#of course --- from a fan perspective --- those things absolutely HAD the POTENTIAL to be important

[the-bloody-sadist]

Hi, Sadist, I love your artworks and stories so much, as an aspiring writer. I was wondering what you thought of Fyodor's death during the last season 5 episode of bsd, because I felt that all this time he was shown to be sooo intelligent, and then he got fooled way too easily by skk's fake vamp trick (i'm dying), the plot of bsd is confusing me :') AM I alone here??

First of all, you've come to the right place. If you didn't see my other most recent ask, I'm a BSD s4-5 hater, and an Asagiri hater as a whole, really, after seeing the kind of shit he's pulled.

Second of all, let's get something straight here: FYODOR IS NOT DEAD. You can't EVER tell me that 1) a BSD character of importance has actually died for real and 2) his dead body was not even shown on screen and Dazai said "HE'S DEFINITELY DEAD" HAHAHAHA. LAUGHABLE. ATROCIOUS. He's obviously gonna come back minus one arm. Asagiri doesn't care about logic or good storytelling, anymore. It won't matter that a helicopter literally BLEW UP WITH HIM IN IT, Asagiri will be like "um akshually" and then the worst possible plot convenience explanation ever, just like EVERYTHING IN THE NEWEST SEASONS HAS BEEN SO FAR.

Like please. I'm SUCH a hater right now. I don't ever want to see more BSD content. I'm done. Wrap it up. The vampires were enough. I didn't need fucking CHUUYA PRETENDING TO BE ONE AND MAKING THE AUDIENCE JUST BELIEVE THAT FYODOR WAS STUPID ENOUGH TO THINK HE ACTUALLY WAS A VAMPIRE?? HELLO? Smart person, who??? Also tell me how he simulated the red eyes, Asagiri. Hm? How'd he pull that off?

Bullshit.

Fyodor and Dazai came off as intelligent in their first few appearances together. Fyodor's BANGER scene with Ace? I'll never get over it. I LOVED that. Was it a BIT of a stretch in a lot of areas? Yeah! BSD has always been that way. But it absolutely lost its course and any sort of grounding in reality or good storytelling when it came to S4-5. All of the "'''''''intelligent'''''''''' characters are now just plot convenience masters. It's absolutely ridiculous. We went from high school level reading to kindergarten shit.

And I never thought I could be made to HATE Dazai. But these new seasons turned up the "oo I'm so quirky" dial on his character so hard that I completely disconnected with him and Fyodor and couldn't stand whatever scenes we got with them together. The whole prison break scene was devastating, too. What EVEN.

Coming from a writer's perspective, this is just the LAZIEST plot I have ever seen in an anime. Asagiri spent NO amount of effort deciding how to make characters work to get themselves out of whatever pits they fell into. He just went "oh and then this other guy swooped in and fixed it! Easy peasy! I'll beat up Kenji again! And then I'll give him this VERY IMPORTANT rage form suddenly that was NEVER explored and NEVER mentioned until just now! For like two minutes so he can "beat" this guy in a fight and then let him go because NOBODY DIES EVER!"

I seriously can't. I knew Dazai wouldn't die but all the fan theories of how Dazai wouldn't die were better than what actually happened. It's almost amazing the amount of non-effort that went into these season arcs.

After finishing them, I now hate Gogol, Fyodor, Dazai, Chuuya (more than before), Atsushi, Fukuchi, Ranpo (though I've never once had a positive thought about him) and basically everybody--except Akutagawa was okay, Sigma, Jouno, and Tetchou had potential, and Bram was very cute. They ruined everyone else so badly that it felt like OOC versions of them. Or did next to nothing with them, like Jouno and Tetchou. ESPECIALLY DAZAI. I will be malding over Dazai for FOREVER now. Why the hell did they turn him up to 100 on the most annoying parts of his personality???

In conclusion, not a single thing went right in those episodes, it was all "oh this could be go-- [GETS RUINED]" over and over again. There was a SINGLE episode that made me happy in S4 and it was that one where Gogol was introduced and he yanked on Atsushi's leg and stuff and that was IT. LMFAO.

Okay I have to cut myself off or I'll go on for hours. THANKS FOR ASKING ME ABOUT IT, IT WAS ALL BOTTLED UP IN ME.

And more importantly, thank you SO much for the compliments on my work!! I'm so happy you like my stuff, and I hope you take writing lessons from Asagiri on all the things you should NEVER do in a story if you want it to be worth anything!!!!

[ace-and-ranty]

Okay, but on the “Where is the Middle Ninth Generation” debacle...

What do we, as a fandom, think of the possibility that the answer is strictly Doylist, as in, “Muir just didn’t fully think this through”?.

I mean, I absolutely have faith in her plot and wordlbuilding abilities, but I also know what happens when you throw several obsessed fans into a Tumblr fandom and shake, and what happens is “Wow, you guys are really overthinking this specific X thing I never thought twice about.”

[shihalyfie]

I’m a diehard 02 fan who does not want a reboot and never wanted a reboot, and here’s why

This is one of my few editorial-esque pieces, but this is something some friends and I have been discussing for a while, and given what’s going on right now, I feel like this needs to be said at some point.

Sometimes I feel like there’s a really massive gap between what 02 fans want (especially diehard ones) and what people think 02 fans want. I'm not saying that media should only be catering to hardcore fans, and if more casual fans of 02 or people who simply just happen to have a stake in the full franchise have their own opinions on what they wanted to see out of 02-related media, that’s perfectly fine, and they have a right to have those expectations. What I’m mainly writing this about is sentiments that talk about how Toei is apparently doing 02 a disservice or sweeping it under the bus by not rebooting it (which basically comes with an implication that giving it respect would mandate it being rebooted just because Adventure was), or talking about how doing a reboot would please 02 fans just by giving their favorite characters more rep. (Although, I suppose the simultaneous reveal of an actual 02-related movie kind of killed any grounds for claiming that the lack of a 02 reboot meant sidelining 02. You can’t really claim that they’re sidelining 02 when they’re making a whole movie, after all...)

Of course, I don’t claim to speak for every single 02 fan out there (so if you’re a 02 fan who doesn��t agree with anything I’m about to say, I apologize and hope I don’t sound presumptuous), and I highly doubt I represent the mainstream, but I felt I should input my perspective as a 02 fan who’s friends with a handful of other 02 fans, who have discussed this extensively and all have the same feelings on the topic, and why it’s kind of frustrating to keep hearing this kind of thing from people who assume that all fans of something should want to see more things that resemble them by default without any more nuance to it.

It won’t actually improve much that’s worth it

I’m going to be blunt about it: I think more people who supposedly want this 02 reboot are people who hate or dislike 02 than people who actually are fans of the series, because they’re doing this under the sentiment that “this was a bad series, so a redo would improve it.” You can especially tell because a lot of people acting like a reboot is in 02′s best interest are the same people being scathingly critical of the current Adventure: reboot right now, so you can see that this kind of mentality comes from people who clearly understand that a reboot won’t necessarily be something everyone likes all that much, and thus believe 02 is so unsalvageably bad that you couldn’t possibly make it worse. So you can probably understand why I’m not exactly patient with this kind of take.

If we are to be charitable, though -- if this sentiment comes out of a genuine feeling that 02 had missed potential that could be addressed by the reboot -- I want to ask everyone if they really believe that this theoretical reboot would be a net improvement, especially one that’s worth all the time and effort involved, and even more especially given the writing style that the current Adventure: reboot is employing. You don’t have to claim it’s a perfect series or anything to understand the sentiment that it held up enough by itself to not necessitate a whole anime series being made to do another take on it.

Something I would like to remind people who love to claim that 02 is such a despised series is that it made around 89% of Adventure’s revenue at the time it aired, and despite those who despise 02 being very vocal on the Internet, the actual mainstream tends to be very positive about it, especially in terms of anything to do with Ken (whom most reasonable people will agree had a character arc that deserves acclaim). So in other words, if you want to do a reboot, most likely you would want to do it without offending the base that likes the series already, right? (Especially since, you know, recent events have proven that upsetting the real-life 02 fanbase is actually a pretty inadvisable idea...)

Here’s the thing: Once you filter out most of the “scapegoat” reasons people tend to criticize 02, the one that’s generally the most agreed upon is how disorganized the plot gets in the second half. So this so-called ideal situation reboot would supposedly iron out all of the messy plot writing and make use of the “wasted potential” the series had -- but 02 was way more than just a narrative storyline with characters walking around in it, and when it comes to the reasons people were so drawn to it, they’re tied to the series themes about regrets and making up for the past, and about the unreasonable pressures that society places on children. That, and also the most important one, the central theme of human relationships, and the charismatic and well-developed (yes, really) characters. The so-called “messier” second half of 02 was full of payoff for a lot of what was set up in the first half in regards to its themes, and a lot of its subplots or character flairs are packed in really small nuances that are easy to miss on the first watch.

What this means is that 02 is a series that works off of a lot of delicate balances. Adventure could be “rebooted” because everything was very clear-cut and straightforward, which meant that you could change almost everything about the plot and still relatively adhere to the primary points of “kids gain self-awareness through a journey in another world”. (Like, I really hate to break it to those who put Adventure on a pedestal, but this is mainly possible because Adventure doesn’t really have much of a plot besides “defeat enemy” followed by “defeat bigger enemy”...) In the case of 02, everything regarding the story is, for better or for worse, much more deeply tied to the plot, the narrative behind the Kaiser and the traces of psychological horror laced into everything, and the second-half evolution mechanic, Jogress, has a lot to do with the developments related to the human relationships narrative. Moreover, a lot of the reasons that people call it “bad” for are deeply tied to the exact same reasons a lot of people like it -- that its takes on certain topics were heavily nuanced and unconventional, meaning it could cover ground that most media wouldn’t go anywhere near -- and so the series loses too much of its identity if those aspects are removed, even if it ostensibly seems like “streamlining” it.

So if you mess with one thing, a lot of it falls apart -- and in fact, considering the writing style that the Adventure: reboot is using right now, it’s hard to imagine that applying it to 02 would make it any better. Actually, it seems like it wouldn’t address any of the grievances anyone has with it to any substantial degree, and it’d be more likely to axe all of the stuff that were integral to 02′s identity, like the social commentary, or the heavy focus on human relationships, or the unusual sort of character nuance it employed, and...basically, we go back to the same question: is this actually worth it?

02 itself was about not having this kind of sentiment

The main reason most 02 fans get upset about the 02 characters not being included in Adventure canon-related things that should rightfully include them is that, quite simply, they’re part of the canon! In fact, most 02 fans like Adventure too, so they like the way 02 built on Adventure’s worldbuilding, and moreover they’re attached to the web of relationships between the Adventure and 02 groups -- 02′s additions to Adventure’s worldbuilding and the nature of what it established around the neighborhoods of Odaiba and Tamachi were not only added on but also deeply entangled with what was established before, so you can’t just act like none of it exists!

So this also means that once we’re talking about a completely different universe, absolutely none of this applies and there’s no expectations to adhere to any of this. The 02 quartet doesn’t exist in this universe? Cool.

Funny thing about 02: one of the biggest themes the story revolved around was “not getting caught up in the past, and moving forward with what you have instead,” so it’s probably pretty understandable that a lot of people who like 02 would be the type who wouldn’t be fond of rehashing stuff too much (and even more so it involves 02 itself), especially since being okay with 02 as a sequel likely means being okay with change in general. To make something really new out of it, you might as well...actually make something new out of it, or cover some truly new territory, instead of bothering with this whole reboot business, you know?

One thing you might notice about a lot of 02 fans is that they’re not actually all that fond of the idea of canon putting the group through more massive suffering or emotional ordeals after 02 compared to most. I mean, I think it’s pretty normal to enjoy your favorite characters going through emotional trouble, but the aversion to it often tends to be much stronger than usual, regardless of what country’s fanbase we’re talking, and even the official staff for Kizuna seems to have somewhat recognized that the 02 group is most in its element when in the context of fun and silliness. All things considered, this probably isn’t particularly surprising when you take into account the fact that “just being able to hang out with each other as casual friends at all” was considered such a blessing, and such a difficult goal to reach, that there’s a natural aversion to seeing them go through more emotional suffering again. The new trailer for the upcoming movie seems to have Daisuke in a relatively good mood (and even then, “please don’t make it too emotionally vicious for them” is a pretty common plea).

So if you want to talk about rehashing all of their old problems, seeing it all over again is just not very fun. It’s like holding Ken’s sins over his head again, even if it’s in a different universe; it just doesn’t feel right when the series itself endorsed the best possible outcome for these kids to be “to live happily and at peace with themselves, no matter what happened beforehand”. They worked so hard to get out of it, so to decide we have to do this entire rodeo again for the sake of doing it again, instead of trying something new is...well, it’s not that appealing of an idea, I have to say.

The real-life impact would be intolerable

It’s no secret that the 02 hatedom is a bit uncomfortably vocal about it, but what tends to be really frustrating about it is how many of them love to dunk on the series based on misremembering it. It’s fair that, if you don’t like a series, you probably wouldn’t want to watch it again, but as someone who’s spent a lot of years unpacking all the little details in the series and noticing that it’s much deeper than it initially seems on the surface, it’s honestly annoying to see “criticism” of the series that’s actually just dunking on it based on details that are genuinely factually incorrect (it’d be one thing if it were a question of subjectivity, but no, so many of the insults 02 often gets are based on things that legitimately did not happen in the series).

In the end, I admit that 02′s penchant for ridiculous subtlety probably worked against it a bit too much, and I’ve already covered its impact on how the series gets misread a lot. Thing is, this kind of subtlety was a thing in Adventure too, and it all leads to the unfortunate effect that a lot of people tend to forget what actually happened in Adventure if they haven’t seen it for more than a few years. With the current reboot right now, you’ll see people saying that certain characters are the same as they were in the original series, even though in most respects they’re actually the opposite -- because a lot of said people only remember them by the surface characteristics that seem to be similar.

So when you look at 02, and consider the fact that even official media -- including the official American English dub and V-Tamer -- has been a bit too prone to not handling Daisuke’s character tastefully and reducing him to traits that make him easy to dislike, you might realize that handling these characters improperly runs an extremely high risk of actually turning them into the flat, unlikeable characters that people tend to accuse them of being -- imagine Daisuke where his entire character is about fixating over Hikari and being impulsive, or Miyako being nothing but self-centered and selfish, or Iori being genuinely stoic and missing the nuances of constantly holding his emotions back. And making it worse is that this would basically solidify these negative perceptions of the characters even further -- because people, especially those inclined to hate the series, would take it as further evidence that the characters have always been like this, reflect it back on the original, and everything would really just become a miserable experience. (Those who are particularly inclined to be malicious against 02 would probably even claim a reboot to be “better than the original” no matter whatever it is, because of the belief that 02 is so incredibly terrible that literally anything would be better than it.)

It’s not my business to dictate other people’s opinions, but it’s already been a frustrating twenty years of dealing with this kind of thing, so of course I’m not going to be enthusiastic about the idea of putting up with more of it...

[lilisouless]

The grishaverse´s best female relationship and how gender roles play a part on them.

Most group dynamics with only two girls, normaly have a tomboy and a girly girl/woman in order to set up how they are diferent. There is nothing wrong with this dynamics if done well (like anything else in writting) , but is notable that this is using gender roles as defining the characters (she is girly, she diferenciates from her because she is not) and setting them as oposites, rarely there is a third girl since this dynamic is mostly used as "there is only two type of women" narrative.

