#structure is another element

[codenamesazanka]

extremely questionable methodology but i compiled all the dialogue spoken between Shigaraki and Deku starting from when Shigaraki breaks out of AFO’s control in Chapter 379 up to Chapter 412.

(There are chapters where they appear but do not speak. Those are the chapter numbers.)

The takeaway is that Shigaraki is extremely chatty! A lot of it is taunts, but Shigaraki’s also revealing a lot of stuff about his plans and his opinions.

Deku does not seem as interested in returning the conversation, however. Whenever he does speak, it’s less in response to any of the content of Shigaraki’s chatter, and more heroic statements of intent. (The ‘you’re still human’ is the only direct refutation, I think.)

To be fair, his focus is all on surviving Shigaraki’s attacks. Nearly all his internal thoughts are strategy - combining a quirk with this quirk, how exactly he can physically stop Shigaraki. Additionally, before Chapter 410, he was probably too worried about All Might; while for most of Chapter 412, he was asphyxiating. Hard to chat when so much shit is happening.

And you can argue Shigaraki is just Villain monologuing. Deku doesn’t have to pay attention to anything he says - a lot which are, after all, taunts - he doesn’t have to engage with Shigaraki’s dumb rants.

His goal is to save Shigaraki/The Crying Child, and only that - not like talking or asking questions about anything or responding is required for that.

[communistkenobi]

It reminds me of why the stop the steal people lost their legal challenges to Biden’s election. It’s not that it’s impossible for right wing people to use legal architecture to halt democratic processes (cf Bush v Gore), it’s that they did it in an openly stupid and nonsensical way. In terms of American fascism I think the lessons they’re learning re: interacting with institutional power is that they can’t use twitter posting tactics in the courtroom

[sroloc--elbisivni]

what's happening with ao3? (summarized)

wrote a version of this up for a friend, thought it would be good to put it out in case it helps even one other person who's only caught rumblings, especially since even the most informative posts I've seen on the topic I found unhelpful in other ways. June 3 2023.

A group of folks came together to organize a campaign that ran in May 2023 called ‘end-otw-racism’ with the end goal of decreasing the potential for racist harassment on ao3; specifically to call attention to how few of the promises on Ao3's 2020 statement against racism have been fulfilled. (this is an EXTREMELY condensed summary. please do go check out their pinned post and FAQ if you want more information)

Partly as a result of the discussions this campaign generated, some of the volunteers/former volunteers of the OTW/Ao3 have come forward to discuss how there’s been a culture of overwork and poor structural management, as well as a lack of support for members both in general and in a specific incident where volunteers were sent sexually explicit and illegal material to their email inboxes. Further details here. The following link is from someone who was involved in the founding of the OTW (and left in 2014) confirming that there are some structural problems that have been present from the beginning.

Here is a post I have previously reblogged discussing some next steps to take if you want to try and effect change.

The following is my own opinion. I think there are definitely reasons for structural reorganization, and I think it’s good for people to be paying attention to what is, essentially, a community project that many of us participate in, and I think that the rapid growth ao3 has experienced in the past few years has been probably poorly handled internally, ESPECIALLY since everyone who volunteers with the organization has been living through the same global pandemic as the rest of us. I think that having visible public complaints and support for the volunteers who have been poorly treated will be helpful for any volunteers or internal members of the org hoping to change how things are done.

I also think that staking everything on demanding immediate change is going to cause more problems than it solves, and I am concerned this could flare up into an immediate firestorm of ugly fighting and internet name-calling and not actually generate in the long-term the momentum, patience, or attention to actually effect positive change.

[bookwyrminspiration]

Hi Quil! I just had a really nice weekend and I hope you enjoyed your weekend too.

Recently, I’ve been working on some of my longer story ideas, but I also had some concepts for oneshot and shorter stories to write, which I might try out. I know you have written both oneshots and longer stories, so I was curious what your thoughts were on different kinds of stories and if you had any advice for either type, especially for longer-form stories. 

Thank you!

- Amethyst

~

Hi Amethyst! I’ve been rather busy lately, but really soon my weekends and weeks should be very free and enjoyable! I’m about to have a summer break for the first time in four years and I’m not quite sure what to do with all that time!

I can share advice, but just keep in mind this is my experience and what works for me; if it doesn’t work for you, don’t give up, that just means what works for me doesn’t work for you. I’ve also shared general writing advice before, like here and here and here. I’m sure there’s more on my blog, the tagging system just sucks at finding things.

No one form (long or short) is better than the other; its about adequately representing and doing justice the concept. Sometimes you have a really complex idea and it would be best explored over a really long story with lots of depth and side plots, and sometimes you want to really highlight one aspect of something (of a society, a relationship, an idea, etc) and you want it to be shorter, more focused, eliminating background noise. it’s also wise to take into account what you can realistically do and how much time you have. If you’ve never written before in your life, for example, it’d probably be best to start with smaller projects.

Focusing on long-form stories, I think a huge thing is patience and consistency. The gratification and pay off for these comes much further down the line and requires a considerable amount of effort. Going into it knowing there’s a very long road ahead helps get you through the times where it feels like you’ll never get there and nothing’s happening. Things are happening, they just take time to write. There’s a lot of words and even the most prolific writer can’t knock it out all at once. It’s more reliable to write smaller amounts consistently than large amounts sporadically, in my experience.

A big one for me personally is also to have an end goal in mind. Know, at least generally, where you’re going. Long form tend to have subplots and side things happening, so keeping in mind where the story should be heading alongside that makes it more cohesive and, in my experience, you’re more likely to actually get there. When I’ve tried to write long form stories without a decided direction, I got completely off track and had to start over. Something vague like “at the end they’re going to have a fight with this person” is enough, nothing fancy, you have something to keep in mind to head towards.

Oh here’s another thing! Don’t worry about editing your first time through. Editing and revision comes later. If you’re focused on making things good and perfect before moving on, you’re going to massively hinder yourself. Writing the story through (or your chapter through), and then go back and make changes. Having the whole thing in front of you makes it easier to adjust where needed because you can see how everything interacts with each other. Sometimes the inspiration for a change you make in chapter 2 comes from something you write in chapter 20. So discard these quality standards; the point of the first draft is to get something down, that’s its only purpose; even if its the shittiest writing in the world, its better than an empty page. you can make it better later.

I’m sure I could think of more, but since I just threw multiple long linked posts at you I’ll stop here for now! If you have more specific questions I’d be happy to help however I can, though again, these are just my thoughts and experiences. At the end of it all remember why you’re writing! For fun? To express something about yourself? To reflect on something? Try to keep that in mind so you don’t make yourself hate writing when you get stuck (which is pretty much inevitable. we all run into problems at some point)

I hope this helps!

[apollo-cackling]

I'm almost finished the orv epilogues and. idk my feelings on them rn are that every plot point individually is necessary and/or cool in some way but in aggregate the sorta mood slingshotting is making it hard for me to keep up my suspension of disbelief/investment

[drewsaturday]

i have no idea what's going on in scavenger reign half the time but for like 80% of episode 3 i had my jaw dropped and i didn't even realize

[papercorgiworld]

It started with a book

A Mattheo Riddle love story

Mattheo Riddle x Hufflepuff!Reader

The reader is a total bookworm and has a crush on Mattheo. For a summary check the request.

Warning: bullying, foul language and kissing

Picture source: https://pin.it/4HBHs0yxy

I’ve never written about a Hufflepuff reader before, I know that’s very Slytherin of me, but I really hope I did justice to our kind and hardworking Hufflepuffs.

I. Books and lifesavers

You were sitting in the quietest corner of the library and had just finished your essay on gillyweed. You reached for your newest novel, happy to finally dig into the book after finishing all your work. You scan the book in every way possible, adoring the illustrations and paper, but when you finally start the first sentence you’re interrupted.

“No, it should be here somewhere. It’s about conjuration, so this section.” You heard Mattheo’s voice explain, before he appeared next to your table looking at the books on the shelves. Your eyes shot up at him, but he was too focused on the books to even notice you. Your eyes immediately dropped back to your book when you saw Draco. “How would you know? You’ve never set foot in this place.” He snarls at his friend. Mattheo just rolls his eyes as his finger moves over the different titles. “Elemental Structure and Duration… Element-” You heard Mattheo mutter to himself and you looked back up from your book, watching him as he focussed on the books. “It’s Theory of Elemental Structure and Duration.” You suddenly blur and get up from your seat. Mattheo and Draco look surprised, like you had shown up out of nowhere. “Eavesdropping are we?” Draco snares and your heart sinks as they both stare at you. “No, I-I just, the book- it’s over here, somewhere.” You stutter as your face reddens. Mattheo throws Draco a dirty look and Draco just raises his eyebrows in defence.

Mattheo watching you stammer.

