Asgard use them in their songs, Hartman has one carved into the sundial at the Cauldron Lake Lodge. Zane’s spirit is everywhere. There’s a legendary movie, the „lost film“ that Ilmo and the Cult of the Word are after, and while the Cult of the Tree copies the murders of Alan’s books, the Cult of the Word (who is their leader? Scratch? Zane? Wake? All of them?) copies the ritual of Yötön Yö, the ritual that was once performed by Thomas Zane himself. It drove him into madness. He had to kill the woman he once loved, and still does. But he forgot about it. He’s on another mission now: he leads Alan on. He contacts him over the phone, tries to feed him information. About Parliament Tower, Caldera Street Station, the cinema, the hotel, about Scratch and Alice. But never too much at once. Just plain and simple steps, one after another. Alan is Zane’s biggest chance to get out. He guides Alan to the murder sites. And to his room. But he doesn’t have anything more to offer, at least nothing Alan’s interested in. The only thing he can offer is the truth.

The truth about Alan.

He tries, but Alan either refuses or is unable to understand. Zane’s too far gone, too far down the spiral to explain it better.

Alan, at one point, realised that his constant changes of Return continued to kill people by the dozen. He couldn’t change it to stay consistent with the genre. But he felt bad about it. Simultaneously, Zane found himself stuck. That was unacceptable. He guided Alan to his room, and he knew exactly who he was. That Alan had anger issues, problems with addiction. What Zane needed was Scratch. Scratch didn’t care about casualties. Scratch embraced the horror, the terror. It aligned with Zane’s movie Yötön Yö. Zane was aware of the spiral. He knew the rumors about Alan Wake. Of course he did. It’s all from him, part of the plan. Zane knew how to awaken Alan’s dark side. He made Alan drunk, high, and Alan got unhinged, lost control. Scratch took over. He promised to write. He promised Zane would leave together with him. But Zane underestimated Scratch and his cruelty. Scratch left Zane behind, betrayed him. Zane needed another plan. He knew that Alan would loop back to him.

Zane let everything happen again, but this time made a film, the true companion piece to Return. Alan drunk, high, out of it. Talking rubbish, throwing up, dancing. Scratch. Zane needed to confront Alan about Scratch. He needed Alan to defeat Scratch another time. He planned to confront Alan about this on his next loop, but the Dark Presence interfered. It made Alan forget. The Film confused him more than anything else. Another visit to room 665 was needed .

And Alan came. But Zane couldn’t risk that Scratch would take over again. He tied Alan to a chair. But Alan made progress. Gained power. He managed to fight back, changed places with Zane who was now sitting tied up in the chair. Zane was in shock. His plan failed another time. And many times after. But he needed to guide Alan to the next murder site in the cinema. He cut out the part of the film that wasn’t strictly necessary. He cut out the bit in which Alan, with his back against the wall because Zane had seemingly betrayed him, got angry. They fought. Alan lost trust in Zane and hit him across the face. Zane spat blood. But he didn’t give up. He couldn’t. Scratch was almost back. Alan almost lost control again. A sacrifice was needed. The story demanded a price to be paid. And Zane would pay it.

He made Alan angry on purpose. Alan drew his gun, pointed it at Zane. Zane carefully tried to show him the truth again, about Scratch. But he had to be vague about it, so the Dark Presence wouldn’t be able to interfere. Alan would get it eventually on his way to ascension.

Alan shot Zane, many many times, loop after loop after loop. Zane knew he’d be back until Alan would travel upwards on the spiral. He knew he would have to die countless times, by the hands of his other self. It was the dark sacrifice he chose to make. He was both dead and alive. Dead because the story of Initiation demanded it. Alive because it was just one of his many versions who died. There was always another Tom Zane on the spiral. He knew about it. He told Alan about it when he was drunk, before Scratch showed up. Countless times. Until Alan would remember it.

Zane hid the movie ticket in his shirt pocket, to give Alan access to the final murder site. He had been trying to help Alan all along, as best as he could, but without interfering with the story. Without selling them both out to the Dark Presence. It was necessary that Alan would kill himself in the Writer’s Room again and again. Until he got the story right. Until he got the ending right. And to make sure that Scratch wouldn’t leave without him. He had to make these sacrifices , had to make Alan make these constant changes, until the story was just right. He had to sacrifice himself for the greater good, same as Alice. He didn’t know if it all would work out the way he hoped, but he couldn’t afford to not try it. He spiraled downwards while Alan ascended, continued to lose himself, pieces of who he once was, while Alan gained completion. They needed to be in perfect balance to slay the demon that was Scratch.