In the case of Six of Crows, the desition of having only two girls is probably not made with this distinction in mind: the author wanted three romantic storylines with six characters , but since she also wanted one of them to be a same sex couple, then the female-male radio was not going to be equal, and in this case she decided to make a male mayority (the oposite would happen later in the Nikolai Duology)

Let´s see it for a second how this compared with the original grisha trilogy (yes, me again praising Bardugo by critizing Bardugo)

Leigh doesn't write a lot of tomboy characters, the only one i can think is Tammar (yes, Hanne exist but i am not sure if i should be talking about them as "girl" with all that obvious trans coding) that could also be a factor. So, there are not a lot of girly girl/tomboy comparissions,but this doesn't mean gender roles doesn't make an impact in female relationships

There are a few ,important woman/woman dynamics: Genya and Alina is a dynamic that is still in the dark for me, i haven't finished S&S not read R&R , so i would rather keep them out of this, but as long as i got, they are not an equal relationship and neither are Tammar/Alina since most of the dialog is bringing Alina up, Tammar only had a couple of lines about herself .The other is Zoya and Alina and is what normally happens when you put two femenine women together: The virgin/whore complex

warning,warningwarning this may not be friendly to Alina fans warningwarningwarning skip this skip this

Alina is the inocent ,virginal "just like you" girl, but at the same time is "not like other girls" and Zoya is presented as the bitch, the sexually active, those other girls Alina can't stand.

Alina deep inside, is just as bitchy as Zoya , the only diference being that Zoya is more aware of this and actually voices it while Alina keeps it to herself.

Leigh eventually would realize the potential in Zoya, or maybe she planned it since early but managed to save Zoya and only the first book is where she is unlikeable and the designated target so the viewer could spill her internalized misoginy without feeling guilty. But even if Zoya gets most fleshed out in the second book (when by accident, is shown how she is actually more put together than Alina) they are still against each other: because Zoya becomes phisically involved with Mal , she is placed as the wrong choice while Alina is the right one. Compare it with the opposition of Mal/Nikolai where Nikolai is possed as a tempting rebound (yes, he is too good to be the rebound but that´s how the book makes him to be) and a good, even better option as Mal, but Zoya is made to be Mal´s terrible mistake. Yes, Alina is the narrator therefore we see this since her perspective but the double standard is still there. (see Anne with an E for an example where this doesn't happens as Gilbert is not shown in the wrong for dating Winifred instead of Anne)

Zoya and Alina´s conflict only gets resolved when Zoya is the one who becomes nicer and (like every other woman on this series) beggins to adore the floor Alina steps on.

In an ironic note, Leigh would eventually realize she liked Zoya better ,she is a character that was rescued but the point here is: this is not a mutual relationship, Zoya is the one that must prove she is a better person that she let on and Zoya is the one that has to realize Alina is amazing.

I could go on for a lot, but you people don't have the whole day, the point is this: Not all female relationships have to be compelling , rivaldry exist, BUT when gender roles play into said relationship you have to be carefull ,because you, accidentaly or not, may be saying that there is one type of woman superior to another one. Zoya/Alina is NOT the worst dynamic, in fact is almost almost out of this problem, but almost is not enought. In this case,Alina=the inocent and virginal girl is placed as superior as Zoya=the sexualy active girl,despite the author´s better eforts not to.

Now : Six of Crows

Before getting to the relationship you actually came to see, i´ll point out that Bardugo DID wrote a relationship based on contrast femenine vs Masculine traits, but she did it with two guys,just to note the author is no stranger to this dictonomy

Now, the point of this: instead of being girly girl and Tomboy , both Inej and Nina are presented as femenine.

So, you are probably right now yelling for what i promised in the title , so now i´ll get back to Inej and Nina, unfortunately i am better talking about things i don't like and the ones i do , so this could be disapointingly short:

Reminder,they are both femenine in very very diferent ways.

-Inej is more quiet, wise ,graceful,and overall softer

-Nina is more loud, sexually open,charming, childish and overall more extroverted

They have some traits that can be oposite ,yet still quite femenine. And the most important part: none of them is presented as superior to the other.

Like i said, not ALL female relationships must be perfect and sweet, conflict is interesting but in this case there wouldn't make sense for them to be in conflict. Their beliefs and goals clashes with Kaz and Matthias , not with each other. And of course they don't fight about boys because there is absolutely no need for that,not fight for dominance.

Unlike the Zoya and Alina example above , Nina is not somehow seen as inferior than Inej.Sure Nina is the flirty one that uses her sex appeal to her advantage and Inej is (with very good reason) adverse to sex. Inej doesn't look down at Nina, she encourages to be herself unshamelessly , since she knows what is like to be stripped from will and is happy to see how free spirited her friend is, also can't tolerate Matthias calling her "too much" . Nina is someone with a very diferent temperament from her and admires her,without actually trying to be like her.

And in return, Nina doesn't look Alina down for being diferent for her, for her more calm character, she actually shows to be grateful to having Inej around with her sweet but blunt honesty.In fact, with all Nina´s good self steem, she still feels that Inej "saved her" and her final speech makes you think Nina thinls she much say thank you to Inej for "tolerate her" even if Inej actually feels just as grateful for having her.

The way they express their feminity not only compliment each other, this is something they both consider "saved her life" Nina for having someone to listen to her and Inej for having someone to light her up.

As a bonus,in comparission to , to say ,Alina with Genya or Tammar, none of them is reduced to be the other girl´s best friend. They both have their storylines and goals, can exist without each other, they just don't want to.

With dynamics like Inej and Nina is shown that there are more than one way to handle gender expressions, and this doesn't mean one personality traits are better than the other, they are just diferent people.

Now, let´s adress when the reader is probably thinking: there are two female vs female confrontations in the book.

Tante Heleen is femenine as well, she wears expensive jewellry , clothing and make up. But Heleen´s apareance is more reminicent of a privileged rich woman , and she harms and abuses girls for a living and her looks are not to punish her for being femenine, but for gaining all those expensive items by the horrible things she does to other women, in contrast, Inej wants money to help and liberate sex slaves.

Then there is Dunyasha, who has a more polished look than Inej, with white and gold elegant clothing. As Inej´s speech is worth something, i don't have to say a lot to remind people this was a privileged vs opressed conflict and gender traits doesn't really play on that much.

In conclussion, Nina and Inej´s relationship is aspirational, it feels real because there is a mutual understanding and it helps expand the traditional writing of female dynamics and how the gender roles play into it in an actually positive way.

[spacetwiga]

leave c!phil out of bullshit 2k21 -- a not so tiny post by a new enthusiast

As someone who finds both common fanon and actual canon to be quite fun, I really think the general DSMP fandom would benefit greatly from a few things in general: the greatest, in my opinion, is learning to accept that popular fanon won’t usually be the canon you receive. Another, of course, is that POVs are golden, but with these two things being flimsy in being accepted, they are the major flaws that cause about 90% of the absolute messy takes that gain traction, oftentimes poisoning a canon character's ability to exist in the story.

My biggest beef regarding this comes from how y’all treat c!Phil, so here I am, being annoying on main side! 

TL;DR... Just because someone acted like like a guidance to others, doesn’t always mean that they'll want to be the father figure role for everyone that breathes. Similarly, pinning down a character on a single trope is wack, so don't be surprised if they grow away from it.

Baby’s first little dsmp rambling below!

(Warning: it's long as hell)

The Dream SMP plotline is not written out like most popular media. With so many moving parts in the form of daily streams and the wonderful tool of live improvisation, it makes perfect sense that such a giant cast would not always be on the same page. Adding onto that, it also makes more sense that a vast majority of the cast will be placed into supporting roles, as the story needs to have characters that serve as narrative anchors and others that function as the links in a chain, all weathering the storm that is the plot.

Screentime, of course, plays a major factor into canon exposure -- in terms of the Dream SMP, POV matters equally, if not more, too. 

It’s a pretty neat way of showing things, but in the end, the fanbase has a lovely (read: godawful /lh) way of analysing characters, particularly when it relates to how they interact with others from their fave character’s POV. The tendency to analyse things from a single character's POV is fine, but not when attempting to critique the greater whole of a conflict. Both sides, no matter how wrong they may seem to be, matter.

Adding onto the fact that everything is live, there are things that will spiral out of control, casual words being skewed and thus having the potential of a single line seemingly contradicting the entire ‘story’ that the fanbase has made. If it directly affects a fave's POV in particular, one is more likely to take offense, as bias immediately bars one from trying to see the other person's side of things.

POV is important. 

Which brings me to c!Phil, and how critics tend to ignore his perspective to prop up another character, or justify the tearing down of another.

Improvisation is both a blessing and a curse; the fanbase, however, loves to test out the latter. With it, the fanbase starts crafting tales to justify it...And so begins the mess that is c!Phil discourse.

Say it with me, folks: c!Phil is not supposed to be your fave’s fluffy father figure... unless you’re c!Wilbur!!!

😃☝🏾Dadza is good...👉🏾😎👉🏾 But fandom wants the excessive, idealized version.

-- birb 2k21

Family dynamics are generally loved for their potential for comfort, particularly those of a found family nature. Fandom in general tends to lean into them wholeheartedly, with most major bases having at least one prominent group present; SBI, of course, is no different. From fanart to popular fanfiction, it's arguably the biggest group dynamic alongside the Dream Team, and for that, a precedence was set. 

c!Phil, if he ever joined, would fix everything! All of the ‘kids’ would turn to their new mentor and everything would turn out fine! This all knowing, morally just character will chuckle at their antics and wacky hijinks will follow! Fun times, right? /s

The hope for it, however, has long since been shattered, and frankly, good for him!

To go a little ooc, cc!Phil has stated multiple times that, while he was friendly with a lot of the cast as c!Phil, his only paternal link (at least biologically) lies with c!Wilbur. Simple, right? It should be -- there are multiple clips of him saying this -- but fans choose to ignore it in their critiques, generally citing favouritism or downright neglect for the character’s flaws. From 'favoring' Techno (who, in canon, holds the highest link in friendship outside of c!Wilbur's familal link) to 'neglecting' to visit Tommy (who he barely knew, and also assumed, like many others, that he was fine), these critiques weigh heavily on the scale that judges Phil’s so called father figure trope. 

The story, however, has only leaned into (and persisted with) that for c!Wilbur alone, and adding onto it, there is an established acknowledgement from both ccs. That confirmation should hold the most weight, especially since both Phil and Wilbur seem alright with it. Even so, that familial has yet to be explored much for both characters, particularly regarding c!Phil, who has his debut (at least narratively) in a scene that feels opposite to the classic fatherly role.

c!Wilbur denounced accepting that helping hand to fall entirely into his explosive end, setting a precedence unlike most fatherly types arriving to save their kid. Usually, fandom narrative would love a close save, father and son uniting to heal and build up what was broken, but c!Phil’s entrance inks his story in failure. Angsty, right? We love angst!

And yet, as the story ticks on, the bad takes pile up.

Why? Well, I’l used to think that it is a “funny haha” type thing; a way to grieve for a character that was lost, as Alivebur was genuinely a great character. However, with the plot slowly progressing c!Phil’s story to evolve away from the ‘mentor the kids’ trope , I should have seen a storm on the horizon.

It should have been seen from the moment he stabbed c!Wilbur in the chest, but optimism is one hell of a smokescreen.

Built up fanon, however, is probably the greatest fog to ever exist.

There are lines before the button room confrontation that paint a picture of Wilbur seeking out the approval of his father (who seemed distant, at least from his POV), as well as hints to the SBI dynamic, but with the countless dismissals/retcons from CCs involved, as well as little to no consistent canon acknowledgement of this team dad role...Why base an entire hate piece of c!Phil just because popular fanon isn’t real? 

Why, for the sake of building up a well rounded character, would one place the title of a communal parental figure on a grieving father who has little attachment to the community involved, especially when most of them are too busy delving into their own issues?

Furthermore, why go for Mr. Philza Minecraft: Angel of Death, CEO of KEKW, Functioning Immortal????

It’s madness, luv, and frankly, antis cannot let c!Phil process any of his grief (or flesh out his character) without his contributions being fatherly. His role has been idealized to the point where he is not a character on his own, but an accessory to the happiness of other characters. That is not how the world works, and in a conflict riddled server like the dsmp, arguing that it should be like that is counterproductive.

c!Phil had his own shit to deal with, and as he slowly uncovers how fucked up the server actually was, he merely adapts to it. He learns to play the game by his own rules, and people become mad that he’s succeeding in his own way. It's as simple as that, particularly when referencing his initial exposure to the world he now inhabits.

c!Phil is a man who used to hear of his son’s success from the letters he received, words spinning tales of won revolutions and newfound friendships. To a father, those letters are more than enough to assume that all is well, and with it, he had no reason to check on his son, who was already old enough to be carving his path alone. For him to arrive and see just how broken his son actually was, and then, in front of faces he only vaguely knows, kill said son... There's a lot to take in.

He shouldn't have had to care about L'Manberg in those moments, not when he had his son in his arms, dead by his own goddamn weapon; his son who, to his knowledge, was doing pretty well up until he caught wind of his plot. Yet, he does.

He gives them the benefIt of the doubt, even ignoring the one person he has shown to have deep history with (c!Techno) to assist the nation in defeating the withers and rebuilding what was lost.

c!Phil stays in a nation that has seemingly brought his son right into his demise, holding in that grief to help people who he assumes have the chance to rebuild, to reform. For a moment, he trusts that the system can turn into something positive, offering to hunker down and do what he can to help. That’s the start of a fatherly type role for most -- with many expectations rising from fans to ‘fix’ all these traumatized characters.

In another plot, perhaps critics could have gotten the tropes they want from c!Phil, but to blame the character for reacting negatively to a world he barely knew, right after seeing it ruin his son and target a friend...Maybe the need for a "father figure" only stems from making their faves happy.

Characters that don't directly support your fave are not inherently awful characters. Critique based on that alone is...flimsy, really, but honestly, you can use to to show how they process things.

Which brings me to the events leading up to Doomsday, and with it, the steady rise of c!Phil’s defining traits.

Say it with me, folks: c!Phil is one of the most loyal members on the server, but loyalty doesn’t mean he's blindly following along!

😃☝🏾Butcher Army take this L👉🏾😎👉🏾 Found it in the L’Mancrater

-- birb 2k21

The butcher army arc, while nestled among the mainline story of Tommy’s exile (which I will not even mention, because those dadza takes about visiting may deserve a post on their own), allows for c!Phil to see into the minds of those who had once been with (or even against) his son’s plans. Sure, he may be witnessing them after the eve of their newfound traumas, but this is an important observation to make when comparing how easy it was to denounce his affiliation to them and side with c!Technoblade.

Unlike the new Administration, slowly dipping deeper and deeper into their own form of power hunger, c!Technoblade’s base desires had never wavered. His trust in others, however, had, still nursing the sting of a betrayal, but with no conflict in sight. He is reforming, finding comfort in his solitude, and still maintaining contact with those he trusts.

Techno's Compass, for one, is a major example of their mutual trust. Despite being on opposing territories, they are civil enough to trust each other, just like old friends.

Thus, when you take two old friends who are more than used to conflict -- one grieving and one betrayed, but both seeking neutrality -- it shouldn’t have surprised the antis that c!Phil would place c!Techno’s whereabouts (and life, mind you) over some government he barely knew. 