You quickly turn away from them and take a few steps towards a different bookcase. You panic a bit when you don’t immediately find it, but after a few seconds you spot it. “Here you go.” You hold the book in Mattheo’s direction, who carefully watches you before taking it. “Great, thanks. You’re a lifesaver.” A nervous laugh rolls over your lips as your eyes lock with Mattheo’s, but he quickly turns away and with a small wave they disappear. Yup, the cutest guy at Hogwarts just called me a lifesaver. You can’t help but bite your lip trying to contain your smile. “Well of course she knew where the book was, she looks like she bloody lives in this library.” Draco’s loud voice makes you wish you had kept your mouth shut instead of helping them. I’m such an idiot.

Time skip: a few weeks later.

II. Deadlines and crushes

Mattheo enters the slytherin common room exhausted and ready to blow off some steam. “Astronomy tower anyone?” Theo answers his friend's question by simply raising his hand and reaching for his cigarettes on the table. “Where have you been all day? We’ve been waiting for you?” Blaise questions. “The library. Apparently, I’ve missed three essays this month. Sluggy says that I can make up for it by writing one long one about Felix Felicis. If I miss tomorrow’s deadline, no quidditch for a month.” Draco’s eyes fill with panic. “I bloody hope you’ve finished that essay or you’re not heading up to the astronomy tower.” Blaise laughs at Draco’s dramatics. “Okay there, Matt’s mom.” Mattheo shakes his head. “Don’t worry, I only have to write two more paragraphs but I brought the book with me.” After a moment Mattheo's eyes widened. “The book!”. Without another word he sprints to the library hoping he’ll get there before it closes.

“Urgh.” You groan as you drop your books for the third time since you’d left the library. Clearly there was such a thing as too many books. While picking them up you spot Mattheo running towards the closed door of the library. “Fuck!” He screams with obvious frustration and without a second thought he pulls out his wand and points it at the door. “No! It’s enchanted, you can’t and also they will know.” You startle Mattheo with your sudden interruption and he lowers his wand. “Yeah, well, I don’t care, I really need my book.” When he raises his wand again, you step in front of him. “A book about what?” Even though your heart is racing, there’s something calm about you that has Mattheo surrender. “Felix Felicis.” You feel yourself get all giddy knowing that you have exactly what he needs.

He helps you carry your books as you both make your way to the Hufflepuff common room. “You’re a real nerdy one, aren’t you?” Mattheo asks you somewhat tactlessly. You smile at his bluntness. “I prefer ‘book enthusiast’.” He raises his eyebrows, making you laugh. “Nerd.” He sings and you give him a playful push. “Do you still want your book?” You tease and he smiles, adoring you. “Well of course, my apologies dear book enthusiast.” With bright smiles on your faces you enter the Hufflepuff common room, making everyone look up in surprise. There’s some awkward shuffling between you two as you try to take the books he was holding for you. “I’ll be back in a minute.” You leave Mattheo standing in the Hufflepuff common room seriously wondering what you Hufflepuffs were thinking when you decorated the place.

“Tadaah.” You say as you hand him your book on potions. “There’s two chapters on Felix Felicis, Slugghurn advised me to buy this book so you’ll definitely score points using this.” Mattheo’s eyes light up. “You’re again a lifesaver, princes, I won’t forget this.” Princess? And, he remembers me from the library. “I’ll return it to you tomorrow afternoon.” You watch him walk away and when you turn around and spot Cedric you curse yourself for staring like a lovestruck fool. He comes up to you, trying to hide his smile, but failing. “You alright there tomato face?” You force your lips into a line and look up at him. “Yeah, I’m just helping him out by lending him a book, since the library was closed.” He nods pretending to be convinced. “Uhuh, but still watch out, he’s still Mattheo Riddle.” You nod and make your way to your dorm.

III. Acts of love

The next day Mattheo had returned your book and ended up walking you to class, which had you walking on sunshine for the rest of the day, but I didn’t stop there. When he caught you staring during transfiguration you looked away blushing. However, when you looked back up after a moment he was still staring back at you with a sweet smile. When you sink back into your book you hear Mcgonagall. “Mister Riddle, if you could please give your book as much attention as you give your fellow students that would be much appreciated.” Theo, who sat next to Mattheo, couldn’t help but snicker. “That obvious?” Mattheo asked. Theo nodded. “Yes, that obvious.”

Mattheo would hold the door open for you and wink. “Did Riddle just wink at you?” Hermoine frowned. “Uhm, no, I just helped him with a book once… or twice.” Hermoine raised an eyebrow and looked at Harry, who also thought your answer was a bit off.

The next few weeks, he would come over to help you whenever he saw you carry more than three books and walk you to your class or to your common room. It was starting to get obvious to those around you two that something was going on. “Why don’t you just ask her out?” Theo took a long drag from his cigarette and looked at his friend. Mattheo’s first instinct was to play dumb but he knew that was pointless with Theodore. “I’m working up to it.” Mattheo stated and Theo laughed. “I’ve never seen you work this hard in your life.” Mattheo rolled his eyes. “Yeah, but I guess I’ve never had the motivation to work for something like this.” Theo stared at the cigarette in his hand. “Then don’t ever let go of her.” Mattheo swore to take that advice to heart when he nodded.

IV. Bullies and kisses

“This is a library, please just lower your voices a bit.” You had softly asked an overly noisy group when you were studying. They had just laughed and eventually the librarian threw them out because someone else had complained.

You were on your way to the great hall for dinner when you heard some people laugh. “This is a library, please just lower your voices.” One of the noisy guys from earlier mocked you. Panic filled your eyes as you saw two of them walk up to you. “Care to share your notes?” One of them joked and tried to snatch your notebook from your hands, but you held onto it tightly. You tugged hard and took a few steps back trying to get him let go of it. When he looked over your shoulder and noticed that you were close to the stairs he let go of it and you stumbled back, falling a few stairs and hitting your face. You heard people laugh and you felt like half of Hogwarts was there. Your eyes were watery, but only when Ginny came running up to you did the tears start to roll over your cheeks. She wrapped an arm around you, held your stuff and walked you to the great hall.

It was Hermoine’s harsh voice that made Mattheo look up to you. “What happened?” Hermoine almost shouted and Mattheo’s entire demeanour changed when he saw your teary face, but he stayed seated at the slytherin table. When Hermoine made you lower your hand from your face, revealing a bruise on your perfect face, Mattheo felt his heart ache like never before. “That bastard made her fall off the stairs.” Mattheo carefully followed Ginny’s finger and his eyes landed on some snickering low life. You were surrounded by your friends and hadn’t seen Mattheo’s fuming figure get up from his seat and walk towards the door of the great hall.

The two assholes were laughing at your crying, while casually leaning against the door when Mattheo grabbed the one that Ginny had pointed to by the collar and dragged him out of sight, so the professor wouldn’t see what came next. “Picking on Hufflepuffs, that’s your game? Bet you didn’t expect to have me in your face?” Mattheo raged on with eyes full of hatred. Despite the attempts of the second douchebag trying to hold Mattheo back, he managed to punch him. The guy fell to the floor and Mattheo dragged him to nearby stairs. “How about I push you off of these?” Blaise was the one who reached Mattheo first and held him back long enough for the two bullies to leave. “Think about the next quidditch game, mate. If you get caught fighting, you’ll get detention for the whole week.” Mattheo pushed himself free. “Like I care.” Mattheo turned around looking for something or someone to punch. “They took her to madam Pomfrey. Apparently, her wrist was hurting as well.” Enzo spoke softly. “You should go see her.” Blaise urged and Mattheo calmed down, nodding.

Pomfrey had just bantaged your wrist when you spotted Mattheo leaning against the doorframe. He looked a bit pained to you so you immediately thanked Pomfrey and walked over to Mattheo. “You alright?” You asked, making him chuckle. “You’re a weird one, you know that right?” Seeing your confused face he explains himself. “You’re the one in the infirmary, but somehow you’re concerned about me?” A sheepish smile takes over your lips. “You just look a little sad.” He shakes his hand and wraps his arm around you, walking you to your common room. “Don’t worry, I’m fine now. Let’s stop by the kitchens and then settle in that weird looking common room of yours.” You frown and narrow your eyes at him, a soft smile playing on your lips. “Weird looking?” Mattheo looked at you and fell in love with you even more. Soft, red eyes from crying, a bruise and a bandaged wrist, but still by far the most beautiful person.

“You sure you're alright?” You tilt your head a little as you scan his face, but he just shamelessly continues staring at you. Your cheeks heat up when you notice him lean in. Suddenly all your nerves calm and your hand rests on his chest as your lips meet. He places a hand on the small of your back and pushes you into him. His warmth and strong arms make you relax even more. Your hand sneaks up to the back of his neck, where you carefully play with a few strands of hair. As sweet as he tries to keep the kiss, there’s obvious fire and hunger in it. This has definitely been on his mind as much as it has been on yours.

V. Secrets and good books

You turn the page of your book. “No, wait, I wasn’t finished yet.” You groan and tilt your head to face Mattheo, whose arms are around you, as you both lay in bed. “You’re a slow reader.” He frowns. “No, I’m not, but in case you haven’t noticed there’s a pretty girl in my arms and that’s distracting.” You can’t keep yourself from smiling and blushing. Cheeky bastard, giving me compliments and stuff, so annoying, those damn Slyterins. Reluctantly you turn the page back, but at the same time you lean into him purposely distracting him. His eyes immediately lock with yours and you can’t help but giggle. He rolls over so you’re under him and he starts mercilessly attacking you with kisses, but suddenly you hear something. You push Mattheo off of you. “I hear something, someone’s coming. Quick, hide in here.” Without another thought you push the dark lord’s son into your closet.

Mattheo when he realises a Hufflepuff just forced him into a closet and now he has to listen to Hermione rant about Ron.

“Merlin! Ron’s the worst!” Hermione slams the door open and starts ranting for 10 minutes straight. It takes a lot of work and lame excuses to get her out of your room. When you finally manage to get her out, Mattheo doesn’t waste a second to open the closet door. “Ron is such an ass.” Mattheo says with a ridiculous voice, making you shake your head. “Also, wear this to the party tonight.” He says holding a dress he had found in your closet while he was in there. “Please.” He pouts.

VI. This one’s taken

“Honestly, hiding in a hufflepuff closet from Granger, was a situation I never expected to find myself in.” Mattheo said as he passed the bottle of firewhiskey to Theodore who was still grinning after hearing Mattheo’s story. “How long are you going to keep this a secret?” Mattheo just shrugged, he hadn’t really thought about it. Mattheo hadn’t spotted you at the party, but he knew you were here somewhere so his eyes kept scanning the room for your perfect figure.

Cedric stood next to you when he swung his arm around your neck and leaned in while pointing at a guy he started hanging out with a few weeks ago. “This is Liam.” You smile politely to the guy that Cedric’s pointing at as you continue to gently move with the music. “Nice to meet you.” Cedric lets go of you and his spot is filled by the new guy. Liam is definitely a fun guy, he’s interested in books and gives you tips on ideal reading spots. However, he’s not Mattheo and your eyes can’t help but search for your boyfriend.

“Damn, should we tell Matt?” Draco asks Blaise, oblivious to the fact that Theo and Mattheo are standing behind him. “Tell me what?” Draco’s eyes widen and he curses himself. Blaise points towards you and Liam. “That mcflirty is hanging out with your girl.” Mattheo finally finds you in the crowd and he instantly feels himself boil up. Liam’s hand doesn’t touch you yet but it's hovering over your lower back, while his lips are dangerously close to your face as he’s talking to you. Mattheo feels himself cool down a bit when he sees you take a step away from the guy and lean towards Luna. “Remember what your girl said Riddle, a week of no sex for every punch you throw.” Mattheo rolls his eyes, but then continues to watch you dance in that cute dress he had told you to wear.

When Mattheo hears the music change he downs his drink and walks over to you. You don’t see him approaching since your back is turned towards him, but when you suddenly feel a chest against you and a warm breath in your neck you immediately know it’s him. You tilt your head and he plants a soft kiss on your cheek, while his hands snake around your body. “I think it’s time we stop sneaking around. I would hate it if some guy got the wrong idea.” He whispers into your ear and your eyes shoot up to Liam, who clearly wasn’t pleased. Mattheo on the other hand is very pleased. He pushes his crotch against your ass and his hands move to your hips, while he continues to kiss your neck until you turn to face him and he catches your lips with his.

Hermione’s eyes roll between you and her drink, wondering what she drank to see what she's seeing right now. “I always thought they looked cute together.” Luna blurs. “Wicked.” The Weasley twins sing as they watch your little public make-out. “I’m pretty sure all of Hogwats will know about us by tomorrow.” You say when Mattheo finally releases your lips. He can’t help but smirk when he sees all eyes are on you. “Good. Then let’s go, because I like that dress on you, but princes it’s going to look even better on my bedroom floor.” He spins you around and picks you up, you immediately wrap your legs around him, while kissing him.

Word count: 2950

This was not proofread. If you spotted an error, let me know. Lovies!

[deception-united]

Let's talk about worldbuilding.

Worldbuilding is a crucial aspect of writing fiction, particularly in genres like fantasy and science fiction.

Remember that worldbuilding is a dynamic process that evolves as you write. Don't be afraid to experiment and make changes to your world as needed to serve the story.

Here are some tips to help you build a rich and immersive world:

Start with a Core Concept: Every world begins with an idea. Whether it's a magic system, a futuristic society, or an alternate history, have a clear concept that serves as the foundation for your world.

Define the Rules: Establish the rules that govern your world, including its physical laws, magic systems, societal norms, and cultural practices. Consistency is key to creating a believable world.

Create a Detailed Map: Optional, but helpful. Develop a map of your world to visualise its geography, including continents, countries, cities, and landmarks. Consider factors like climate, terrain, and natural resources to make your world feel authentic.

Build a History: Develop a rich history for your world, including key events, conflicts, and historical figures. Consider how past events have shaped the present and influenced the cultures and societies within your world.

Develop Cultures and Societies: Create diverse cultures and societies within your world, each with its own beliefs, traditions, languages, and social structures. Explore how different cultures interact and conflict with one another.

Flesh Out Characters: Populate your world with memorable characters who reflect its diversity and complexity. Consider how their backgrounds, motivations, and personalities are shaped by the world around them. (See my post on character development for more!)

Consider Technology and Magic: Determine the level of technology and the presence of magic in your world, and how they impact daily life, society, and the overall narrative.

Think about Economics and Politics: Consider the economic systems, political structures, and power dynamics within your world. Explore issues like inequality, governance, and social justice to add depth to your worldbuilding.

Show, Don't Tell: Instead of dumping information on readers, reveal details about your world gradually through storytelling. Show how characters interact with their environment and incorporate worldbuilding seamlessly into the narrative.

Stay Consistent: Maintain consistency in your worldbuilding to ensure coherence and believability. Keep track of details like character names, historical events, and geographic locations to avoid contradictions.

Leave Room for Exploration: While it's essential to have a solid foundation for your world, leave room for discovery and exploration as you write. Allow your world to evolve organically and be open to new ideas and possibilities.

Revise and Edit: Carefully review your worldbuilding to identify any inconsistencies, plot holes, or contradictory elements. Pay attention to details such as character backgrounds, historical events, and the rules of your world's magic or technology. Make necessary revisions to resolve any issues and maintain the integrity of your worldbuilding.

Happy writing!

[writingwithfolklore]

How to Nail your School Essays

                Not to brag, but I’m kind of a big deal when it comes to essays at my school. Since I started highschool I haven’t received a grade less than 90% on an essay—so I’m here to share my secret. This works for the classic essay, but you can also use the same advice and fit it to formal reports or other academic writing.

1. Your essay is about 2 things, demonstrated 3 or more times

This is how I’ve always thought about essays. They’re about two ideas, demonstrated as many times as you need to fill the wordcount. Shakespeare + Feminism, Media + Truth versus Misconception, etc. etc. If you’re lucky, your teacher or prof will give you one of your elements. You’ll get assignments like, “write an essay about Hamlet” or “write an essay about the American dream” lucky you, that’s your first thing—now you need to connect it with another.

This connecting idea is my favourite part because you just get to choose a concept or idea you’re interested in. Here’s a tip, if your first/given topic is something concrete, choose an abstract connecting idea. If your given topic is something abstract, choose a concrete.

So, Hamlet (concrete) could be paired with any abstract concept: Loyalty, Truth, Feminism, etc.

However, if your prof gives you something like, “truth” or “race theory”, you’ll find it much easier to connect that with a more concrete thing, like a book, movie, or other piece of media, or even a specific person.

If you are luckiest, your prof will give you both things, “write about the American Dream in The Great Gatsby” in this case, you’re onto the next stage.

2. Stick to the formula

Tried, tested, true. Nothing wrong with a formula, especially not when it gives you A+ grades. Typical essay structure is:

Intro with thesis

2. 1st Body

2a. Evidence that proves it 1

2i. Justify its relevance

2b. Evidence that proves it 2

2ii. Justify its relevance

Etc.

3. 2nd Body

3a. Evidence that proves it

3i.Justification

Etc.

4. 3rd Body

4a. Rise and repeat, you know where this is going.

5. Some may argue…

6. Conclusion

Let’s break it down.

Thesis:

                Thesis completely outlines all your points, or the three+ places you’re demonstrating your connection, and why it matters.

                Here is an intro + thesis I wrote a couple years ago:

“This literature review will explore the impacts influencer marketing has on the children that regularly consume social media content. Specifically, this review will focus on how influencers can impact children’s brand preferences, dietary choices, and lastly, the influx of children taking advantage of this system and becoming influencers themselves.”

Or

“Burned discusses the human aspect of sex work and reverses reader’s expectations on sex workers, while Not in My Neighbourhood discusses prostitutes as victims of a system created against them. Both challenge readers’ perceptions of sex workers, effectively drawing attention to the ethics of displacing sex workers from their cities.”

                So you have your connection (children and social media)/(Burned and Not in My Neighbourhood and sex work), and the different ways you plan on exploring or proving that idea (children’s brand preferences, dietary choices, children becoming influencers.) etc.

                You may also have a more specific stance in your thesis. Such as, “In Macbeth, ambition is shown to be Macbeth’s ultimate downfall in these three ways.”