And yet, above all else, c!Phil starts off as a neutral party for everyone's sake, forgoing potential conquest for peace.

To c!Phil and c!Techno, it’s like fighting back to back, knowing that one can always trust the other to fend off those just waiting to take advantage of your blindspot, while also quelling the need to imagine your partner turning around and doing the same. That sort of friendship is forged through many, many hardships.

They betray what little trust he had built in them. That’s on them.

c!Phil is aware how untrusting c!Techno is, and while c!Techno feels safe enough to give his all for c!Phil, he never exploits it to get ahead, which is something L'Manbergians felt okay with doing.

They take a book out of the playbook used on c!Techno, for c!Techno.

They went after yet another person who was close to him, using their power and influence to hold an execution under the guise of seeking justice. If c!Wilbur, at least pre-corruption arc, sent letters to his father, one would at least expect some of his old ideals of freedom and fairness to leak through into his friends, right? To see those c!Phil assumed would hold similar ideals immediately skew towards a darker, brutal side, particularly in threatening others to get what they wanted...Well, shit hit the fan.

c!Phil does not have that strong relationship with any former L’Manbergians, and despite there being potential for such, it didn't work out that way; instead, however, those characters manage to mistake his kindness for weakness. They take his preferred neutrality as a way to exploit him, to gain in such a way that he lost agency...

No more Mister Nice Dadza, and honestly, he’s justified in that notion.

They’ve lost his trust, time too short to have gained that strong link like c!Techno’s or c!Wilbur’s, and with it, came the inevitable association with Doomsday.

c!Phil knew c!Techno’s intentions from the beginning -- which had only wavered into dormancy because he had grown tired of fighting, understanding that the cycle he wishes to break is not worth his efforts -- so the agreement in participating is effortless. 

c!Dream was there too, of course, but in their mutual quest for eradication, it’s made canon that c!Techno and c!Phil hid away most of their arsenal, despite seeming overprepared. They have no loyalty to c!Dream; they’re smart enough to play along, however. He was a means to an end.

There’s no lies present in their relationship; c!Phil needed someone who didn’t try and pull wool over his eyes, and c!Techno let him see.

c!Techno needed someone who wouldn't stab him in the back, and c!Phil stayed true as his hidden sword.

Which is why, as the two joined forces, ideals aligning and power synergized, they didn’t think twice about nuking the nation to bedrock. Mutually agreeing that the system needs to die, they did what they could, and they succeeded.

How cool of them, tbh LMAO.

New L’Manberg tugged too hard at the sleeping tiger’s tail; they shouldn’t have expected it to roll over.

Their openness to each other was known.

There was no need for underhanded plays, for hidden betrayals, for undisclosed words.

Their loyalties were strong.

They were in sync.

In conclusion (maybe, maybe not...this shit is long holy heck)

😃☝🏾 I may hate this analysis in 30 minutes👉🏾😎👉🏾 Or I may make a part 2. Fuck it!

-- birb 2k21

And that’s what makes c!Phil an interesting character: He tends to be critiqued in reference to chatacters who have very well wronged him, have no affiliation to him or get associated to him through popular fanon. There's a lot to cover that I haven't (from Ghostbur to the whole Tommy 'dilemna') but overall I'm digging what I have now and if I ever get more energy, I'll continue!

c!Phil enthusiasts, I hope I did you proud LMAO. It's my first forray into this side of tumblr 👉🏾👈🏾 I'm a lurker.

c!Phil antis, you can either act respectful or go argue with a wall. I got experience dealing with antis on Tumblr; I am immune to BS.

Anyway, I hope you all enjoyed. Signing off!

- BIRB.

[natsubeatsrock]

Who is AO3 for?

It's that time of the year again!

The Organization for Transformative Works is asking for donations for their Fall Fundraising Drive. OTW, of course, is the company that runs Archive of Our Own, or AO3. While there are plenty of other things the company does, AO3 is easily its most well-known thing they do.  

The site has become the premier host for transformative fan works. That's not just fanfiction. Their hope is to serve as a hub for all kinds of transformative works, including audio and visual art. I was part of a gift exchange over AO3, and my gift was a piece of digital art.

The site has come under criticism from many different sources. Nearly all of it comes from an important tenet of OTW's philosophy. They are very anti-censorship in their approach to content moderation. Works are tagged at the discretion of the writer for potential content warnings. However, there isn't much else done by the moderators.

You can imagine the problems people have with this. I've heard all kinds of accusations against this. According to its accusors, AO3 theoretically allows material that promotes racism, sexism, or other harmful views. Younger users can see material that is not meant for them. (Keep in mind, the minimum age for use is 13.) It's even possible to post material that is borderline illegal to distribute. (Honestly, this feels much more exaggerated by people.)

The argument is often made for these works to be removed. These works are harmful and it's dangerous to allow them to simply exist on the site. People deride those who actively fund OTW during these funds. People often share donation drives for others in need whenever it's time for these funds. I have no issue with this on its own, but it's usually done as a replacement for donating to OTW. (Despite many of them hosting their works on AO3.)

If you can't tell, I do support OTW. I've been donating to their drives over this past year. And why wouldn't I? All the stories I've written are on AO3. I want to be sympathetic towards the arguments against AO3. This particular post isn't about the arguments regarding "fiction affecting reality". However, I get where those concerns come from. I often feel that the arguments made for AO3 tend to exaggerate the necessity for OTW. (If you don't donate to OTW, fanfiction will die!) I get where the concerns of these people are.

However, I feel as though this perspective discounts the fundamental concern of AO3. Remember, it's called Archive of OUR Own. The constant statement made by OTW is that the archive was created by fans and exists for fans. However, I feel it's important that this is understood as being specifically about fan writers. It wasn't made with the fans who would read the stories in mind. It was made with the writers in mind.

And that makes sense if you think about it. I don't intend to regale you with the story of events that would have lead to the need for AO3 and the OTW. (Plenty of other posts have already done that.) However, there were genuine threats to the existence of fanfiction and other transformative works. In some cases, there still are. It's part of the reason that OTW also has a legal department that exists to advocate for situations where fan works are in legal danger. (Have you ever heard of Anne Rice?)

It's absolutely frustrating as a fan to see stories get deleted. You want to see stories that you love, only to find them missing. However, it's more frustrating to deal with this as a writer. You're the one who works long hard hours to make a story exist. All the time of brainstorming, editing, drafting, editing, and publishing (maybe, post-publish editing), only to be wasted.

It's great to have a site made with this in mind. I don't have to worry about something like Mashima coming after me for rewriting his series, or the other smaller projects I have for Fairy Tail. That's not something a lot of other writers in the past had the privilege of. AO3 also serves as a home for works migrated from other older niche sites. 

It is, of course, worth thinking about the argument made by people in favor of stricter moderation of content on AO3. The argument isn't that stories handle certain topics. (At least, the good faith ones.) The arguments that stories either are read by the wrong people or promote bad ideas.

Honestly, I don't care about the first one as an author. Normally, I'd agree that there should be some moderation on content that isn't age-appropriate. But let's stop and think about what has to happen for someone underage to read something that's not meant for them.

They'd have to see the rating for the story. They'd have to see the tags for the story. They'd have to see the content warnings for the story. Normally, they wouldn't be able to get past that level. If they ignore all those things and want to see the story anyway, they'd have to acknowledge the risk of seeing a story they were warned about.

I agree that writers should do their part in providing sufficient warnings. However, we have to stop blaming the wrong people after a certain point. We should blame younger readers for ignoring these warnings, in the first place.

Notice that I'm not placing blame on AO3 itself. What could I possibly blame them for? Not acting more like parents? The site is set up with enough checks in place to prevent a situation like this. The real blame should be placed on the real-life authorities these supposed kids are under.

Now, I want to handle the latter with as much good faith as possible. I know that there are plenty of bad arguments made in favor of censorship of certain media. I'm willing to admit that there are plenty of terrible defenses made against it. I see too much of both to act like they don't exist. I'm also not trying to talk about fiction affecting reality in this post. (Only really because I don't want to.)

There is a difference between something like Mein Kampf and a fictional story that is set in Nazi Germany. One was written to spread the lunatic ideas of a genocidal maniac. Another takes a real-life setting inspired by those ideas to make something that tells a story. It's hilariously rare that someone will take create a story that genuinely celebrates Hitler. 

Is it possible that some fictional series could come out and actually support Nazi beliefs? That this hypothetical series genuinely casts Hitler or his followers, real or ideologically, as the bonafide protagonists? I don't mean this in an anti-hero sense. We're talking about an unambiguous heroic character who genuinely believes in Nazi principles.

To be honest, that is a concern that people have. I know that Attack on Titan has been labeled Nazi propaganda for a while now. (It's not and I'm grateful that I don't have to entertain similar arguments with Mashima's works.) Someone could create a story that makes the Nazis the heroes. I don't downplay the possibility that such a story could radicalize people.

Here's the problem I face with this argument.

You can still read Mein Kampf.

Like, you can close this post right now and order a copy of Mein Kampf at the online book store of your choice. You can go into a library and potentially find a copy of Mein Kampf on the shelves. The book is old enough that you can almost certainly find a free version of the book somewhere online. You can carry a version of Mein Kampf with you much easier than any of the original Nazis could have imagined. And that's despite how horrid we consider their views today.

Consider that, if you're reading this, it's likely that German isn't a language you're comfortable reading. You'd likely have to find a translation that suits you from its original language. We've had people translate Hitler's book into English as recently as five years ago.

Granted, some people aren't okay with this either. There is also criticism about the ease with which one could access nazism from the source. I imagine it's especially harder to read this in Germany, both for... obvious reasons and the different understanding of "free speech" overseas. 

Still, I feel as though this should help us evaluate our priorities. If we're really worried about the spread of bad ideas, there are serious areas that can be tackled. We're not even getting into arguments about if it's even okay to have books like Mein Kampf so available, to begin with. (One that far exceeds the scope of this topic.)

If we're genuinely worried about the spread of bad ideas, maybe we should focus more on the actual bad ideas that have harmed people. Not the sites that potentially could hold stories that potentially purport such ideas.

For my part, I'll donate during OTW's fundraising drive, and see if any story remotely like the one I'm describing comes out between now and April. If that happens and genuinely causes a widespread effect that can be clearly linked to AO3, I'll almost certainly withdraw my support from them.

It's not like I'm holding my breath for such a scenario, though.

[hope-faith-love-abide]

I haven’t been keeping up with Heartland season 14 updates the past few months, but I decided to catch up on some of it since the premiere date is coming up and the teaser trailer was released recently. And I noticed some interesting speculation about what might happen in the new season, and I have...a lot of thoughts about it, haha. I think I need to write it out in order to really sort out my thoughts and feelings on it, but I think it might get kinda long since it’s pretty major, so I’m going to put it under a cut. 

[NOTE: This post was written approximately a week or so ago, and I’ve been just sitting on it trying to decide if I wanna post or not. But having watched the full trailer for Season 14 now...I’m like 95% certain that this seems to be the route that the season is going. Still have about 5% doubt because trailers can be misleading and I could just be reading into it. We won’t really know for sure until we see the first episode, and I’m so torn between being somewhat excited just because I want to know for certain and nervous because I know I will still be sad if it’s true.

Either way, I wanted to get my thoughts down before the season premieres so here it is I guess lol]

So...it’s actually possible that Ty might die/be dead when this season begins? Which is utterly bizarre to think about because I never would have considered this to be an actual possible situation for the show. Even when there was that summary that leaked earlier this year, I still didn’t think it was a real possibility. I thought for certain that was fake, because this is Heartland. It’s one thing for a side character to disappear from the show or to be killed off, but a main character? A main character can be hurt, injured, and on the verge of death, but they won’t actually die. Especially not a character who is in one of the two major ships on the show.

Until now?

Of course, if this does happen, I don’t think it’s something anyone on the show wanted, not even the writers. In an ideal world where every actor wanted to be in every episode of the show, I imagine they’d be perfectly happy continuing to write that story.

But in cases where an actor no longer wants to be a main character on the show -- well, obviously I can’t say definitively that this is the case, because as far as I know he has never specifically said this in an interview, but from an outsider’s/fan’s perspective, it feels like that is a possibility. I don’t know the reasons behind it though, and I’m not going to go that far into speculation.

But let’s go with this scenario hypothetically. Because it does sometimes happen with television shows, where an actor for one reason or another no longer will be part of a show. 

What do you do with that character?

The character could be recast, I suppose, but I don’t think that would work in a show like Heartland. How would we explain in-universe why Ty suddenly looks different when everyone else is still the same? Even if you can find an actor that looks similar enough, we know what Ty looks like after 13 seasons, and I don’t think anyone would be fooled into thinking it’s the same guy. I guess it could be explained with the trope that he got into such a bad accident that they had to reconstruct his face, but that feels cheap and too much like a soap opera. 

So that’s a no.

The character could be written out in other ways. Ty could just be off screen somewhere...all the time. He’s at the clinic, he’s spending the day with Lyndy, he’s at a vet conference, he’s gone back to save wolves from poachers again, he’s gone back to Mongolia for the third/fourth/fifth/ten billionth time. 

That, honestly, would be frustrating. It’s maybe the least painful short term option, but long term, it’s not very enjoyable. It’s like when important side characters suddenly disappear from the show, occasionally mentioned but never seen on screen again, only 10 times worse.

Or he could be written off by...y’know, breaking up him and Amy. Which, frankly, is the absolute worst option in my opinion. It would immediately, retroactively, destroy the entire show, past, present, and future. Ty and Amy aren’t the only important part of the show, but they are a major part of it. The show has spent 13 seasons building up this relationship (with obvious ups and downs throughout, but I’m not focused on analyzing their whole relationship in this post), so to suddenly turn around and have them divorce would be an absolute trainwreck. 

What would even be the reason? Even with some of my disagreements in the writing of certain decisions the characters have made (*coughtheMongoliaplotcough*), I don’t think those are reasons enough for these two characters to break up over it. So something new would have to be invented, and it would likely be something completely ridiculous and out-of-character for them both and also likely ruin their character development from past seasons. 

Which leads us to yet another option: Ty dying. A year ago this was something I never would have considered for the actual show (or any of those other options, frankly). It could be interesting to explore in a fanfic, but on the show? No way.

But...things change. Reality sometimes gets in the way of a television show’s ideal storyline, which is one of the difficulties of the medium, especially a live action one. And just because one actor hypothetically doesn’t want to be on the show anymore doesn’t mean it should be derailed for all the other actors and crew who are on board.

So you get rid of the character. It isn’t hard to do. Probably the hardest part will be the very first episode when it’s revealed to the audience. How did it happen? Did it happen before the season begins, or does it happen in the first episode? Or if it happened before, do we get any flashbacks? 

Is it due to complications from the gunshot at the end of season 13? A freak car/motorcycle accident? An accident during a vet call? Depending on what it is and the context of it, it can be a strong final note on the kind of person Ty has become. If during a vet call/because of an animal, it happens while he’s doing what he loves, taking care of animals. If from the end of S13, it’s from him protecting his wife. If a car accident, maybe he was going to pick up Lyndy to spend time with her after leaving a vet call, because he’s a loving father. All of those are inline with Ty’s character and still support the growth that he’s had from the first episode to now. 