The Body Paragraphs

                You start out every body paragraph with the point of the paragraph, or what it’s aiming to prove. Such as, “Influencers often include advertisements within their content, which can encourage children to feel more amiably to certain brands their favourite content creators endorse frequently more than others.”

                After this claim, you spend the rest of the paragraph further proving it through examples. This will look like citing a specific source (a book, academic journal, quote, etc.) such as, “The authors claim likeable influencers can associate their likeability with the products they use, influencing children’s perception of brands, referred to as ‘meaning transfer’ (De Veirman et al. 2019)” (super important to always cite these sources!)

                The last part is after each example/proof--you need to justify why this proves your point/is important. So, “This proves children are more influenced towards certain products depending on how close of a relationship they perceive to have with the influencer.”

                Typically, your evidence will all lead into each other so you can transition to the next piece of proof, then the justification, rinse and repeat until you’re finished your paragraph. You can have as many pieces of evidence as you want per paragraph, and the longer your word requirement, the more you’ll want to fit into each point (or the more bodies you want to have.)

                Piece of evidence + why it matters, rinse and repeat.

Some May Argue:

                This is a small paragraph just before your conclusion where you anticipate an argument your readers may have, and disprove it. So, for example, you’d start with, “Some may argue that with parent supervision, the impacts of influencers on children could be lessened or moot. However…” and then explain why they’re wrong. This strengthens your argument, and proves that you’ve really thought out your stance.

Conclusion:

                Lastly, you want to sum up all the conclusions you came to in a few sentences. Your last line is one of the most important (in my opinion). I call it the mic drop moment. Leaving a lasting impact on your reader can bring your essay from an A to an A+, so you really want to nail this final sentence.

                My final sentence was, “Ultimately, it is hard to know in advance how technology and social media will impact the development of children who have always grown up with some form of screen, but until they grow up, parents and caregivers need to take care in the content their children consume, and their very possible exploitation online.”

This sentence is backed by the entirety of the essay that came before it, and usually leaves a little something to chew on for the readers.

Any other tips I missed?

[weaselandfriends]

Post-postmodernism in Pop Culture: Homestuck’s Revenge

I recently saw an excellent video essay titled Why Do Movies Feel So Different Now? by Thomas Flight. Though the title is opaque clickbait, the video is actually about major artistic zeitgeists, or movements, in film history. Flight describes three major movements:

Modernism, encompassing much of classic cinema, in which an earnest belief in universal truths led to straightforward narratives that unironically supported certain values (rationalism, civic duty, democracy, etc.)

Postmodernism, in which disillusionment with the values of modernism led to films that played with cinematic structure, metafiction, and the core language of film, often with more unclear narratives that lacked straightforward resolutions, and that were skeptical or even suspicious of the idea of universal truth 

Metamodernism, the current artistic zeitgeist, which takes the structural and metafictional innovations of postmodernism but uses them not to reject meaning, but point to some new kind of meaning or sincerity.

Flight associates metamodernism with the “multiverse” narratives that are popular in contemporary film, both in blockbuster superhero films and Oscar darlings like Everything Everywhere All at Once. He argues that the multiverse conceptually represents a fragmented, metafictional lack of universal truth, but that lack of truth is then subverted with a narrative that ultimately reaffirms universal truth. In short, rather than rejecting postmodernism entirely, metamodernism takes the fragmented rubble of its technique and themes and builds something new out of that fragmentation.

Longtime readers of this blog may find some of these concepts familiar. Indeed, I was talking about them many years ago in my Hymnstoke posts, even using the terms “modernism” and “postmodernism,” though what Flight calls metamodernism I tended to call “post-postmodernism” (another term used for it is New Sincerity). Years before EEAAO, years before Spider-verse, years before the current zeitgeist in pop cultural film and television, there was an avant garde work pioneering all the techniques and themes of metamodernism. A work that took the structural techniques of postmodernism--the ironic detachment, the temporal desynchronization, the metafiction--and used them not to posit a fundamental lack of universal truth but rather imbue a chaotic, maximalist world of cultural detritus with new meaning, new truth, new sincerity. That work was:

Homestuck.

That’s right! Everyone’s favorite web comic. Of course, I’m not the first person to realize the thematic and structural similarities between Homestuck and the current popular trend in film. Just take a look at this tweet someone made yesterday:

This tweet did some numbers.

As you might expect if you’re at all aware of the current cultural feeling toward Homestuck, many of the replies and quotes are incredibly vitriolic over this comparison. Here’s one of my favorites:

It’s actually quite striking how many elements of the new Spider-verse are similar to Homestuck; aspects of doomed timelines, a multiversal network that seems to demand certain structure, and even “mandatory death of parental figure as an impetus for mandated personal growth” are repeated across both works. The recycling and revitalization of ancient, seemingly useless cultural artifacts (in Homestuck’s case, films like Con Air; in Spider-verse, irrelevant gimmick Spider-men from spinoffs past) are also common thematic threads.

As this new post-postmodern or metamodern trend becomes increasingly mainstream, and as time heals all and allows people to look back at Homestuck with more objectivity, I believe there will one day be a rehabilitation of Homestuck’s image. It’ll be seen as an important and influential work, with a place inside the cultural canon. Perhaps, like Infinite Jest, it’ll continue to have some subset of commentators who cannot get past their perception of the people who read the work rather than the work itself even thirty years after its publication, but eventually it’ll be recognized for innovations that precipitated a change in the way people think about stories and their meaning.

Until that day, enjoy eating raw sewage directly from a sewer pipe.

(Side note: I think Umineko no naku koro ni, which was published around the same time as Homestuck and which deals with many similar themes and then-novel ideas, will also one day receive recognition as a masterpiece. Check it out if you haven’t already!)

[johannestevans]

Addressing Common Arguments Against “Consuming Harmful Content”

Challenging purity culture in online spaces and their fears of “problematic media”.

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Photo by Ethan Will via Pexels.

Constant and continuous arguments endure on social media about the dreaded and frightening spectre of problematic media — from television shows that supposedly “glorify” unhealthy relationships or “sexualise” and “excuse” abusive relationships; to erotica, adult books, and 18+ fanfiction that supposedly teach teenagers bad life lessons and impact their ethics; to anime and manga that surely must be the cause of child abuse the world over. 

I wrote an in-depth essay about the intellectual flaws in these reactionary assumptions, delving into their roots in lacking media literacy and rising anti-sex attitudes here: 

The above essay discusses at length many of the fears and anxieties that lead to this reactionary thinking, but does not challenge or explore the echo chambers that can arise in online spaces, particularly in aggressive environments such as Twitter/X, and for young or isolated individuals who are particularly vulnerable to peer pressure and fears of ostracisation if they admit to the “wrong” opinions.

Many of these arguments are used by “anti-shippers” within fandom and online spaces, the term commonly shortened as “antis” — if you’re unfamiliar with the term, these are people who define themselves as opposing one or more specific ships, fandoms, tropes, or kinks, often due to what they perceive to be their “problematic” or inherently “harmful” elements when engaged with or portrayed in various forms of media and art. Because of the virulent and highly aggressive nature of these online communities, these people — many of them young or isolated, often marginalised and disenfranchised from in-person, supportive environments — can become radicalised, and can experience great fear and anxiety at the premise of others holding different opinions or perspectives from the ones these online communities have impressed upon them should be held immutably by all.

In this piece I’m going to be addressing common arguments and assumptions seen on social media one by one — it is not really intended to convert the above, often radicalised individuals, but to provide support and guidance in understanding why their perspectives can be flawed, and how to engage with and deconstruct those arguments. 

It is also intended to provide support and structure to begin to engage with and potentially challenge or affirm your own beliefs and ideas about fiction, art, and other forms of media, and the extent of the impact it can have on you or others — this piece is me addressing these arguments with my own perspective, but I would encourage people to disagree with and critique my rebuttals!

The goal here is always more critical thought, analysis, and understanding, and that doesn’t come from automatically following another person’s line of thought or argument just because it’s well-poised or you particularly respect or like them — no matter who that person or people may be. 

--

“Depicting [a theme] in media is the same as glorifying it!”

Let’s first engage with what people might be discussing when they panic about “harmful content” and “problematic” ships or pieces of fiction.

They might worry about people reading or watching works that discuss or depict anything from violence, incest, sexual assault, age gaps, BDSM, kinky sex, child sexual abuse, trauma recovery, rape, rape recovery, drug use, bestiality, to abusive relationships or anything else, will encourage people to think positively about those acts, those traumas, and those experiences. 

You might look at the list of things I just wrote there and go, “Um, there are big differences between some of those things and the others!”

And yet the same consideration still applies. 

Just because a theme or idea is present in a work, or is depicted in it implicitly or explicitly, doesn’t mean it’s being “glorified” and portrayed as overwhelmingly positive — and even if a theme or aspect is being glorified, this does not mean we shall simply unthinkingly absorb that perspective.

Reading a story that contains something doesn’t mean I’ll automatically think that thing is good or bad, regardless of how it’s portrayed in fiction — the media and art we engage with doesn’t wholly change and adjust our own ethics and morals as soon as we’ve interacted with it. 