And then there’s all the story potential and character growth that it opens up for all the other characters. Because this is something that majorly impacts the entire family. And the description of season 14 that was put out does talk about a “life-changing challenge,” particularly for Amy for obvious reasons.

How does she deal with losing her husband? They’ve been together for so long, not just as romantic interests but as best friends. What does her life look like without him in it? How does this affect her work? Is her work with horses a comfort for her, or does it remind her too much of him? How does she guide Lyndy through this? 

And then the rest of the family. How does Jack deal with his loss? Considering Ty became like a son to him and “officially” joins the family when he marries Amy, how does it affect Jack to lose him? Especially if it was in something like a car accident, similar to Marion. How does it affect Jack and Lisa’s relationship? 

Not to mention Lily, and Lou, and Georgie, and Tim, and Caleb, and Scott, and Cass. Ty was a huge part of all their lives, so this will affect them in major ways too. 

Again, it’s not ideal. But I do feel like this option provides the best story opportunities without ruining the characters in the process the way certain other choices would. 

And, of course, this is all purely speculation. We won’t really know what’s going to happen until the season actually airs, and it’s entirely possible that the “life-changing challenge” will be something completely different, and Ty will be fine. And if so, that’s okay with me. 

But if Ty is gone...I think I could learn to be okay with it. Though it does still depend on how they handle it. Like if everyone’s sad about it for one or two episodes, but then everyone immediately moves on and everything’s fine, then I wouldn’t be happy with that. We don’t need a whole season of everyone crying all the time, but we also don’t need this to be something that’s swept under the rug. We, the audience, will need time to grieve along with the characters. Because this is a main character that we could be losing here, not just a minor side character like Mr. Hanley for example. So I hope we get to see all of the characters going through the stages of grief and processing their loss in their own ways throughout the season.

Anyway, it was nice to write through my thoughts on this. It’s kinda funny thinking about how not that long ago, I would’ve been completely 100% against this idea ever happening in the show, but now I’m like almost on-board with it. Maybe it’s the effect of 2020 or something lol

[commentaryvorg]

If you could change anything from Kaito's character arc in V3, what would you change?

Honestly? The short answer is nothing.

Kaito's character arc is fantastically crafted. There are so many tiny, seemingly-innocuous lines and moments that actually serve a vital purpose in either showing us what's going on in Kaito's head despite him never talking about it, or in pushing his arc along further, all of which I had so much fun talking about throughout the commentary. Granted, a lot of it is subtle and difficult to spot - but then it should be, considering how much Kaito tries to hide his issues. When you look for it, though, it is very deliberately there and not meaninglessly ambiguous at all. There's not a single part of Kaito's arc where I'm thinking “this was written badly”; even his phobia, as much as I'm sad that it gives Kaito less screentime and less being-himself in chapter 3, serves multiple purposes for the story and for Kaito's arc. Kaito's writers are the best and I adore how much care and attention they put into writing him.

I've seen a fair few people, presumably fans of Kaito, say “Kaito deserved better”, and... they're wrong. Well, unless they mean it in a purely in-universe sense, in which case of course he did, but then so did everyone, that's kind of the point. But if they mean it in an out-universe sense, in that they think Kaito deserved a better story for how good of a character he is? No! Kaito's story is amazing. He is the best-written character in this game and got absolutely everything he deserved, narratively speaking. I genuinely believe this with all of my heart. If other people don't see it, then they aren't looking hard enough - which is understandable, but also a shame when those people are fans of Kaito who presumably want to enjoy his story as much as they can. I just want to take all of these people and show them my commentary so that they can realise just how good Kaito's arc really is and love him even more like he deserves. (And I am endlessly thrilled that the commentary does seem to have had that kind of effect on some people!)

Obviously I would also love to see a story in which Kaito learns that it's okay to show weakness to his sidekicks, completely untangles his horrendous double-standard for heroes and begins to have healthy, mutually-supportive relationships with his friends. But... that was never this story. This is a story in which Kaito's messed-up view of what it means to be a hero literally gets him killed while all but destroying his sense of self-worth in the process, yet he still manages to keep fighting and make at least some kind of difference for his friends anyway, because he still is a hero despite what he might believe about himself. And that's also a fantastic story to tell!

It's kind of like something I've also considered about Ryoma. It would have been quite possible to tell a story in which Ryoma overcomes his issues and finds a reason to live and survives, and I'd have loved a story like that with him, because Ryoma is great and deserves to be happy. But the story of how he didn't manage to overcome his issues and tragically died because of them is also a compelling story that it's possible to tell with Ryoma's character - and, well, someone had to be chapter 2's victim. With characters as ripe with potential as Kaito, or Ryoma, or really any complex and well-written character in anything, there's so many different and equally compelling stories that could be told with them. But you can't tell all of those stories at once, and that's okay.

(That's why it's great that we have fanwork, to explore all of those other possible stories that couldn't be told in canon!)

With all that said, since this is about Kaito, you know I don't want to just leave it at the (very elaborated-upon) short answer. So here's a few things I thought of anyway that I might want to change if I could - all of which are really very minor nitpicks that barely matter in the grand scheme of things.

The absolute first thing I'd do is remove those four-ish lines in which Kaito is vaguely sexist in a way that is provably out-of-character for him. Gone. Expunged. Never there. Suddenly, magically, there is no longer a portion of the fandom that believes that Kaito is supposed to be sexist, and we literally only changed like four lines of his dialogue. Funny, that.

I'd also want to slightly change the parts where Kaito freaks out in a too-extreme way over ghosts once his phobia's been revealed. Not only is it not really quite in character for him to overreact that badly when he'd be doing his best to hide it, it also comes across like Kaito's phobia is being played for comedy. Which it shouldn’t be. He is literally mentally ill; that's not a joke.

These are the only two aspects of the way in which Kaito's written that I find actively bad in any appreciable way. And, yeah, they're really minor things that don't have anything to do with his actual character arc. That's kind of my point here!

...Though, admittedly, the part where Maki punches Kaito after he clings to her during his phobia-overreaction does actually play a small role in his character arc in that it seems to shift him into beginning to freak out more about his physical illness instead. Hm. Not sure what I'd do about that.

In terms of things I might change that are more meaningful and relevant to Kaito's arc, as I've said, there's really nothing that's actively bad at all. Rather, we're just getting into things where I'd maybe want to add a little bit more on top of what's already there.

Kokichi Doing The Thing in trial 4 - aka, repeatedly heaping insincere praise onto Shuichi in what's really a transparent attempt to jab at Kaito's jealousy and inferiority complex - should have continued for longer than it did instead of being weirdly confined to one specific quarter of the trial. There are plenty of moments after that that would have been perfectly good opportunities for it! And yes, this is absolutely part of Kaito's arc, shush. Not that this would have significantly affected how Kaito would respond or make his breakdown any more spectacular than it already was, mind you, because Kokichi's jabs at Kaito were not nearly as important as Kokichi wanted them to be.

Then there's the part in chapter 5 where, after being kidnapped and offscreen for a while, Kaito has evidently become okay with Shuichi being more of a hero than him and can just be openly proud of him again. There's no specific evidence indicating why this happened, even though it's a pretty important shift for Kaito. This was the only part of Kaito's arc that I speculated about in the commentary without having anything concrete to back up what I think went on there. So if possible, I'd like to add some hints at that.

...That's easier said than done, though, since Kaito gets so little screentime at this point in the story for unavoidable plot reasons, is still not willing to directly talk about his issues, and was never even really consciously aware of his toxic double-standard for heroes that was the root of this whole problem that he's finally begun to fix. It's entirely possible that this is something the writers already wanted to hint at more than they did, but they just couldn't find a way to plausibly do so in that situation. This also still wouldn't be me changing anything about Kaito's arc, just making part of it a bit more easy to notice and figure out.

Lastly - though this isn't even strictly part of Kaito's arc - I'd love to have Shuichi acknowledge more than he does that Kaito had been suffering, and for him to reflect on that and wish that Kaito hadn't been so selfless (just like he did at one point with Kaede!). Obviously I wouldn't want to make him more aware of it for most of Kaito being alive, because that'd change too much and because Shuichi's obliviousness is part of the excruciating tragedy of it all. But after hearing at the end that Kaito really was sick and dying all along, and that Kaito was jealous of him, Shuichi should have been able to recognise at least some of Kaito's vulnerability in hindsight. Having some reflection on that at the end of chapter 5 or at some point during chapter 6 would be lovely to underline and draw attention to what Kaito's story was really about from Kaito's perspective. It might even prompt more of the fandom to actually realise this and notice what an amazing arc Kaito had, which sure would be nice.

...In fact, there's a very small window of time in which Shuichi could have plausibly acknowledged this kind of thing a little more than he did while Kaito was still alive to hear it and potentially benefit from it. So, actually, now that I think of it: the one change I'd make that'd have any real impact on Kaito's arc at all? It'd be this.

[makeste]

@temperatezone thank you, first of all! and this response ended up being very long, so I’m giving it its own post lol.

I think that if Katsuki had dropped a “my hero name is Kacchan” reveal back in chapter 252, pretty much everyone would have agreed with you. it’s off-puttingly cute, it contrasts with his image and his personality, and its meaning is unclear. which is exactly why Horikoshi didn’t do it, I think.

assuming that this does end up being the name -- which obviously is far from a given; one of the previous incarnations of that essay literally opened with the sentence ‘I have no idea what Katsuki’s hero name is going to be’, before I decided that felt like a cop-out and I should go with my gut -- it’s going to require more build-up and more context in order to have the right impact. something that’s interesting to me is that even though Katsuki is arguably the second most-important character, I don’t think we’ve ever actually had a scene from his full POV, as in not just his thoughts (which we do get from time to time), but his narration in those square speech bubbles. we’ve had narration from Kirishima, Ochako, Endeavor, and even a good chunk of the villains (Tomura, Spinner, Twice, Gentle, and even Ending), but not Katsuki. which in a way is rather appropriate, because as we’ve established, the boy really isn’t all that self-reflective.

but that POV could potentially deliver a lot, if and when we finally do get it. and a flashback (dare to dream?!) could go even further. because the thing is, I have to disagree about the name “Kacchan” not meaning anything. I think it has a lot of meanings, some of which potentially go deeper than pretty much any other name he could choose.

because the thing is that Kacchan is what Deku calls him. that name is the proof of their childhood friendship. it symbolizes what Deku refused to give up. it symbolizes Deku refusing to give up on him. and it’s the name given to him by the person who has always thought of him as an amazing, incredible person, and who still thinks of him this way.

and it also symbolizes their connection. because Katsuki never told him to fuck off and stop calling him by his cutesy childhood nickname. he tolerated it even when he was at his worst, even when he was bullying him and being generally awful and didn’t want anything to do with him. “Kacchan”, to me -- and I think to them too, because why else would Deku keep using it and Katsuki keep allowing it? -- symbolizes something that endured in spite of all that, and something that is finally growing stronger again after all those years. and if Horikoshi can elaborate just a little more on that bond, even in the smallest way, I think it would have an incredible impact and go a long way toward imbuing the name with the significance that Katsuki’s hero name deserves.

as for it being too cutesy, I think that’s all a matter of perspective. “Kacchan” as a hero name would be a direct parallel to “Deku”, which of course originated as an insult. but Ochako managed to give it an entirely new meaning, and Deku has taken ownership of that meaning and of the name itself. and I guarantee that when all’s said and done, there won’t be anyone left who hears the name “Deku” and thinks “useless.” instead they’ll hear it and think of the world’s greatest hero. basically it’s the rebranding to end all rebrandings lol.

and the same goes for Kacchan. first of all, Katsuki would absolutely take ownership of that name in the same way Deku has owned his. all he has to say to his snickering classmates in its defense is “it’s the name of the future number one hero,” and that’s it. he’s never been one to care about what others think as long as he himself is sure he’s on the right path. “I’m heading for the top; why should I care?” the name would be badass because he’s a badass, and it wouldn’t be long before it was synonymous with the number one.

and second, and more importantly, I would argue that it’s the exact opposite of cutesy and childish, particularly in comparison to his previous hero name selections. “Lord Explosion Murder” -- that’s childish. but “Kacchan” is the opposite; if anything, it shows maturity. Kirishima would probably call it manly as hell. because even if it doesn’t make sense to 99% of people (or, you know, 99.99999999999etc.%), the important thing is that it has meaning to him, and also to the one person it’s specifically a response to (even if he doesn’t want to tell said person the name yet for probably this exact reason sob).

because what it means is I’m sorry. and also, I know you didn’t have to forgive me. and even, you’re right -- it means ‘dekiru.’ and we’re a team, but also you’re my rival. and most important of all (and this is getting into dangerously cheesy territory now, but you know what, screw it): this is who I want to be now and always: the person you saw me as. because the “Kacchan” Deku has always admired can be summed up in one single word: amazing.

so that’s my take on it! and incidentally, this is a bit off-topic, but you mentioned Shouto’s hero name, and I actually think that one has some significant meaning to it as well. because the thing is, it’s his name. and by choosing that, fresh from his revelation at the sports festival, I think he was very deliberately saying that he is not his father, and that he’s no longer defined by his connection to his father, but rather that he’s his own person. he is not Endeavor; he is himself. anyways, the name Shouto may still very well be a placeholder just like “Bakugou” and “Tenya”, but even if it’s not, I think it’s still very fitting for him (and clearly hasn’t stopped him from amassing a fan following, if ch 252 was anything to go by lol). basically, rather than his usual meticulous kanji selection and wordplay, it seems like Horikoshi has opted to go a more personal route with the new big three, and it’s a choice I personally love, because I live for the insight it shows into the characters. so whatever he does pick, I really hope it delivers on that.

[keplercryptids]

nonfiction LGBTQ+ books i read this year

i read a lot this year, and a good chunk of it was LGBTQ+ nonfiction. so i thought it might be nice to list what i read. as a note, many of these books deal with LGBTQ history in the United States. too often, mainstream US-centric LGBTQ texts focus on white middle-class cisgender folks, though I’ve done my best to balance that as much as possible with other perspectives. (that being said, if you got ‘em, i would LOVE book recommendations that tackle worldwide/non-white LGBTQ issues!)

Accessibility notes: Given the nature of the genre, there’s a lot of intense discussion re: homophobia and transphobia. Basically every book listed covers those things to some extent, and I’ve specified where there’s additional potentially triggering content. (If you have specific questions about triggers, please let me know!) also, some of these books are on the academic side. I’ve done my best to note when a book was very academic or when I found it to be more readable. (full disclosure on that note: I’m a college grad and voracious reader without any reading-specific learning disabilities, so my opinion may be different than yours!) as a final note, I was able to access most of these as e-books/audiobooks through my local library. I live in a major metropolitan area, if that gives you any idea of how easy it’ll be for you to find these books. I’ve noted when a book was more difficult to get my hands on.

History

Gay New York: Gender, Urban Culture, and the Making of the Gay Male World 1890-1940 by George Chauncey. As the title suggests, this book focuses on gay male communities in NYC pre-World War 2. Even with that limited scope, this is an important read to better understand gay male history in the early 20th century. Gay communities thrived in the early 1900s and this snapshot of that is really wonderful. This is definitely more of an academic read, but I highly recommend it. while it definitely focuses on white middle-class gay men, there was more discussion of poor and/or gay men of color than i had actually expected, so that’s nice. (CW for rape and sexual assault, homophobic violence and medicalization of homosexuality.)