We might play a videogame and disagree with the way some themes are presented, have criticisms of them, whilst enjoying and appreciating others; we might read a piece of erotica and find some parts about it very hot, but find others disturbing and a little uncomfortable; we might watch a TV show and just think it’s in very poor taste, despite theoretically being up for the premise. 

Engaging with media does not turn off and on switches in our brains that make us completely “pro” or completely “anti” one premise or other. 

People are more complicated than that. 

We have complex and layered feelings about every argument and perspective there is, every experience there is, because human beings are social animals, and we experience very few things through an uncomplicated, binary lens. 

For me personally, I often seek out works that cover the same traumas and harms I’ve experienced — why? Because seeking out those themes helps me process and better understand what has happened to me, and how I’ve felt about it, how I’ve responded. 

“I don’t have a problem with people writing about certain harmful topics to show them as bad, but some people sexualise or fetishise them!”

I’m sure you’re right. 

Some people might write about rape to work out a complex trauma recovery narrative — others might write about rape in a work as kink. An author might well write with both goals in mind in the same work. 

A traumatic event doesn’t become less traumatic because it sexually aroused us or brought us physical pleasure — in fact, those feelings can add to the impact of a trauma and the inner conflict we experience in the aftermath. 

Some people undercut victims of sexual abuse by saying they “enjoyed” it, pointing out that they orgasmed or showed signs of arousal as signs they “secretly” wanted it, and these feelings can contribute heavily to shame and fear as a victim. 

Sexual arousal is a bodily response. It is not consent, and it’s not an excuse for assault or abuse. Moreover, some people might feel arousal or pleasure but not be fit to consent — for example, if someone is underage, or if someone is drugged or insensible with drink. 

These people cannot give knowledgeable consent, but abusers might still say after an assault that they “enjoyed” it. 

This is purity culture at work — anti-sex attitudes use people’s “enjoyment” of something to undercut their autonomy and right to consent, by implying they “deserve” that abuse — abuse is abuse whether it’s sexualised or not. 

But the thing is, the obverse applies. 

Just as someone’s mixed feelings or sensations of pleasure during a sexual assault does not mean they consented to the assault, or because someone’s feelings of happiness and love for their abuser does not mean they deserved the abusive treatment they experienced from them, a person writing sexually or erotically about a topic, or engaging with art and narratives about that topic, does not mean they actually want that thing to happen in real life, to real people, or to themselves. 

Fiction is not real life. 

We watch a horror film, and it doesn’t mean we want serial killers or demons to run amok, killing teenagers or possessing their victims — similarly, just because we engage with porn or erotica that sexualises certain topics doesn’t mean we’re pro- or in favour of those topics for real people. 

Rape fantasies are incredibly common, despite being highly stigmatised, and just because someone fantasises about this sort of control fantasy does not mean they actually want to abuse someone or be abused. 

“It’s harmful to depict abusive or immoral characters as sexy or desirable.”

If you have never experienced abuse, manipulation, or otherwise poor treatment from someone you thought was attractive, charming, or admirable, if you’ve never been groomed by someone with whom you were enamoured, I’m very glad. 

I’m happy for you, honestly. 

But many of us have. 

People want to believe that all abusers are evil, are ugly, are obvious from a distance, are blatant from the out. People want to believe they can “tell” someone is abusive just from a glance, and write them off — and that anyone who would or might spend time with that person is therefore “asking for it”, or “letting themselves” be abused. 

In actual fact, many abusers aren’t. 

Many abusers are beautiful and charming — some of them draw you in, slowly bring you closer and closer until it’s very difficult to untangle yourself from your need and craving for their approval. They ruin lives, ruin psyches, and they cause unspeakable damage to their victims. 

And yes, victims often feel conflicted in the aftermath of their abuse.

Many of us hero worship or greatly respect our abusers, love them very deeply, crave their good opinion, because we are carefully groomed and manipulated, over time, into relying on their praise and their attention. For victims isolated from other sources of care and support, and especially for young children and teenagers, it can be very difficult to recognise what is happening and has happened to us. 

Even after we know and understand exactly what has happened to us, and also internalised that it was wrong, we can still feel conflicted. 

We are not retroactively deserving of our abuse because we crave our abusers’ good opinion, or their love, still. This instinct does not excuse or justify the abuse we’ve experienced. Victims of abuse are still victims of abuse even if we go back to our abusers, even if we “accept” or attempt to justify our abuse to others, if we try to excuse it, if we don’t ask for help. 

Abuse is never the victim’s fault, no matter how imperfect we are as victims. 

“Writing queer characters as abusive is bad representation!”

If we exclusively write queer characters who are perfect and unimpeachable, we’re not letting ourselves write queer characters who are fully human, with all the flaws and complexities humanity comes with. 

Queer people are not less deserving of this complex representation than cishet people are — and in any case, the purpose of art and media is not exclusively to provide good representation, or to show good moral examples for others.

We create to express ourselves, to reflect the world, to critique it, laugh at it, commiserate over it, to feel our feelings, to connect and communicate with others through shared stories. 

If we only let ourselves do things that might be seen as “good rep”, we rob ourselves of the ability to express ourselves as completely as we might wish to. 

“If you write abusive queer characters, you’re just contributing to homophobia and bigotry in art and media!”

Queer people writing queer stories with queer villains is not the same as cishet people including queer people or queer-coded characters just to be villains. The power dynamic is completely different. 

Queer writers’ writing of queer villainy is often inspired by their own experiences, including of bigotry, and the harm they might do reflects harm by society, the ways harms might be felt more keenly by their victims. 

Writing queer villains as villainous because their queerness makes them (or is used as a shorthand for them being) predatory, cruel, or callous, is homophobic and is often shitty, whether people intend that or not. 

But just having queer villains, having queer characters do bad or abusive things, or just have flaws? 

That’s as much a part of queer humanity as having queer heroes and having queer characters do good and helpful things.

Why would you read about rape when you could read consensual non-consent?

[Consensual non-consent being a kink wherein partners agree to roleplay a non-consensual situation.]

Rape in fiction is a form of consensual non-consent. 

The fictional characters, who are not real and do not have real feelings, are not consenting, but the reader choosing to read is. 

In the same way that two people playing a CNC roleplay game in the bedroom might be a safe and fun way of experiencing or re-experiencing the fear and trauma of assault with an escape clause (a safeword), a reader can do the same — they can stop reading. 

If a television show, film, or videogame becomes upsetting, again, one can stop watching, stop playing. It is a person’s own responsibility to set safe boundaries for themselves and protect their own mental health. 

“Why would someone write about trauma and abuse when they could write fluff?”

Why would someone watch a horror movie when they could watch a romcom? Why would someone eat cheese when chocolate is an option?

People do not have to choose one or the other — many people like both horror films and romcoms, cheese and chocolate, and reading about both horrible shit and positive things. 

“You mentioned that people might engage with media about dark topics to work through their feelings from their own abuse. How do I know if someone’s actually been abused?”

Why do you think it’s your right to ask that? 

Why are you prioritising your personal comfort and curiosity over that person’s privacy? If your instinct is to try to license who is and isn’t allowed to engage with a piece of art or media, why? 

You are never entitled to the details of someone else’s abuse. Your validation is not important enough to potentially trade for someone’s private traumas and experiences. 

“If you write or create about certain topics as a survivor, you’re just perpetuating abuse and you are as bad as your abuser!”

Creating works of art or fiction about people who are not real experiencing fictional harm that is also not real, is not in any way equivalent to real people doing real harm to others. 

If your support of abuse survivors hinges on how palatable their reaction to their abuse is, and you believe that some abuse survivors “deserve” their abuse for depicting their abuse in art and fiction, you’re not actually supporting survivors. 

If you believe that all abuse survivors do or should act the same way, or respond the same way, to their abuses, you are mistaken. 

If you are effectively angry at someone for not looking enough like a victim, for being “impure”, and therefore the same as their abuser, that is a form of victim blaming. 

Do you hold artists who create media about non-sexual trauma or violence to a different standard than those who write about sexual trauma or violence? 

Why? What is the difference to you?

If someone writing about sexual abuse in media is equivalent to real life abuse, is a fictional murder?

“People shouldn’t write or engage with media about traumatic things, they should just go to therapy!”

Therapy is not a moral machine where bad people with bad thoughts go in and good people with good thoughts go in. 

Good therapy and counselling provides us with the tools to manage our own mental health, our own emotional and psychological needs, heal from our traumas, and so forth. 

Many therapists will actually recommend safe re-exposure to frightening or upsetting topics, and also encourage self-expression on the subject of one’s most impactful experiences, which might include creating art and media to explore and discuss their feelings. 

With that said, therapy is as flawed as any other tools for emotional catharsis and healing — therapy and mental healthcare can be very expensive or inaccessible because of one’s working schedule; some therapists and mental health professionals are abusive or bigoted; some people may not be in the right place for MH care or therapy at this time, et cetera. 

Therapy isn’t a catch-all for anything you disapprove of in someone else, and it’s also not a punishment to force someone to repent for their sins. 