Queering the Color Line: Race and the Invention of Homosexuality in American Culture by Siobhan B. Somerville. Finally, a book about queer history that actually talks about black people! I was expecting more of a history book, whereas this was more of a critique of specific novels, plays and movies of the early 1900s and was way more focused than i was expecting. don’t get me wrong, I majored in English lit so i’m super into that kind of analysis as well, it just wasn’t as far-reaching as I would have liked. Also, it’s very academic. (Only the print version was available at my library.) (CW for racism, mentions of slavery.)

Transgender History by Susan Striker. This book describes itself as an “approachable introductory text” to transgender history in the US, which I agree with. It’s a pretty short read given the enormity of the topic, so it doesn’t go into much detail about specific groups or events, but imo it’s a good introduction. Especially interesting to me was the information about where and when TERF ideology began. Academic but on the easier-to-read side. (CW for transphobia, gross TERF rhetoric, brief mentions of the AIDS crisis, police violence.)

Gay Revolution by Lillian Faderman. okay so, I gave this 1 star. it’s probably a good book if you know absolutely nothing about US LGBTQ history and want an intro, but a review on goodreads said that it should be called Gay Assimilation instead and i completely agree. Faderman focuses on white middle-to-upper class gay and lesbian assimilationists, often at the expense of radical queer and trans people of color. The latter is hardly mentioned at all, which is ridiculous given trans folks’ contributions to the LGBTQ movement. When radical people ARE mentioned, it’s often in a disparaging way, or in a way that positions the radicals as too extreme. Faderman constantly repeats the refrain that the fight for LGBT rights was “just like what black people did for their rights” without any addendum about why that is...not a good take. There’s no meaningful discussion of race, class or intersectionality. She lauds Obama as a hero for the gays and there’s a ton (I mean a TON) of content about how military acceptance + gay marriage = we won, or whatever. anyway, i wasn’t a fan, although many of the events and organizations discussed in this book are important to know just from a factual basis. (CW for all the stuff I mentioned, plus police violence, medicalization of homosexuality. it’s also fucking LONG so i recommend the audiobook, lol.)

Queer (In)Justice: The Criminalization of LGBT People in the United States by Joey L. Mogul,  Andrea J. Ritchie, and Kay Whitlock. This is “a searing examination of queer experiences--as ‘suspects,’ defendants, prisoners, and survivors of crime.” A frequently upsetting but super important read about how LGBTQ identities have been policed in the past, and currently are policed today. i wish there was more focus on trans folks, but other than that it’s a solid read. (CW for all the things you’d expect a book about policing and imprisoning LGBTQ folks to include: police and institutionalized violence, sexual assault, transphobia, homophobia.)

Stonewall by Martin Duberman. This book follows the lives and activism of six LGBTQ folks before, during and after the Stonewall riots. Note: Stonewall itself is only discussed in one chapter about 2/3 of the way through, the rest of the book dedicated to the six individuals’ lives and activism up to and after that point. It’s a history book with a strong narrative focus that I found to be a fairly accessible read. (CW for minors engaging in sex work and sexual predation by adults, sexual and domestic violence, police violence, drug and alcohol abuse, mentions of suicide.)

And the Band Played On: Politics, People, and the AIDS Epidemic by Randy Shilts. This is a HEAVY but really important read about the AIDS epidemic in the US, tracking the disease and the political/cultural response from about 1980-1985. It’s journalistic nonfiction, so although it’s a very long book I found it easier to read than more academic-y books. the only thing i really disliked was how the book demonized “Patient Zero” in quite unfair ways, but it was originally published in ‘87 so that explains part of it. I want to stress again that it’s heavy, as you’d expect a book about thousands of deaths to be. (CW: oh boy where to start. Graphic descriptions of disease/death, graphic descriptions of sex, medical neglect, republican nonsense.)

Memoirs, essays, etc

Persistence: All Ways Butch and Femme edited by Ivan E. Coyote. i felt mixed about this one! i appreciated the different perspectives regarding gender and desire, especially since this anthology contains a lot of essays by people who came of age in the 60s-80s (so there’s a historical bent too). but some of the essays feel dated, at best, and offensive at worst. there was more than one instance of TERF-y ideology thrown in. probably 1/4 of the essays were really really great, and i’d still recommend reading it in order to form your own opinions--also, imo it’s useful to see where TERF ideology comes from. this book was harder to find, and i had to order a print version through interlibrary loan. (CW for a few TERFy essays. i read this earlier in the year so it’s possible i’m forgetting some other triggers, sorry!)

Gender Outlaws: The Next Generation by (editors) Kate Bornstein and S. Bear Bergman. Serving as a follow-up of sorts to Bornstein’s Gender Outlaw, this is a collection of narratives by transgender and gender-nonconforming folks. While not “history” in a technical sense, many of the writers are 30+ and give a wide array of LGBTQ+ experiences, past and present, that are important. I didn’t agree with every single viewpoint, of course, duh! But some of the essays were really powerful and overall it’s a good read. (CW for one essay about eating disorders, some outdated language/reclaimed slurs as to be expected--language is one of the main themes of the collection actually so the “outdatedness” is important.)

S/He by Minnie Bruce Pratt. A memoir published in 1995, focusing on Minnie’s life, marriage, gender identity, eventual coming out and relationship with Leslie Feinberg. i really enjoyed this one. it was beautifully written. there are many erotic elements to this memoir so keep that in mind. also was a little harder to get, and i had to order a print version via interlibrary loan. (i read this awhile ago and can’t remember specific triggers, sorry! if anyone knows of some, please let me know.)

I’m Afraid of Men by Vivek Shraya. A memoir by a trans woman ruminating on masculinity. it’s beautiful and very short (truly more of a longform essay), so it’s a good one if you don’t have the attention span/time for longer books. (CW for sexism, harassment, transphobia.)

Zami: A New Spelling of My Name by Audre Lorde. god, this memoir is gorgeous and is one of my favorite books of the year. it chronicles Audre’s childhood in Harlem and her coming-of-age in the 1950s as a lesbian. ultimately, this is a book about love and that resonates throughout every page. idk can you tell i loved this book so much??? (CW for child abuse, sexual assault, a friend’s suicide, racism.)

We Have Always Been Here: A Queer Muslim Memoir by Samra Habib. suuuuch a good book! Samra writes about her life as she and her family arrive in Canada as refugees from Pakistan in her early childhood, onto her life today as a queer Muslim woman of color, photographer and activist. beautifully written and just such an important perspective. Only the print version was available at my library. (CW for child sexual assault, a suicide attempt and suicidal ideation, non-graphic mentions of domestic violence, racism and sexism.)

Gender Queer: A Memoir by Maia Kababe. this is a beautifully illustrated graphic novel memoir about the author’s journey of discovering eir identity as queer. i related to a lot of it, which was great on a personal level, but i also think it could be a great educational tool for those wanting to know more about gender queerness (especially for those who prefer graphic novels!) (CW for gender dysphoria, descriptions of gynecological exams, imagery of blood and a couple pages depicting being impaled, some nudity, vomit.)

[eat-the-richard]

Why Super Mario Sunshine is kind of bad (and how to fix it)

It’s safe to say that in our current hellscape that there are few games in the Mario franchise with as strong of a following online than Super Mario Sunshine. And how could it not? It’s so unique and fun that most people could probably have a good time with it. But it’s interesting to note just how much this perspective has changed over time. 

When Sunshine came out it was considered by some to be the black sheep of the series. Or at the very least a noticeable step down from 64. There’s quite a lot wrong with Mario Sunshine. While there’s a great game at the core of this thing, there’s certainly a few miles of paint-like goop to sift through.

What’s frustrating is that a lot of these problems could have been solved with just a bit more development time. Mario Sunshine was rushed. This can be observed even without prior knowledge, but it becomes plainly evident when you look at some of the prerelease videos. In some instances it doesn’t even resemble the final product. Even at E3 2002, just three months before launch, there are a lot of noticeable differences to the final product.

Because of this rushed development, a lot of corners needed to be cut to pad out the game’s relatively lacking amount of content. The result is a game that is fun and well designed in some instances but a complete and utter disaster in others. 

The issues plaguing Mario Sunshine were emblematic of a Nintendo-wide issue. At the start of the GameCube’s life, many prominent franchises were rushed along development to meet strict deadlines to fill out the console’s thinning library and boost sales. The Legend of Zelda: The Wind Waker is a textbook example. A lot of people had issues with that one too when it came out. Despite some clearly dumb points about the game’s art style, there’s definitely a lot to say about how Wind Waker pads out limited content. Doesn’t that sound familiar?

Thankfully, in 2013, the Wind Waker received an HD rerelease for the Wii U. Alongside a hefty visual overhaul, there were many under the hood changes to make the game an overall smoother experience stemming directly from those 2003 critiques. Sailing is made way simpler and faster in this version and the Tingle-inspired back-half of the game is shortened significantly. These two changes alone make this version superior, at least to me.

In the years since, I believed that Sunshine could have benefited from a rerelease similar to Wind Waker. Not necessarily in terms of its visuals (which I think have held up rather well) but in terms of its structure. Some small changes to the way Sunshine progresses could really benefit it overall, and I believed, erroneously, that it was only a matter of time before it received this treatment.

But we live in a post-3D All Stars world, and Nintendo’s response is clear. They believe Mario Sunshine is perfectly fine as is. Just touch up some of the textures, give it a resolution increase, and you got yourself a solid product. And yeah, its still pretty fun like this. But its hard to look past the missed potential in refining some of Sunshine’s rougher edges.

Which is what I plan to outline in this video. If I were to be given the reigns to nosedive Nintendo’s current plans to revamp a 2002 GameCube game, what would I change? After a suitable amount of complaining, I’ll discuss a fan project that comes close to doing what I think Nintendo should do.

So sit back, relax and let me refresh your body and spirit.

The first changes I’d make have to do with the frame rate. It’s evident that Super Mario Sunshine was supposed to be a 60 frames-per-second game. Some prerelease footage even shows as much. But somewhere late in development, the framerate was capped at 30, making it the only 3D Mario Game post-64 to not reach 60. Using Gecko codes, it’s possible to unlock the framerate and play at a pretty consistent 60. It’s so consistent that it starts raising the question of why Nintendo didn’t implement this into the Switch rerelease. This code isn’t emulator exclusive either, it also works pretty well when used on Wii consoles. Also, a hypothetical rerelease using the source code wouldn’t even have to deal with this anyway. But it’s good that the game works so well like this even without more structural changes. I don’t really need to explain the benefit of an increased framerate, so strike that one down.

And with that out of the way, it’s time to outline the biggest change my hypothetical Mario Sunshine remaster would make. One seemingly small but with major ramifications towards the rest of the game. But first, some background.

Super Mario 64 took a pretty big risk back in 1996 by significantly changing the main objective of playing a platformer. It was no longer about clearing a level. You aren’t going through these areas to reach an end point. The objective is now to find certain major collectibles, in this case power stars. But the game doesn’t want you to collect all of them. I’ve heard a lot of discourse recently about the boot-out system, but even when I was a kid I realized that 64 kicked you out of every level not just to pad out game length but to keep you moving around the castle. 

64 is always inviting you to explore new areas with a constant trickle of new content the more total stars you collect. At first, the amount of stars needed to unlock a new level are small. The first area of the castle has every level besides Bob-omb’s Battlefield locked behind a small star total. And the amount needed to progress onto the next full area with five more major levels is only 8. But these star totals gradually increase over time, requiring 30, 50, and finally 70 stars to unlock new content. But what stars you got never mattered, just how many in total. This allows for free exploration where the player doesn’t have to think about where their next objective is. For instance, exploring pretty much every cardinal direction of Lethal Lava Land will lead you in the direction of a star. And because it doesn’t matter which star you get, it allows players to choose how long they invest in each level. Are the constant treks up Tall Tall Mountain or Rainbow Ride annoying you? Well all those stars are completely optional, you just have to compensate by completing more of the other levels. It’s an ingenious system that allows for a lower total amount of levels to feel more rewarding.

Super Mario Sunshine is practically begging to be like this. In fact, for the first few hours, that’s exactly how it works. New levels are unlocked progressively through getting Shines. But it doesn’t work in quite the same way. These shine totals are never outlined to the player. It shows you that you’ll eventually be able to use the Rocket Nozzle and has objects like the pineapple blocking Sirena Beach to make you yearn for a Yoshi. But you’re not told when these things are to be unlocked; it just sort of happens. Which is fine, it definitely makes the game feel more mysterious. But it lacks that forward momentum of 64 where your end goal is always simple and in the back of your mind. Oh, I need 30 stars to unlock this big door. Sunshine doesn’t have this despite literally operating in the same way. But it still maintains the ability to slowly unlock content to players through playing more of the game, which is good. And importantly, which stars you get for these gates aren’t important, just that you’re getting them at all. And if the game stuck to this principle, that would’ve been great.

Except it didn’t.

After the rocket nozzle is unlocked and Pianta Village becomes accessible, your total amount of Shines is never relevant again. Instead, game progression is contingent upon completing mission 7 of every level. Not every shine is valued the same according to the game. The progression is far more linear than in 64. You can no longer choose to avoid the Chuckster mission. Or the Sand Bird mission. Or the teeth cleaning mission. Or racing Il Piantissimo three times. Or fighting Gooper Blooper three times. Or fighting Petey Pirahna twice. Or defeating these same Piranha Plant Gatekeepers five times. Or even chasing down and squirting on Shadow Mario E L E V E N T I M E S. There’s a lot of repetition here which would’ve been eased simply by allowing the player to avoid doing these missions wherever possible. 64 had similar situations of reused content, but it’s not as egregious when there’s no incentive to collect stars you don’t want to. 

This structure is also weird because there’s a ton of extra missions in this game. Some of the game’s most, err, fun segments are hidden away in Delfino Plaza. These can be some pretty time-consuming tasks. You know what I’m talking about. But that’s not all. Every course also has some bonus shines. Every secret stage has an additional Red Coin challenge. There’s some “cleverly” hidden shines even within certain missions. There’s even a mission 8 to every level. Every level also has a 100 coin mission which, just to get it out of the way, should absolutely not spawn the shine somewhere 100 feet away from you AND boot you out of the level upon collection AND not be possible in every mission. Like c’mon, Mario 64 got this right on the first try. So Nintendo went out of their way to put all these extra shines in the game, and yet none of them matter towards game completion. Which makes me wonder what the point of completing them is supposed to be?

All this extra content, regardless of quality, would benefit from a system similar to Mario 64. In its current state, there’s not much of a reason to even bother with these extra missions, especially when some of them are of questionable quality. On that same token, there’s some pretty fun missions hidden in this extra content, and it’s a shame that they aren’t more important.

Well, with that...  

B L U E    C O I N S

I almost forgot about you!

Blue Coins are pretty despised. But in concept they’re pretty smart to put in a game like this. It’s kind of like the Red Coins but on a broader scale. They’re packed into every little tiny corner of the levels, giving players more of a reason to explore the pretty environments. And once you collect 10 of them, you get a Shine Sprite from the local beavers. If these Blue Coin shines counted towards a grand total for game completion, Blue Coins could give players a nice buffer to replace some of the games more questionable missions. But just like all of the extra content, Blue Coins matter not one iota towards finishing the game. So, the only reason to collect Blue Coins at all is if you wanted to collect them all.