“It’s okay to write a story to cope, but you shouldn’t publish it in case it upsets others!”

So long as the work has appropriate content warnings and/or is published or screened in an appropriate space, it is not inherently harmful. In fact, reading narratives and engaging with those narratives can be valuable for us. 

Engaging with media that bears similarity to our own lives, reflects our own experiences, written by other people who we know understand the complicated emotions of survivors — whilst still condemning the actions of abusers or not — can be extremely validating and offer a lot of assurance. 

This is especially useful in regards to media that shows victims having a codependent relationship with or still loving their abusers, or where their abusers are shown as sympathetic, whilst the narrative still shows the toxicity and pain caused by the relationship. 

Moreover, there can be a sense of reclamation and security in exploring stories about similar harm as we’ve experienced whilst knowing we are now in a place of safety and are free from those past experiences, or that other survivors have escaped and we can too. 

“If children read this work or watch this show or play this game, they might think that the things depicted in it are okay!”

Is the work rated G or PG? 

Is it shown on a children’s TV channel, or appear in a section that is marked for children? Is it put on a children’s website, where the primary audience is children? 

In short, is the work aimed at kids?

If no, then it’s not for kids. 

Particularly if a work is marked for adult audiences only, if it’s labelled erotica, if it’s marked M or E or NC-17, if it says it’s for adults or asks people to check a box agreeing that they’re an adult, then the work in question is most definitely not for children. 

Everything in the world doesn’t have to be child-safe just because children exist.

It is the responsibility of parents and guardians to appropriately supervise their children’s online use, and to teach children and teenagers internet safety, some of which includes setting appropriate boundaries for themselves and not seeking out content that might distress them, or to know what to do if they stumble across content that does distress them — namely, to speak with a trusted adult about their feelings and what they can do to manage them and look after themselves, and be looked after.

It’s not the responsibility of random other adults in the world not to make horror movies or watch porn or play adult videogames or anything else, just because a child could potentially learn of their existence. 

“But someone else engaging with that work might think the things depicted in it are okay!”

You’re right, they might do. 

They might also engage with the work and think things depicted in it are bad. Fiction does not exclusively exist for our moral education. 

“It makes me feel uncomfortable or unsafe that people are writing about [a topic] with a tone or in a manner that seems wrong to me!”

Yes, many of us feel uncomfortable with some topics being depicted in fiction, and might find them viscerally disgusting or triggering, consider them to be in poor taste, badly considered, or similar. 

This is normal and okay. 

It’s perfectly natural to have limits on what one can handle in fiction, or to find your ethical considerations don’t match up with the things other people make. 

But it’s our job, as responsible adults who look after our own mental health and consider our own boundaries, to avoid that content. 

You cannot control what other people think about, feel about certain topics, or how they portray them in fiction. You cannot control other people. 

You can only control your environment, your boundaries, and the works you choose to engage with. 

You can limit your time on social media, mute tags or keywords, block particular users or sites, or simply look away or leave the room / close the tab. 

“What about rampant problematic works on Ao3!?”

Works on Ao3 are not a real issue. 

They are not representation. Fanworks and original works on Ao3 are not the mainstream. They are being read exclusively by members of various internet subcultures who read fanfiction in those specific fandoms, after reading the tags. 

This doesn’t mean we can’t or shouldn’t discuss certain tropes and norms in various fandoms — we might address our own biases around race, sexuality, religion, disability, and other characteristics, and how these biases and bigotries can come across in people’s approaches to fandom, the characters and ships they concentrate on, their headcanons, et cetera. 

The same can be said of people’s original creations. 

Ao3 has a robust tagging system, and allows people to mute and block tags they might be upset or triggered by — and in the event one clicks on an explicit work, a window will come up asking people to consent explicitly to moving through to read the work. 

It is people’s own responsibility to set their own limits as to what they can handle in reading fiction — and not to obsess over what other people might or might not be reading, which we cannot control, and is also none of our business. 

“What about loli and shotacon? Isn’t that the same as child pornography?”

“Child pornography” is generally not in use as a term — many people who have been victimised find that terms like “child porn” and CP grate, because “pornography” is work made with willing, adult participants. 

Videos and images produced of children are instead referred to either as CSAM — child sexual abuse materials — or CSEM — child sexual exploitation materials. CSEM is evil because it involves the unspeakable and agonising victimisation of a real life child or children, being abused and manipulated by adults around them, and worse than that initial victimisation, the recording their abuse is another victimisation in itself.

With every share of a piece of this material, that child or children are victimised another time, made vulnerable to more people, and the creation of this material can create more market desire, meaning that other abusers will encourage further abuse and recording of these children’s victimisation, or for the recording abusers to seek out other children to abuse. 

Victims of this sort of exploitation live in terror of the pictures or videos of their worst moments being shared to those they know, of being found by their loved ones, shared to workplaces, disseminated in any community they try to live in and be happy with — it is difficult enough to recover from one’s own abuse without the spectre of it constantly hanging over one’s head. 

People’s cartoons or art of fictional children is not equivalent to CSEM, because there are no real children depicted in it. 

It’s understandable to find these works disgusting or upsetting, triggering, unsettling — but to say that underage art or fiction is the same as or counts as CSEM is patently untrue. As a victim of CSA, it is galling to be told that choices my abuser made to harm and exploit me are equivalent to an abuser choosing to draw or read a comic about a victim that doesn’t actually exist. 

Some final questions to ask yourself: 

None of the above rebuttals are intended to imply people shouldn’t critique or criticise different media or their depictions. 

As well as the initial essay I linked, I actually wrote a big guide on how to approach close reading of text, and I’m working on another about analysing television and film.

In my opinion, it’s really important to be aware of different tropes and themes that you feel are harmful in fiction and art — racist tropes, sexist ones, homophobic ones, and all the rest.

It’s worth considering how works are harmful, and what you actually want to be done about it. 

I personally have criticisms of various tropes in media — I have particular dislike, for example, for the ways in which teacher/student relationships in TV shows and films are portrayed as “forbidden love”, with issue of their positions of power being depicted as one of bureaucracy or technical rules rather than a real power imbalance — I don’t care for the “sexy schoolgirl” trope, and the “barely legal” porn genre unsettles me.

All of the above three tropes often coincide with people’s thinking of teenage girls, especially those in school uniforms, as sex objects, and portraying school uniforms themselves as sexual or deserving of this sort of sexual attention. 

Not all depictions are the same — some works subvert the sexy schoolgirl trope by having those schoolgirls be secret monsters than punish abusers, and some works exist that critique teacher/student dynamics. 

It’s also important to note audience and outreach — a work that’s put on mainstream television channels or put in movie theatres by huge studios have a very different range of impact than an indie published novella, or one person’s fanfic on Ao3. 

Note where you’re holding individual or small studio creators — especially those who are in some way marginalised and are already facing adversity in their work — to higher account than large studios, or fixating on imagined harm their work could potentially cause. 

Is a work harmful, or is it just uncomfortable? Is it harmful, or is it just personally triggering to you? 

Can the work you’re concerned about do as much harm as you’re envisaging? Is it actually reaching the individuals you are worried might be vulnerable to harm as a result of it? Does the work intend to do that harm or hold those harmful views, and are the authors or creators working to address or apologise for that harm?

Is the work discussing, critiquing, or exploring the emotional impact of the dark themes within it? Does it have warnings or disclaimers before the work begins?

If you’re worried about a work “normalising” or “glorifying” a troubling subject — does the work actually do that? What is your evidence for this, having engaged with the text? Is that thing discussed in the text, argued, explored in-depth, or merely mentioned? Do characters show inner conflict and interpersonal conflict over it? Is it actually portrayed as good or normal? Is your concern the characters’ perspectives within the text, or the authors or creators’ opinions? 

Does the work carry ideas that are bigoted or feel like it includes apologism for some shitty ideas or ideology? Is the work a piece of propaganda, or function as propaganda? Do you feel the work is being advertised or pushed to an inappropriate audience for its subject matter?

If you do consider the work to be either likely to be personally distressing or upsetting to you, or potentially harmful because of its troubling or bigoted or just shitty ideas, how do you want to respond? 

If it’s the former, you should set your own boundaries — you should use your mute and block functions, you should avoid the work, you should seek out things that will comfort you, and perhaps discuss the distressing topics with someone you trust, whether that’s a friend or partner, a loved one, or a counsellor or therapist. 

If it’s the latter, you should absolutely deconstruct the piece in question and analyse the ways in which it’s shitty or harmful, or read essays by those who’ve done that work. You can maybe warn your friends about it, or if it’s a work of political concern — if the harm is being done because the work provides financial support to a hate group or a bigoted public persona, for example, you might perform a boycott, or involve yourself in acts of protest in response to the work or its creators. 

If it’s important enough to you and your beliefs that you feel urged to do those things, perhaps you should — if all you feel urged to do is to harass or shout at people online, though, it might be better for your own mental health to take a step back and do something more positive for yourself. 

Sometimes, a piece of work or media will be shitty, and shitty people will love it, and that will kinda suck — God knows I’ll see work that’s really transphobic or homophobic or antisemitic, and it’ll upset me that people I otherwise love and respect seem to be enjoying it so much. 

I can talk to my friends and my family about it, and I’ll do that — and I can mute and block the topic, and critique it in the right circles, or write essays if I’m really inspired to, responding to the work and what I feel its impact is…

But if my instinct becomes to just snipe at people for enjoying it when they really don’t know what the problem is, or have a go at them when they’re doing so unthinkingly, that’s not really helpful to them or to myself. It’s not addressing the harm I feel is being done, and nor is it really constructive. 

I’m an adult, after all — as I’ve said a few times already, it’s our own responsibility to set our own boundaries and consider what we’re doing to safeguard ourselves, and if in setting those boundaries and personal safeguarding limits, whether they’re in line with our own ethics and morality. 

We cannot control other people and their feelings, or the works they create, but we can take care of ourselves, including breaking ourselves out of obsessive moral spirals or anxieties about other people’s thoughts — and personally, I think that’s actually a very revolutionary thing to do given that we exist in a world that constantly tries to encourage (and monetise) that sort of aimless outrage. 

[femmefatalevibe]

Femme Fatale Guide: Realistic Tips & Tricks to Become "That Girl"

Some alternatives to having an entire day before 9am that allow you to enjoy your life and help you find pleasure in reaching your goals. Enjoy xx

Focus on a consistent sleep schedule, not select times: Structure your day around your energy, not an idealized schedule is guaranteed to not work for everyone. Wake up at 6-7 am, if you're a true early riser, and head to the gym to get your day started. Otherwise, there's no reason why waking up at 8-9am and getting in an evening-time workout session is lesser than.

Plan your days & week around your energy peaks: Figure out the times of the day when you're most focused, productive, creative, fidgety, sleepy, etc., and structure your days/weeks/month around your internal clock to the best of your ability. While this may be slightly difficult if you have a 9-5 or go to school during the day, think about what blocks of time are best dedicated to meetings, creative work, planning, routine tasks, emails, studying, etc. For those with uteruses, consider your energy throughout your cycle to help you plan the month.

Create "bookend" routines: While these will often be your morning and nighttime routines, consider how you prime and unwind your mind from your biggest tasks of the day (for most of us, this will be work, school, and chores on the weekends). Some reading, light movement, and upbeat music can create momentum before starting your daily tasks. A long walk and some journaling are a simple yet productive combination to decompress from the day.

Embrace the power of 3s: Create a daily primer routine, workday, and relaxation routine around 3 core tasks/projects/rituals. For example: Mornings can include using your 5-Minute Journal, doing a quick 10-minute meditation/yoga/dancing session to get in some movement, and spending 10 minutes reading; Your workday should be focused on completing your "Big Three" tasks, projects, or meetings of the day; Evenings can include a quick 5-10 minute planning session for the next day, a 15-60 minute walk or workout (depending on how you're feeling), and some journaling/reading time after dinner. You don't need to do it all. Consistency is key.

Create a "pleasure" and "pain" list. Own your inner masochist: Open up a fresh journal page or web document. Create two separate lists titled "Pleasure" and "Pain." The first list captures all of the simple pleasures that make your days enjoyable (from coffee rituals and your skincare routine to small work successes, daily movement, and indulgent evening treats, like a favorite TV show, a glass of wine, tea, etc.). The second list captures the tasks you regularly dread or procrastinate out of hatred and overwhelm (includes tedious or mentally-draining work tasks, meetings, chores, difficult workout sessions, necessary conversations with emotionally immature people, etc.). Looking over these two lists gives you an overview of your daily experience to help you (realistically) optimize your day for more ease and enjoyment.

Incorporate a pleasurable element into every ritual: Find ways to pair these more "painful" activities with something pleasurable. Examples include having a favorite coffee or tea while working on a draining work project, listening to a fun playlist, taking a walk/doing a face mask or massage while having a less enjoyable conversation, etc.)

Leverage habit stacking: Build habits on top of one another to set yourself up for success. Use a nearly mindless or enjoyable "cue" to spark action that results in habit formation. For example, use sipping your morning coffee as a cue to read your 10 daily pages or do some journaling. Leave your workout clothes out beside your bed with your yoga mat all laid out to make it stupidly easy to get your workout done right away. Have a playlist curated and opened to let you press "start" immediately when you need to begin your work day.

Create a capsule menu/wardrobe: Streamline your everyday meals and outfits by curating a handful of healthy breakfasts/lunches/dinners/snacks and outfits that you can put together mindlessly throughout the week. While creativity in these areas is fun, pre-determined options for busy days can help minimize decision fatigue. Know what staple groceries you need in your kitchen to make these recipes, and ensure to keep them in stock when going on your weekly grocery run. Have a few go-to outfits for work, running errands, working out, and social outings. Choose 5-10 well-fitting wardrobe staples that pair well together in the front of your closet at all times.

Become a playlist master: Curate different playlists for particular tasks, activities, and times of the day. Having playlists for creative/admin work tasks, reading, working out, cleaning, waking up, and winding down for the day can give you the energy to focus and not procrastinate or simply enjoy a necessary task more.

Focus on systems, not habits: Consider the domino effect of each practice and activity. Determine whether your current strategies and routines align with your energy, goals, and desired outcomes. Reflect on the parts of your routine that increase/decrease your energy and motivation. See how you can create a system – a pattern of consistently-practiced habits – that supports your goals and desired lifestyle that does not compromise your overall life satisfaction and well-being.

Experiment until you find an achievable balance: Focus on progress, not perfection. While there may be days or even seasons where hard work and fewer pleasures take priority, life is meant to bring you joy, peace, and satisfaction at the end of the day. Remaining in your comfort zone does you no good. However, learning ways to find pleasure in the process remains the key to long-lasting discipline and the energy necessary to maintain the determination required for success.

Sending you healthy and prosperous vibes xx

[headspace-hotel]

Minecraft 1.20 thoughts:

The highlight is, of course, the cherry blossom grove biome and cherry trees. The cherry wood just looks SO GOOD with everything. I've made so many builds incorporating it already and it's so easy to work into a color scheme. Cherry wood. Hhhhhnnnnghh. Such a delicious shade of pink. I want to eat it.

Also really excited about the bamboo wood set, it looks amazing and adds a lot of functionality to bamboo.

Feeling pretty positively about the armor trims, though I wish there were more where the decorative material was more dominant in the color scheme.

Trail ruins and archaeology: Mixed feelings. I think archaeology is a fun mechanic, I like exploring the trail ruins, but they really, really turn inventory management into an absolute nightmare.

There are many different varieties of pottery sherds, I think at least 20. Sherds of different types do not stack. There are 4 armor trims that can be dropped by suspicious gravel in trail ruins. Trims of different types do not stack. The trail ruin structures themselves include many different varieties of terracotta and glazed terracotta, (at least 6 different colors of each) and—you guessed it!—each type stacks separately.

Additionally, suspicious gravel in trail ruins may drop any of several colors of candle (I have found red, purple, green, brown, and blue candles) and any of several colors of glass pane. The process of digging the ruin out will fill your inventory with at least 6 stacks of gravel as well as a lot of dirt, coarse dirt, cobblestone, and flint.

To top it all off, unless you want to enchant your brush with Unbreaking, you will need to carry multiple brushes because the brush breaks before the ruin is fully cleared.

Even with multiple shulker boxes clearing a ruin fully in one trip is impossible. What were the devs even thinking??? Are we expected to throw away the candles and other "junk" drops and ignore the glazed terracotta, mud bricks, and other tedious-to-obtain blocks in the structure itself?

This update shares with 1.19 the bizarre attribute of the devs supposedly being very focused on the player experience, while seemingly not noticing key parts of the player experience. The new mechanics and features in both have some incredibly fun and engaging elements to them but also some glaring problems.

I'm pretty much just indifferent to the clay pots? They would be more fun if they incorporated some basic colored patterns and/or actually could be used for something.

Changes to sign editing, and hanging signs are both fantastic.

The "Netherite Upgrade" is shit and I'm not sorry to say it.

Like...netherite is already so incredibly tedious and difficult to obtain that it's almost not worth bothering with. 4 ancient debris is needed to craft a single netherite ingot. You need 16 ancient debris to upgrade a full diamond armor set to netherite, and 8 more if you want to upgrade a sword and one pickaxe. If you don't have Mending on all of them, basically go fuck yourself, because from that point you will need multiple netherite ingots to repair a piece of equipment in the same way you would need multiple diamonds to repair diamond equipment. All of this for a set of equipment that will be fucking gone if you die and can't recover it.

And yet the devs have decided to??? fucking...add a generic, painfully uncharismatic new item to provide another barrier to obtaining netherite gear? because it's too easy or something???

I haven't broken into the other new additions very much, but I will try to obtain a sniffer egg soon...

[celestialtarot11]

Solar Return Observations ☀️✨

Hi friends! Today we’re discussing solar return notes + what I’ve observed from them. I’ve been observing for three years, but I’m not able to fit all of the details in one post. I can always make another 🦋 enjoy and feel free to like, comment and reblog.