And that’s precisely why people hate them. Because collecting all the Blue Coins is an absolute nightmare. Let’s not even talk about how cryptic some of these coins are because honestly I’ll be here all day. Let’s instead talk about how impossible it is to know how close you are to getting every Blue Coin in a level. You can intuit through previous levels that it caps out at 30 per level, but the game never tells you that. There’s obviously no Blue Coin tracker like there is for shrines in Breath of the Wild, so if you’re frantically darting around Noki Bay looking for the one coin you missed that's hidden inside a wall for some reason, you’ve only got GameFaqs and Jesus to help you at that point. 

To top it all off, just like the 100 coins missions, it’s impossible to get every Blue Coin in every mission in a level. Some blue coins are exclusive to certain missions. And it’s impossible to know how many are exclusive, which ones are exclusive, how many exclusives you’ve gotten, how many exclusives you need. Must I continue? This process is a disaster and gives Blue Coins a bad name. If they were put in a game like Mario 64, I feel like these things would have much more of a positive reputation. But as it stands these things are so toxic they’ve been reduced to POW switch fodder in later games. 

I think Blue Coins summarize the issue with the extra content pretty succinctly. In a game like Mario 64, they’re harmless. But in a game where none of it is tied to beating the final level, the only purpose they have is 100% completion. And 100% completion should never be the focus of 3D Platformers. Some players prefer playing to completion but there’s a reason why most don’t. Fully completing a game is a soul commitment as much as it is a time commitment. It’s saying to yourself that I am willing to go through all the unfinished, janky, and cryptic content Mario Sunshine has to offer all for the extensive reward of… a different end screen. So yeah, there is no reason to get 100% of Mario Sunshine’s content. Even completionists are going to be disappointed. Not only is this content useless towards Any%, it’s aggravating for 100%, since fully completing the game is so unrewarding. 

So, how do we fix this issue? Well to do that, let’s take a look at a mod that, in my opinion, does exactly that: Super Mario Sunburn, made by Epicwade.

The biggest change Sunburn makes is in its requirements for completion. Rather than Bowser being locked behind completing the seven Shadow Mario shines, the door to Corona Mountain is opened when the player attains 70 shines overall. If you recall, that’s the exact same amount 64 requires of the player to reach the final level. This change, by itself, adjusts Sunshine more towards what I would like it to be. But if you’re crazy enough to prefer the previous mode of completion, it’s still there as an option.

That’s not all, though. Now, when you collect a Shine, you’re no longer booted out of the level, and instead are simply asked to save and then you’re free to explore the rest of the level. My feelings on this essentially boil down to which mission I’m playing. I think the first two shines of Bianco Hills show this working pretty much perfectly. You squirt on the gatekeeper to get the first shine and then you’re immediately free to go forward and fight Petey Piranha. This feels far more natural than having to get booted out after the first shine and make the entire trip through the first half of Bianco Hills just to get back to where you just were. So in this case, it’s a positive.

However, Sunshine very often changes its course layout per mission. And when that happens, it feels a bit unnecessary to have to boot out of a level manually and boot back in just to get the next event to trigger. Sometimes you can chain getting a bunch of shines out in the open with a secret stage which resets the level upon entering the newly placed warp pipe at the end of it. But otherwise you’re stuck pausing and exiting. I feel this issue may be able to be streamlined by doing something like Mario Odyssey does, where collecting certain Moons boot you to the beginning of the level with the new mission unlocked. This might be outside of the reach of Sunshine modding at the moment, though.

This isn’t the only change set to make Sunshine more open. One of my favorite parts of the original game was that you could see other levels whenever you looked around. Turning at the start of Bianco Hills and being able to see not only Delfino Plaza but also the yet to be unlocked Ricco Harbor and Pinna Park was fascinating to me when I first played it. Sunburn takes this concept one step further by allowing players to travel from stage to stage. For instance, taking the river in Bianco Hills spits you out Ricco, and climbing a vine in Ricco allows you to travel back. This is a pretty novel idea and definitely makes replaying the game an entirely different experience, especially when combined with the lack of boot out. It does lose me a bit in how it necessitates for every level to be unlocked at the start. As I mentioned previously, slowly unlocking stages to the player by collecting whatever collectible they’re using allows for 3D Platformers to have constant forward momentum, which is lost here. But for those who’ve already played the game I think this is a fun option.

Other quality of life changes are strictly positives. In most instances, Blue Coins are now accessible from any mission in a level. I say most because it’s impossible for some of these coins to make the transition. But in the vast majority of cases, it’s been done. More coins have been added to each stage, along with Red Coins counting as collecting two coins just like in 64. This makes getting 100 coins a lot easier, especially when you’re doing multiple missions of a stage in a row. Two of the game’s weakest sections become far more manageable with these changes. There’s some smaller changes too, like being able to skip cutscenes, Blue Coins no longer bringing up a save screen, and Shadow Mario’s invisible health bar being restored. There’s also new content here, with additional secret stages being accessible from the main courses. Nothing mind-blowing, but it’s at least pretty neat to run around Outset Island as a FLUDD-strapped Mario.

Super Mario Sunburn addresses a lot of my issues with the original version, which was exactly the point. I’m not the first to bring up these issues, nor will I be the last. There’s so much potential within Super Mario Sunshine to be one of the best examples of its genre, so to see it fall short in such fundamental areas is undeniably frustrating. As usual with Nintendo, and even with other publishers, it’s often the community that sees itself to correct the issues with the games they feel deeply passionate about. Basically the only difference between Sunburn and an official Sunshine remake or remaster would be a significant layer of polish. That still might happen, but I’m not holding my breath at this point. So if you find yourself feeling similarly as I do about Sunshine, it might be worth it to check Super Mario Sunburn out. Here’s the download link again if you’re curious.

[novastarlyght]

That Time I Named an Invader Zim Background Character and Everyone Thought it was Canon: The Story of Ixane

Like a lot of others it seems, the premiere of Enter the Florpus has recently made me think back to my first stay in the Invader Zim fandom many years ago. For me it was between 2006 and 2007, and I was 14-15 at the time. IZ was and still is a very special cartoon to me, not only for how it influenced me creatively but also the fact being a part of its fandom was my first really positive experience in a fan community. And I wanna talk about that experience because it... lead to something very interesting. Something that only could’ve happened in the now bygone days of the early internet where reliable sources were harder to find and misinformation was much more common, but somehow, has lasted until today. 

This is how Ixane, a silent extra that appears only in the episode “Backseat Drivers from Beyond the Stars,” got her name.

So first off, you might be wondering “Who the heck is Ixane?” As I mentioned, she only appears as a background character in the 21st episode of the original series, titled “Backseat Drivers from Beyond the Stars” which I’ll abbreviate for the rest of this post as just Backseat Drivers. She’s a member of The Resisty, a resistance group against the Irken Empire who also only appear in that episode, although they were planned to become more significant recurring characters later down the line before the show was cancelled.

In 2006 I LOVED the Resisty. They were my favorite group of characters in the entire show, probably because I was fascinated by all their potential which sadly didn’t get the chance to be explored before IZ was canceled. What planets did each of them come from? What are each of their individual species like? How did they form into a single resistance group? What were their names, their personalities? Their hopes, dreams and fears?! THEIR FAVORITE DRINKS?!?! I attempted to provide my own answers to some of these not-so-burning-to-anyone-but-myself (or so I thought at the time...) questions by writing a fanfic called “Resisting Authority,” which I published on Fanfiction.net and later DeviantArt. It’s since been taken down on FFN while the DA version is currently in private storage on my old account, so here’s a screenshot just to prove it existed:

(click here for larger image)

Despite being more adult in tone than the show it was based on and rather melodramatic (then again, I was 14, and probably so was everyone else reading it), “Resisting Authority” became really, REALLY popular... at least for a fic that didn’t feature any of the show’s main characters, given it was entirely about the Resisty and told mostly from the perspective of its leader, Captain Lard Nar. Regardless it got a large amount of positive feedback and significant fan art on DeviantArt, most of which is no longer online although there’s still a little bit hanging around - mainly featuring Lyn, an Irken OC from the story who chooses to rebel against the empire and falls in love with Lard Nar, leading to a star crossed lovers conflict.

Because the purpose of the fic was to further explore the Resisty along with the idea of “What if an Irken betrayed their own?” several characters that appeared onscreen for only a couple of seconds in Backseat Drivers were fleshed out considerably in “Resisting Authority,” where they were given names, species names, home planet names, backstories, motivations and personalities. And of these the one who received by far the most development was a feminine, blue-eyed alien in a hooded purple cloak who I decided to name “Ixane.”

Ixane would become one of the most important characters in “Resisting Authority” right behind Lard Nar and Lyn. She is a Xanan from the planet Xana, a race of spiritual mystics. She is initially distrustful of Lyn, despite her actions and claims to be as much of a rebel as the rest of them, due to her hatred for the Irken Empire and how they destroyed her home. She believes Irkens are more like machines than living creatures, their bodies merely being empty shells to carry their PAKs around, making them incapable of genuine emotion. When she discovers Lyn and Lard Nar have been in a secret romantic relationship, she becomes even more hateful towards Lyn both due to jealousy, since she’d been harboring feelings for Lard Nar herself, and her genuine belief that Lyn’s feelings aren’t real, something that will only hurt Lard Nar in the end.

However throughout the course of the story her views are challenged and eventually Lyn manages to prove her wrong by displaying what she can’t deny is anything but legitimate love for Lard Nar and compassion for her allies in the Resisty. Unfortunately Lyn is fatally injured during a battle with a number of Irken soldiers sent to hunt down the rebellion. Now wanting nothing more than happiness for the person she loves, Ixane uses her mystical powers to save Lyn’s life while sacrificing her own in the process.

This character development (both in the meta sense and in the context of the fic itself) plus her selfless heroic sacrifice is what I think made Ixane one of the fic’s breakout characters and caused her to stick in the minds of those who read “Resisting Authority.” They were no longer thinking of her as just some extra, but as this fully developed character complete with an arc that I’d made her into - as the character of Ixane. But it didn’t occur to me just how big of an impact this may have truly had until about 9 years later.

In 2015, the official Invader Zim comic series by Oni Press began publication and I found myself extremely hyped about IZ again for the first time in almost a decade. It was during this time I came across a particular IZ wiki article and section of its TV Tropes page...

(Sources are here and here)

And I thought to myself “Wait... I thought I named her Ixane...?”

Because at this point I seriously couldn’t remember. I hadn’t thought about “Resisting Authority” in years, and with TV Tropes in particular noting that Ixane’s name was given “in the [episode] script” I wondered if I didn’t actually come up with the name. Maybe it was in the script for Backseat Drivers after all so I used it in the fic. Being unable to find said script (the original script as made by the episode’s writers, not a transcript) I couldn’t confirm it, so I mainly shrugged it off and thought more than likely I just had a bad memory. It wouldn’t be on a (still regularly maintained) wiki if it didn’t at least have a high possibility of being canon, right?

Cut to last night, August 2019. Me and all my other friends and fellow nerds who also grew up loving IZ are still buzzing over Enter the Florpus and our childhood/teenage fan content comes up in conversation. I dig up “Resisting Authority” from my old DA storage for perhaps a good laugh and a bit of nostalgia when more of when I first wrote it starts to come back to me. “I know the wikis all say her name was in the script, but I swear I came up with the name Ixane myself,” I thought, wondering if there was any way I could prove it.

Turns out I could. All the proof I needed was in a drawing of the character I posted to DA in January of 2007, which like the fic was still in storage:

(click here for larger image)

“Um...I bet a lot of people who read Resisting Authority got the impression she was an OC. She technically isn't. She is a Resisty character we saw VERY BRIEFLY once or twice in Backseat Drivers and I just elaborated on her for the story. The cloaked girl, yasee. Just look here: [link] “

That link no longer works normally, however putting it into Wayback Machine provides a snapshot taken in September of 2006, which would be around the time “Resisting Authority” was first published on FFN. Scrolling down on that page gives us...

(click here for larger image)

Additionally, opening the image itself reveals the filename “resistycloak.jpg” rather than something like “ixane.jpg” or “resistyixane.jpg”

For those who weren’t in the fandom back then, The Scary Monkey Show was a very well known IZ fansite and its Encyclopedias section was basically a resource for the show’s lore, one considered highly reliable, before things like fan wikis became commonplace. I actually used this site as a reference for the different types of Irken ships and other planets in the IZ universe brought up in the fanfic and so did many other fic writers at the time. If any site on the internet would know a minor or even background IZ character’s name, if it really was in the official episode script, it’d be The Scary Monkey Show. Yet her name is listed as unknown.

So why am I telling you this?

Because as wild as this whole situation is, I’m not a person who likes misinformation. I feel like IZ fans, both young and old, should know Ixane is not actually this character’s canon name as given to her by the writers of the show. That being said...

I see no reason to stop calling her Ixane. That’s just her name now.

Heck, it’d probably be difficult to go back to thinking of her as having no name given how long the name has been used on all these wiki pages and whatnot. And I’m completely fine with receiving absolutely zero credit for actually being the one who came up with the name in the first place, because here’s the thing...

I may have made the name, but it was the fandom that spread it. The IZ community, primarily in my absence too, were the ones who codified, legitimized it. Who added it to those wikis and accepted it as canon all these years. Who believed in it enough to assume it came from the official episode script, from the IZ crew themselves!

Ixane isn’t my name for her. It’s our name for her, as the fans who made Invader Zim the cult classic it is today.

And I want that to be something we all can have and be proud of ❤︎

[fanbun]

Seuss Tales: From Page To Screen

Below the cut is an essay I wrote about Dr. Seuss adaptations after I was inspired by watching Green Eggs and Ham on Netflix. In the essay I examine the changes that adaptations have made to the original stories and how they have evolved over time. If you’re interested, please give it a read! :D

-

The tone of a Dr. Seuss book has proven particularly difficult to reproduce in any lengthened retelling. It is much like attempting to expand a poem into a novel. Somewhere during development, the original form will fall away to fit the new medium. And while artifacts of the original may still be present in the final product, such as a line or two, it is likely that those artifacts will feel disconnected from the product as a whole. In terms of Seuss, this is usually classic rhymes from the original stories that the audience expects to be included in the adaptation. Even if an audience member has had little exposure to the source material, they can usually identify these moments when a character starts rhyming for no particular reason. Of course, it must be said that some adaptations mimic the original tone better than others, and in those cases the product feels much more cohesive.

Since it is so difficult to expand a short story, the safest decision when making an adaptation is simply to be faithful. In the past, Seuss adaptations stuck much closer to the source material. How The Grinch Stole Christmas (1966) set the standard for the many Seuss TV specials that came after it. These specials utilized a narrator that would read the book nearly word-for-word and had an animation style that stuck as close to the original illustrations as possible. Where padding was necessary to extend the run-time, it was usually done by including songs and extra animation sequences. This form of padding didn’t typically disrupt the flow of the story since the songs featured rhyming in them as well, and the added animations were used to bring Seuss’s world to life. Dr. Seuss himself even wrote the lyrics to many of the songs. Thus these first Seuss TV specials were as close to direct adaptations as the public was ever given.

So when did the trend change? Well Seuss died in 1991 and in the year 2000, a live action comedy film starring Jim Carrey was released based off of How The Grinch Stole Christmas. Ironically, the very same title that started the initial animated Seuss renaissance. It was not only the first feature length film based on a Dr. Seuss property, but it was also a major financial success as it offered a new take on the familiar story. After all, the original animated special was already so beloved. The producers had to try something new to entice people to go see it. So what was created was a movie about the character of the Grinch, that followed the general story of the Grinch, but was entirely divorced from the classic tone and presentation of a Dr. Seuss book. Additionally, it made alterations to the characters and plot in an attempt to add depth and expand upon the story. This live action Seuss trend didn’t last for long, however, and it came to an end after The Cat in The Hat (2003) left a poor taste in the public’s mouth.

Jim Carrey would later return to voice the quirky titular elephant of Blue Sky’s Horton Hears a Who in 2008. This time animation was back in the form of trendy CG. The humor was modern but not quite as edgy as in the live action movies, and the trailers promised a more authentic Seuss experience for the youth at the time. Though the age of CG animated movies was an attempt to return to form, they couldn’t escape the adaptational dilemma of trying to stretch short stories into full movies. Horton Hears a Who (2008) remained faithful to the book’s plot but was padded with plenty of gags that tended to outstay their welcome. In contrast, Illumination’s The Lorax (2012) padded its run-time by expanding on the Onceler’s character and introducing new characters, including an all new antagonist. This, although showing clear ambition, ended up being a controversial decision as many viewed it as obscuring the book’s intended message.

Interestingly, Netflix’s Green Eggs and Ham series (2019) is mostly padding. In fact, there is hardly anything in the show that resembles the original book aside from the two main characters, Sam-I-Am and “Guy”, and the aforementioned Sam’s affinity for green eggs and ham. And yet it manages to feel more like a Seuss story than many of the adaptations that have come before it. No doubt this is partly due to its traditional 2D animation style, though the inclusion of many Seussian creatures and contraptions should not be overlooked as an important factor. It is terrible as a direct adaptation, but as an expanded retelling it is brilliant. The writers were given a book so simplistic, with such a straightforward moral, that they only needed to follow it loosely to deliver on its message. They took a couple characters, a handful of words, and rewrote it almost entirely. And really, that was the only smart choice for a series that spans 6 1/2 hours in total.

One of the most drastic departures from the book was the decision to make the plot revolve around Guy and Sam smuggling an exotic animal (named Mr. Jenkins) in a briefcase to return it to the wild. This concept alone turns it into a completely different story. So much so that I’d argue the title of “Green Eggs and Ham” hardly fits as a descriptor. Still, the theme of animal protection is entirely in line with the types of morals found in Dr. Seuss books. This recurring message is made even more evident since the villains work for a serial animal abuser who keeps live animals on display as status symbols. I could have easily imagined that a separate Dr. Seuss story existed with this same plot.

But what is perhaps most interesting to me about the rewrite is that, along with convincingly portraying a story based on Dr. Seuss, it also adds its own modern sensibilities into the mix. Not merely by way of adding humor and references like some adaptations before it, but through the story’s structure itself. First of all, it is a multi-episode animated series with emphasis on continuity. Secondly, it fleshes out the personalities and backstories of the characters over time. And thirdly, it at once represents and transforms the source material in something of a metatextual exercise. The narrator’s tendency of breaking the fourth wall is a perfect example of this. He even acts as an audience stand-in at times, commenting that he wasn’t expecting to see the events that occur during the opening scene from a Seuss adaptation. Or at another point humorously asking “Was this in the book?” This brand of meta comedy made me take note of the more daring writing choices like the shocking reveals about Sam and the B.A.D.G.U.Y.S. toward the end of the season. Once again, the writers deliberately added complexity where there was originally very little.

Crucially for fans of the book, the rewrite doesn’t betray the original moral of Green Eggs and Ham. Rather it adds a layer of depth to that moral’s execution. In the book, the plate of green eggs and ham represents the characters’ willingness to try new things. It is the same in the series, however the unexpected journey the two leads embark on is what is given the most narrative focus. After leaving his comfort zone, Guy’s emotional attachment to Sam is what makes him finally try the green eggs and ham. It is a symbolic gesture of how far his character has come from the beginning of the show. He initially wanted nothing to do with Sam or Mr. Jenkins, but then he got to know them and discovered how much he cared.

So although it is risky to create an adaptation that changes much of the source material, it can absolutely be worth the risk. There is boundless creative potential to be found in transformative works, and that potential may be realized if given the right amount of passion and dedication. Sure, it might upset the purist in us, but the original already exists. Why not make something new out of it? Cut up pieces of the poem. Rearrange the words and add a new perspective. Some people will always consider doing so to be ruining a classic, but others might view it as a masterpiece all on its own. In the end it is up to personal opinion whether an adaptation is good or not, but nonetheless I think we should celebrate the cultural significance of these stories that leads us to recreate and retell them time and time again.

[millennialzadr]

WHY I LOVE ZADR!!!

HEY GUYS WHASSUP? LMAO

So this is a whole ass giant long post of me absolutely spewing my feelings of love for ZADR, it was the very first thing I wrote when I made this blog and I think it’s a nice, positive thing for my fellow shippers to inhale and enjoy 👌👌

it was originally a reply to mitarashiart’s post about why HE loves ZADR (link in replies) but I decided to delete that and make my own post since MY WHOLE ENTIRE TEXT WALL WAS SHOWN IN THE REPLIES and drowned out anyone else who was trying to talk (thanks tumblr mobile u fuckin idiot)

I had also posted a summary of an AU that I’m working on in the original post, but decided to remove it since it just about doubled the length (I’m thinking about posting it separately along with the wips I’ve been putting together, we’ll see 👀)

But ANYWAY, here is about a million reasons why I think ZADR is the fucking best, so if you like reading gushy gay ship feelings, please enjoy ❤️❤️❤️

[Posted June 2019][WARNING, LONG ASS THOUGHT BARF]

SOOO, holy hell y’all my journey back into this fandom has been a wild and unique experience for me, i went from adding invader zim to my bookmarks on kisscartoon, rewatching the series, finding out theres a movie coming out, finding out there was a shitload of content i’d never seen before (commentaries, lost episode scripts and audios, panels, the COMIC, episodes i’d never seen because the dvd i used to watch was scratched!! and a FUCKLOAD of quality modern fan art like oh my GOD) and finally curiously googling ‘zadr’ (which i was way into when i was maybeee 13/14) to see if there was any interesting new art, and holy hell, mita (the artist above) singlehandedly THREW me down the hole into modern zadr hell, first with his absolutely stunning IZ art (all his art is dope tho check him out yo), then reading the above explanation put the final nail in the coffin like, 100%

so i wanted to add onto his post here on why this ship got me so fucked up, both for anyone who might be wondering why on earth i’m shipping two characters from a kid’s show (i’m very aware how weird that is at first glance trust me) and also so i can get some ideas down for possible future reference (will i ever draw them? maybe)

(first of all, a disclaimer, and this is not pleasant to write but it’s important to address for clarity’s sake: I have no interest in romantic or sexual relationships between minors, and do not ship zim and dib as they are presented canonically in the show (as children). what i’m interested in is the conceptualized relationship they may have as modern adults, and i view zadr more as taking the concepts of existing characters and experimenting with them with different interpretations, which i personally think is a constructive and fun creative outlet, especially if these characters hold personal significance for you (childhood faves of course). growing up together is an important facet of their relationship, and certainly they were important to each other even as children (see: mopiness of doom) but as an adult i’m personally curious about what kind of adults they might’ve become, and that’s the focus of my interest. i’ll still be reblogging regular IZ art because it’s dope but if you see shippy looking art of them as tiny lil beans its either friendship or chibis (and i personally headcanon zim as getting taller with dib but some people stick with his canonical height when drawing them as adults, which is super short. it still doesn’t mean he’s a kid). aaand i wish i didnt have to write this and it would just be obvious but we live in a sick sad world and it is sourced from a children’s cartoon so i feel its necessary. end of disclaimer)

NOW THAT THAT’S OUT OF THE WAY

- ok, first reason’s a bit obvious - the nostalgia. holy hell, the feeling of rediscovering a ship that was popular when i was a preteen during the mid 2000s and discovering a totally new perspective on it as an adult comes with an almost totally overwhelming sense of nostalgia and comfort, as well as inspiration!! the kind of art that seems so common for zadr, these sketch pages of scenes and expressions and visual gags where artists would just scribble every idea they had and LOVE doing it, this was exactly the kind of art that made me so passionate about drawing as a kid, and it still sparks such a powerful feeling of love and admiration for me to this day. fan content of iz and zadr is simultaneously achingly familiar and totally new and fascinating, and it just makes me SO damn happy to consume, it is most definitely my new comfort content. and just, GOD. THE ART!! SO GOOD. FUCK

- now for the characters themselves: for some reason i just really love the thought of a mid twenties, modern Dib?? lanky goth dork, disaster bi, depressed as shit, uses bad sweaters and memes to cope?? when i was a kid i didn’t even LIKE Dib, but now i totally sympathize with him! he’s just a hyper obsessive nerd wishing there was more to life than the situation he got stuck with, how wildly relatable. he was a pretty big asshole as a kid (even to people besides zim) but he was also totally isolated and constantly bullied, so there’s a lot of room for growth. i feel there’s a lot of juicy character development potential for that boy, and there’s always been a special place in my heart for characters who are totally sad and screwed and hopeless, but there’s one thing, or person, that means the world to them and could possibly save them…

- aliens. Zim. i love nonhuman characters, i love monsters, i love aliens, i love characters that don’t understand human shit (and thus have much less room for shame or fear bc theyre just totally oblivious the negatives of modern society) and need guidance (bonding!!) from their human. i also love morally grey characters and characters with skewed logic, they’re always really interesting, and Zim himself just has such a unique personality and set of mannerisms, he contradicts himself a lot and you can never quite expect how he’ll behave, and i love that in a character, it makes them super versatile and fun, especially since there’s so many different possibilities for their development. Also, Zim is a gremlin, a little shit, and a disaster. I also love those traits in a character. And don’t even get me started on his character design?? big sparkly eyes? expressive antennae? monster teeth? complimenting colors? he’s adorable.

- mutual obsession. for someone like Dib, who seems almost repulsed by how boring and slow the people around him are, Zim quite literally personifies Dib’s  escapist fantasies, both as an inhuman entity from beyond the stars, and as a person who’s knowledge, charisma and mystery far exceeds that of anyone Dib has met in his entire life. (so basically what i’m saying is that for a shunned, jaded misanthropist, an actual alien is terribly alluring, even if said alien is dangerous, stupid, and possibly insane). not to mention Zim vindicates Dib’s entire life passion, the supernatural! Even when their relationship is totally negative, there is not a single inch of room for Dib to get tired of Zim. as mita explained, they validate each other. for Zim, WHO AGAIN, IS TOTALLY SHUNNED, ISOLATED, AND HATED BY EVERYONE HE KNOWS, Dib is the only person in the universe who gives a single shit about him!! he gives Zim credit as a threat, a capable invader, which if you ask me is the sole thing Zim is after (he’s hellbent on his mission because it would win him the approval of the tallest, all he’s ever wanted is recognition from the people he thinks so highly of). He literally gets depressed when Dib isn’t around to pay attention to him, not even the tallest were enough to motivate him before Dib came back. these two have no one and nothing without each other, and while lifelong nemeses is fine and dandy, i personally prefer friendship, affection and love, cause i’m a softie like that. how could they possibly get there after years of actively trying to kill each other?? well, i think under just the right circumstances it could become a possibility after a long, long time.

- growth. i. love. me. some. good. character growth. especially for characters with trauma/mental illness, bc again, relatable. these boys have issues, and as mita mentioned, their canon stories are actually INCREDIBLY sad! but the happy thought is, they could recover! they could help each other recover, for little reason other than the two are the only source of happiness for each other. now of course this also opens the gate for angst lovers, but at the same time offers potential for comforting, uplifting content of the boys supporting and inspiring each other, maybe even to the point of becoming happy and healthy enough to create the lives they want for themselves (as in appreciating life and doing things that make them actually happy instead of the delusions of grandeur they both sought when they were younger). gimme that positive shit and let the poor beans be happy  щ(ಠ益ಠщ)

- LITTLE THINGS. LITTLE THINGS THAT ONLY COME WITH CHILDHOOD FRIENDS. WITH HUMAN/NONHUMAN. WITH THE SHOW’S WEIRD LOGIC. Zim being the person Dib knows best and vice versa. Zim having an involuntary respect/admiration for Dib because he’s tall. Learning each other’s needs, limits, and communication methods, both emotionally and biologically. Sensitive antennae. Affectionate bickering. Being less insecure bc your partner literally has no idea why you see your flaws as flaws. Laughing at the flaws they do notice because they make no sense. Zim only wanting to eat waffles and chow mein. Dib being forced to overcome his depression lethargy and stay hygienic/keep the apartment clean because Zim has a sharper sense of smell and is afraid of germs. Endless conversation about anything and everything because they’re from literally different worlds, and endless intrigue. TOUCHING. TALKING. DOING EVERYTHING LIKE ITS THE VERY FIRST TIME AND ALWAYS NEEDING THE OTHER TO GUIDE THEM. HOLY HELL THERE IS SO MUCH POSSIBILITY FOR TINY LITTLE MOMENTS THAT MEAN THE WORLD. FUCK. GOT ME FUCKED UP.

so that wraps up the why. fuck man. its just such a good ship. if you read this big ass text post, thank you for indulging me, i hope you enjoyed it! because i enjoy it very much 👀 so stick around if you’d like to for a shit load of IZ and zadr content on this blog, possibly (MAYBE) even from me!! come roll around in alien hell with me why dontcha ᕕ( ᐛ )ᕗ its a fun time! thanks for reading!!!

-

SO THAT’S MY MANIFESTO Y’ALL, FEEL FREE TO REPLY WITH YOUR OWN REASONS!! I WOULD LOVE FOR THIS POST TO JUST BECOME A BIG GIANT PILE OF LOVE AND YELLING!! GO NUTS! SCREAM ABOUT IT! INFODUMP! DO WHATEVER YOU WANT! I’LL READ EVERY LAST REPLY! Y’ALL DESERVE TO ENJOY YOUR SHIP BC IT’S LITERALLY THE FUCKING BEST!!! LOVE Y’ALL!!!!!!

[maswartz]

Hey folks. Scott (Kaiser) here.

There's been a lot of talk the last year about what the future of DragonBall Z Abridged is, and while we've tried to update people, we've failed at making things crystal clear to everyone. 

We're planning on a full video talking about it, but we want to make sure that we can give you the full rundown, now that we've made our final decisions.

We currently have no plans on continuing with the Buu Saga, in the our original style, or in the style of the ShortZ, at this time.

Recently, we publicly announced that DBZA will not continue via the original footage ala our classic method of Abridging. However, we talked publicly about possibly moving forward with the Buu Saga via the same animation provided in the ShortZ.

Unfortunately, after serious deliberation, we currently find this process untenable.

For those of you with questions, I'm going to try to address them here:

"You guys promised Season 4 of DBZA. Why did this change?"

Several factors.

1. The ending of the Cell Saga gave us a sense of finality that is impossible for us to escape. We put our hearts and souls into making that finale stand out, and everything we've worked on with the original footage since has left us feeling hollow. This is a distinctly personal reason, but it's also incredibly important. Many shows lose steam as time goes on as the creators extend their work far beyond its natural lifespan; we're feeling that with this, and that's a scary, depressing thought.

We don't want to end up like The Simpsons, Dexter, Scrubs M.D., just to name a few.

And yes, we know, there's more story to work with. But in all honesty... there just isn't the emotional attachment and passion for the arc that drove the last three seasons. This is another, very personal reason, but it's unavoidable.

We do not enjoy tearing down and mocking the things we love. We want to celebrate them, expand on them, explore them, and sometimes make light of their shortcomings. That's what gave you the best of DBZA up until now, and ultimately, we find ourselves at odds with that approach and the majority of the Buu Saga.

2. We're burned out on the original method, in general. It's been an absolute blast to bring DBZA to life, but after 11 years of the same project... it's gotten oppressive. Which, again, is a scary thought.

I love DBZA, more than anyone on the planet. Not because it gave me this job, not because it helped pay the bills, not because it got me invited to conventions.

Because it made me a better person. A better writer, a better director, a better actor, a better editor, a better worker. I learned so much while working on DBZA, and I got to express my love for comedy, drama, and DragonBall to the world. Anyone who's seen me talk live about the finale of 60 has seen me coming to tears when talking about how proud I was to show it to everyone, and how overwhelmed I was to hear such a positive response. Just how happy I was to be able to share something I worked on with all my heart with all of you guys.

The idea that we could come to resent the series by forcing ourselves to work on it past the point where we feel artistically fulfilled? That's awful. And I honestly hope you all can understand why.

But it's not just me: Nick and Curt have also lost their steam with this approach, due to the limiting nature of the production, and our aforementioned perspective on the Buu Saga as a whole.

3. Our YouTube channel is our primary source of revenue. While the Patreon absolutely has helped us with several new projects (episode 5 of Unabridged is now in the can, and we continue filming early February), the lifeline that sustains the company is our main channel.

Copyright claims have put us at risk of losing that channel, and our livelihoods in jeopardy. We have our employees to look out for; our friends, our colleagues, and doing right by them—by striving to create original, monetizable, copyright friendly content, that also carries our heart and soul as creatives—is undeniably important.

We've thought about hosting DBZA on other sites, but nowhere has been safe, and worse, it would serve to draw attention away from our hub, which ultimately could lead to less views, less support, and either the scaling back or collapse of our company.

And frankly—and I say this with all due respect—the expansion of our company, to better fulfill the creative wants and needs of our employees, and the financial stability of all therein, is paramount here.

4. Our relationships with other companies have been strained by the nature of DBZA.

Fair-use exists in a nebulous area; even though we believe in it wholeheartedly, that doesn't mean there's no trouble between us and the copyright holders, and that tension leaks into the ecosystem in which we look to coexist with other companies. As writers, actors, etc.

We want to ease this tension moving forward.

5. We mentioned the nebulous nature of copyright. Over the course of the last 11 years, we've avoided major legal challenges, but we cannot continue to press our luck in this regard. We want to live in a less gray area, without the Sword of Damocles above our heads.

"When was this decision made?"

There is no concrete date, but it was in October, 2019 that we decided to no longer use the footage at all.

It started late August/early September. We'd been working on the script for Bojack since May, and had been struggling to get anything of substance down on paper. While it wasn't a complete wash, we weren't happy with the bulk of it. We'd also restarted the scripting process a couple times, trying to approach it from different angles, but we found ourselves at wit's end.

So we started to reflect and talk about the nature of our struggling, and Nick, Curt, and I came to the conclusions I gave you above.

At that time, we'd already written out several of the ShortZ and were looking to get moving on those before the year's end. They were originally conceived solely as connective tissue between Cell and Buu. We quickly realized that, if we could get things rolling, we could possibly continue working on DragonBall Abridged via the ShortZ, potentially solving a majority of our problems.

https://www.reddit.com/r/TeamFourStar/comments/d5blur/setting_the_bojack_record_straight_and_more_from/

I actually made this post over on the Reddit after Bojack was cancelled and we totally borked the announcement of said cancellation. It reflects a lot of what's said here.

However... it was over the course of the last two weeks that we started to realize: 

Continuing via the ShortZ was untenable as well.

"You mentioned continuing via the ShortZ. What changed?"

Imagine you're a child wanting a puppy. You beg your parents all year, and then they say, "Alright then, we'll get you that puppy for Christmas!" Then Christmas comes around, and they hand you a box. A wrapped box. And in that wrapped box isn't a puppy, but a WowWee Chippies Robot Toy Dog.

While there are plenty of fans who've cheered this on, for all the freedom it allows us, and the ability for us to monetize it, the drop in visual quality and change in overall tone and style ultimately make the Buu Saga a lesser version of what we've provided for years.

Furthermore, the time to actually produce an entire season with this new animation would put the series off for an unbelievably long time, and unfortunately be incredibly costly.

The ShortZ will continue, but we have no intention at this time to utilize them as a way to cover the Buu Saga.

"What of us who are contributing specifically for DBZA?"

We have continuously, time and time again, tried to communicate that this Patreon was not made to fund DBZA. It was made to fund projects outside of DBZA, while maintaining our production of our keystone project through to its completion. It has helped fund FFVII Machinabridged, AWF, Unabridged, Fist Master, Super Knock-Off VS., X Minutes, Cell VS., [Unannounced Project(s)], and essentially all non-mainline DBZA content.

But there's an unavoidable truth here: We promised DBZA would continue beside those projects, and that they would not interfere with its production in any meaningful manner. We also announced Season 4 at the end of Episode 60 in September 2018, leading people to believe that the show—as they knew it—would continue as per the usual.

Anyone who was looking to secure the creation specifically of DBZA Season 4 via their patronage will likely feel frustrated or even betrayed by this reveal, and we're sorry about that.

We also failed in our communication in a timely manner. The moment we decided that DBZA was not happening in it's traditional capacity should've prompted a much quicker announcement to that effect. Please understand that the biggest driving factor behind not saying anything was that we desperately wanted to have a real plan for you folks moving forward, not just bad news and a vague idea. As you can see, even debates on providing the Buu Saga via the ShortZ was not something we'd come to a conclusion on until these last couple weeks.

But we accept the responsibility and blame for keeping you in the dark for too long, regarding DBZA.

So I ask of you this: If you are a Patron solely—or even primarily—in hopes of funding traditional DBZA, please consider ceasing your patronage. If you continue to donate for any particular reason, thank you so very much. But if you don't feel that you are getting your money's worth, we truthfully understand, we will not blame you for choosing not to continue to support us, and we appreciate all the support you've given us thus far.

We will not judge you for being discerning with your own incomes and time, nor will we feel scorned.

"Is there any chance you'll change your mind?"

I cannot say so. We've made this decision and it's what we truly feel is best for us moving forward.

If you guys have any more questions, I'll make myself available in the comments section.

Thank you for your time and your support. I hope you'll continue to see us into new horizons, but as we said before: We will respect your decisions, whatever they are. Thank you for your support,

[bodytothefifthpower]

Would you be able to go into the katya stuff if you dont mind ?? Im not sure if its being released after this so im just curious what exactly happened

Okay so clearly after all of the speculation and hostility in the fandom recently, some people are interested to learn how exactly Trixie Mattel: Moving Parts portrays Katya. I was at the premiere at Tribeca, and I’m happy to give you a brief overview of what was shown and my opinions on it.

FROM THIS POINT ON THERE ARE SPOILERS FOR TRIXIE MATTEL: MOVING PARTS! SCROLL PAST NOW IF YOU DON’T WANT ANY SPOILERS!

So while this is a film about Brian Firkus, the lynchpin of the whole film (the underpinning that holds the story together) is really Trixie & Katya’s relationship. Which is perfectly reasonable! They are a huge part of each other’s lives, and they just happened to be filming this documentary while all of Katya’s health issues were going on. To completely strike what happened from the record would, frankly, probably mean they couldn’t use a lot of the footage they had- to the point where I really think it could’ve scrapped whole chunks of the movie.

One of the first things they show in the film is Katya gifting Trixie with dolls that look like the two of them; it really portrays their friendship in a lovely light. Trixie also talks about how much she loves Katya and loves working with her, and about how everyone got to see their friendship develop over the course of filming UNHhhh. For those of us who know what’s coming, this obviously produces a lot of anxiety. But I have to tell you: that is just good filmmaking. To create a level of suspense like that is almost Greek Tragedy-eqsue with its dramatic irony.

The next part I’m going to talk about is one of the parts everyone is worried about: Katya’s last day on set at the Trixie & Katya Show. You can tell she’s unwell; she has a very short temper and very little patience for anything happening around her. But she also says “What I need is to quit, but she [Trixie] is my friend and I won’t do that to her.” Even though Katya is clearly unwell, the perspective of the film also paints her as sympathetic. Trixie’s reactions to what’s happening really does indicate that Katya is not in her right mind, and it’s not her fault. Obviously it hurt Trixie, for multiple reasons: one of her best friends is unwell, it seems like an important relationship in her life- and we learn that she doesn’t have a lot of them- is unraveling, and in addition to that, what’s happening could potentially permanently damage her career. The fact that she handles all of those issues with such humility and grace, while still trying to be understanding towards and a good friend to Katya really, REALLY speaks to her character.

The part that is most unflattering to Katya are the text messages she sends to Trixie after the premiere of All Stars 3. She says some incredibly nasty things about Trixie. She is downright mean. For those of us who know Katya though, that is just a clear indicator of how sick she was. I think we all know Katya in her right mind would not send someone- let alone one of her best friends- messages like that. But yeah, I can see how someone might feel hostile towards Katya after seeing what she did. But again, this is a thing that happened. It’s not made up for the sake of the film, and it’s not anyone slandering Katya’s name; it’s a real thing that really happened, and the only difference is that now you know about it. And again, I would like to remind everyone that this is a film about Trixie, not about Katya. So while you do walk away from the scene feeling sad for Katya (because obviously no one wants her to be unravelling like that), you mainly feel bad for Trixie. She clearly doesn’t deserve any of the ire Katya is throwing at her, as we’ve seen her trying to be a good friend. And that is what is expected! This is a film about Trixie, you know? Of course she’s the protagonist!

Overall, through the whole arc of the film that focuses on the dissolution of Trixie & Katya’s friendship the theme is really that Trixie wishes Katya was better, because she misses her friend. That’s the take away. Not that Katya is evil or anything, but that Trixie misses her friend. So do I think the film portrays Katya in a negative light? No. I think it shows the things she did- and they were not good things by any means- but, 1. It doesn’t blame her for her mental illness or addiction, and 2. It isn’t focused on the things that Katya did, but the way that it affected Trixie.

By the end of the film, we see that Trixie and Katya are friends again. It shows them having some funny- and at times tender- interactions backstage at Trixie’s LA Moving Parts show. Katya mentions that she’s better now, and we wrap up the film with Trixie & Katya back together again, and ready to take on the world. In terms of the storyline, it does feel like there’s a bit missing, because it goes from Trixie & Katya not being friends- and the uncertainty in the air over that- to suddenly they’re friends again with no explanation. From a story standpoint, I wish they would’ve included something about how they started on the road to recovering their friendship, rather than just jumping to it recovered.

Personally, I think the reason some fans are so freaked out about the way Katya is portrayed in the film is because they hold her up as this beacon of perfection. She’s mentally ill, but she’s still so funny and personable. She’s an addict, but she doesn’t appear to struggle- or if she does, she turns it into comedy. I think she’s what a lot of people who view themselves as broken hope they can be. But she’s not perfect. She is capable of hurting people. She’s capable of making horrible decisions, and getting sick, and relapsing, and ruining friendships, and honestly that is just the reality of it. We’re all capable of things like that! But you don’t love Katya because she’s perfect, you love her because she’s real. So if you’re angry in the name of your love for her that her reality is being shown, it’s possible that you love the idea of Katya, and you love what she represents, but you might not love the man himself. Just some food for thought.

Can you imagine if Katya heard everyone freaking out about the film portraying her in a bad light? The kind of pressure that’d put on her, to feel like her fans will only like her or support her provided she doesn’t slip up? Certainly that is not conducive to being supportive of her. Personally, I think holding celebrities to a level of perfection is just unfair. I think we as a fandom need to accept that sometimes Katya may not be well, and sometimes she might make mistakes, and it’s okay to acknowledge the things that have happened, and to still continue to love her.

One thing I can tell you for certain is that Trixie is NOT exploiting or taking advantage of Katya. From a purely legal standpoint, the filmmakers would have had to get Katya’s written consent to have her in the film. Katya quite literally would have had to sign off on it. Additionally, Trixie said that Katya had already seen the film. Katya was already aware of what was going to be shown. People seem to forget that Katya is a grown-ass man with autonomy, and that it wouldn’t have gone ahead without her foreknowledge. And after watching the film, I can say with certainty that Trixie absolutely wouldn’t have kept in anything that Katya didn’t okay; she’s too good and too thoughtful of a person to do something like that.

Another major thing people are forgetting, it seems, is that this is not a movie about Katya! This is about Trixie! There is a part in the movie where she says something along the lines of: “No one will want me without Katya.” It absolutely breaks my heart to think that Trixie has no idea how much we love her on her own, how much she means to us, how funny and talented she is by herself, and how much worth she has by herself. And the fact that all anyone wants to talk about is Katya- regarding Trixie’s movie- really irks me. Because she’s basically being proven right.

My last big point I’d like to make is directly related to something Trixie says in the film. She talks about how she gave all of those vague answers about Katya because it wasn’t her story to share, and she didn’t want to make the issue about herself when it clearly wasn’t. She points out that other queens were like, “we all struggle with things! Personally, I’ve dealt with [blank]!” And while the other queens were trying to demonstrate that Katya wasn’t alone, what they were really doing was making it about themselves. I can’t help but see a parallel in the fans that are angry over Katya’s portrayal in this film; the issue is about Katya, and Katya is clearly fine with it, so when you’re freaking out over it, aren’t you really just making it about yourself?

So, there are a plethora of reasons I think people should stop sending hate Trixie’s way because of this movie:

1. This is Trixie’s story. This is really what happened over the past year. To cut half of it out would be doing a disservice to Trixie and to the filmmakers.

2. The filmmakers had final say. They shot all the footage and edited it all together. Trixie really had no part in the creation of this movie aside from being the subject of it, and it’s not fair to throw hate her way for something she had very little control over; that’s like being mad at an actor for a decision the showrunners made.

3. To cut out the parts where Katya is unwell would be a disservice to Katya, because it says “we only want you when you’re perfect.”

4. Maybe someone who is struggling with addiction or who has a loved one struggling with addiction needs to see something like this! No one is being helped by just sweeping all the ugly parts under the rug.

5. Both of them have seen the movie, knew what was going to be shown, and were clearly okay with it because it went ahead and made the final cut.

6. It’s not anyone else’s business how either Trixie or Katya live their lives, or what they choose to share with their public.

7. Katya is not painted as some kind of monster. She’s painted as someone who is mentally unwell, sometimes sympathetic, sometimes not, but ultimately as a flawed human being, who does in fact get a redemption arc!

8. This is a movie about Trixie, not about Katya, and I think people need to respect that and stop shifting the focus.

In conclusion, what I walked away from this movie with was that, yes, it was very sad and at times disturbing to see Katya so hurt and broken. But more than anything, I walked away with an appreciation for Brian Firkus. For how selfless, and caring, and giving, and hardworking the man behind Trixie is. If you get a chance to see Trixie Mattel: Moving Parts I highly recommend you do so; I hope you’ll be just as in awe of Trixie as I am.