Chiron in the 7th house 💌- Healing through partnership and connections. I’ve had this placement last year and went through a breakup which taught me a lot about self worth (Aries ruled 7th house SR) and I learned to stand up for myself. I learned to be my own best friend and start over after a loss. Everything in terms of my relationship and how I viewed it changed completely. It was a pretty long journey, being that Chiron is the wounded healer, I’d say about a year the cycles were going on. Anyone who has this placement in their SR chart, you can expect for healing to occur in your relationships. Not necessarily a breakup always, but definitely wounding will come up that year.

Neptune in the 6th house 🌷- Routines can be heavily centered around spirituality. Meditation, yoga, occult practices become a theme in the daily life. Incorporating this can help the native grow and develop a consistent routine, and eventually connect with a higher source of love (deity, religion, universe, etc) because Neptune is the higher octave of Venus. With Neptune here there’s an emphasis on romanticizing daily routine and self care. Certain day to day events can feel whimsical, ethereal, and fated even! The native may question that year their beliefs and want to start something new, or reignite spiritual passions ✨

Moon in the 4th house 🌙🌟- Romanticizing the past, viewing things from a nostalgic lenses, daydreaming about a family. The native may deal with family illusions around this time, manipulation, or themes surrounding the family this year. The native might find it difficult to balance their life as family is an important theme for the year, whether it’s their own, or biological. The mother could be significant this year, and the mother may try to build a close bond with the native. The past is viewed from a bittersweet lenses, as there’s an element of moving on but honoring the past for what it was.

Capricorn 4th house 🦋✨- Structure, evolution, and discipline is needed regarding the home. Things may be slow, sluggish, or even depressing in the house. Saturn slows things down and when Capricorn is in the 4th, it can point to restrictions, boundaries, and limits. The native will learn to have boundaries with the family that year, and the value of alone time. The necessity of independence, and rebuilding structure in terms of roots. New job, new ways of managing finances, moving homes even. The native may feel uncomfortable that year within their home, they could feel detached even more than usual, and may long for an actual home of their own. Their own independence apart from family. Family could be stricter that year, and family events may be limited.

Saturn in the 6th house 🤍🌹- Structure, routine, discipline through health. The native may develop a stable gym routine and eating habits that year, and their health will improve with dedication and practice! They may choose a better diet, and learn about proper nutrition that year, and take care of their digestive system especially. Even energetically, the native will find themselves not wanting to consume shows or channels that are stressful. The native is meant to build a stable routine with their health.

11th house stellium 🌷🥂- Emphasis on networking, friends and meeting new people. Lots of people will want to meet the native, and will try to talk to the native. It’s easier to meet people this year, and to form new connections. Even strangers will randomly strike up a conversation with the native. Potential for meeting a marriage partner or best friend is strong! Potential for growing famous online is also strong, you may start an online business or be online a lot more this year.

11th house sun ☀️✨- Finding others is how you come back to yourself. What kind of community will you center yourself around? This year the native will try to figure out what kinds of friends they want, and where they belong. Through others the native comes to themselves, and people will teach a lot to the native. Not necessarily handing out wisdom, but there will be situations in which the native has to choose their own community and their beliefs compared to what everyone else wants.

11th house Venus 🦋🤍- Having friends and community becomes important, and the native realizes the importance of it all this year. Lots of people may want to date and get to know the native, as the 11th house is public. The native will be seen a lot more by others, around the place and people may actually make comments about that (I’ve had that happen with this placement many times!) The native will find that somehow the people around them come the right time when they need help too. Almost as if they’re blessed 💘 The native learns a lot about detachment from others expectations, and opinion. It’s about finding what works for them not for others this year. Potential for dating online is strong! And meeting someone through a dating app or social media.

Mars in the 12th house 💗🌹- The natives abilities and effort may struggle to be seen and recognized. There’s a sense that the natives effort is hidden, and the native feels unseen. It’s important this year the native keeps their plans and goals hidden as there could be others who want to criticize negatively. Especially with virgo 12th house! People may expect perfection from the native this year, or the native will struggle with perfectionist tendencies, and eventually will be the self undoing (12th house) Perfectionism is the natives enemy this year, and the native will have to find ways to understand themselves and work on their tendencies. There’s a chance to end up injured or hurt this year, so be cautious. The zodiac sign in that house will tell you where. For example if you have Virgo 12th house, your stomach in some way could struggle this year or be injured.

North Node in the 8th house ☕️💌- Leaving behind the material realm for the spiritual. Native is involved heavily with healing, releasing, and esoteric practices. The native eventually finds balance towards the end of the year with the material realm, but will likely find 6-8 months of deep inner work. Boundaries regarding spirituality get muddled as the native explores their psyche, uncovering new experiences! Healing and transformation through the past, to be in the present. Certain relationships can fall apart as it’s not aligned with the natives growth. Jobs may change as the native adjusts to their needs.

Libra Ascendant 🥂💗- Focus is on beauty and seeing the world through a connective lenses. Connection everywhere, with nature, people, communities, spirituality, etc. the native will fill more in touch with their fair and balanced side. This year the native will focus on balance, and not doing too less or too much. The act of balancing means things will be out of balance, so this year the native will go through upheaval as well. They will learn about discipline and structure throughout these changes, and work on mending things that were out of place. Going back and rebuilding. Or starting new if needed. The natives peace is important, and the native could find a partner this year! Depending on the other SR placements. The native is looking for ways to be connected to whats around them and within them.

Pluto in the 7th house 🌟🌷- Transformative relationships and unhealthy dynamics can come up this year in the native. Power dynamics and upheaval of roots in connections. The natives relationships with others is changing tremendously, and likely they could attract someone healing as well, and the two can heal. But with pluto here it can get intense and chaotic, if the two aren’t consistent working on themselves. People from outside could try to get into the natives relationship, adding gossip. It’s important to stay private this year with relationships.

Venus in the 12th house ✨☀️- Some I knew actually met a soulmate that year, the potential for a deep bonding connection came up. It was long distance given the 12th house ruling distant lands. If Venus is in a water sign for that year, the connection is a psychic one and very intuitive. Her house had cancer over it, and she developed a close bond with someone. They did things for the first time she’d never done before like traveling to another place! Everything was kept private, as Venus fell in the 12th house. Although this happened, they both mirrored wounds and did inner work to sustain the connection, and had a connection that was incredibly intimate. So Venus in the 12th can bring up a romantic interest, a connection that will be profound in terms of inner healing. It can also mean the native will choose to heal and do inner work, and not have the desire to date that year. It can mean codependency is the natives undoing that year in their relationships.

Sun in the 1st house ☀️🥂- Focus is on the self, growing and improving the body. The native could go to the gym and explore new routines, or be athletic that year. Participating in a sport they enjoy. Their appearance will go through a massive change too, someone I knew impulsively cut their hair after drinking lmao. It was super long, and then they went short! The father could be in the natives life a lot more, whether thats through spending time and bonding, or being intrusive and invasive. The native will realize a lot in terms of their strength, depending on which zodiac sign falls in the sun. For example, if its Leo, the native will realize a lot of their determination; strength, resilience and their self esteem will improve.

Venus in the descendant or 7th house 🤍☕️- Dating someone! Or meeting someone who is a potential partner. Venus was in my 7th house for my SR when I got into long term relationships. Conj. NN will be an impactful relationship, NN is also associated with destruction in a way because it rebuilds, and what doesn’t work must leave, so that relationship I had was incredibly chaotic 😅 But for those who have Venus in the 7th house, you will potentially meet a long term partner that year. Check the zodiac sign and that’ll tell you how! Someone with Gemini Venus 7th house met someone online.

Venus in the 1st 🌟🌹- Appearance changes! A glow up will definitely happen that year, and ideals of your relationship will change a lot. What you expect, want, desire will go through changes. You may prefer healing therapy of some kind for the body, like massages, or yoga. Something to restore the body physically. You could absolutely be in the gym too!

Saturn in the 1st 🌙🦋- Having to be more structural and disciplined within yourself. Setting new routines and maturing personal boundaries. You may struggle with dissatisfaction and apathy this year, because you’re moving towards what fulfills you. Check the zodiac sign to see what will be maturing most within yourself that year. For example if its in Pisces, you’ll be maturing the part of you that has wishes, dreams, but has been passive in taking an approach to make them happen.

Venus in the 5th house🌙🥂- More fun and romance this year! The chance to get to know someone and friendship. However your approach to dating will differ depending on what zodiac sign falls in the 5th house. For example, if it’s in Capricorn, you’ll take on a reserved and detached approach to relationships. You’ll show up practical.

Capricorn Venus 🦋🤍- Material matters are important and you’ll likely pick up extra hours this year. Your approach to relationships are practical, refined and you have a long term focus. You don’t want anyone or anything unnecessary, as you know it’ll hinder you this year. There’s a need to mature when it comes to relationships and understanding how they work, because Capricorn is ruled by Saturn. There will be lessons on emotional intimacy this year!

Leo Venus 🥂🌟- This year there will be a focus on attracting the one potentially, and going big. Not playing small in relationships and attracting abundance. Loyalty is important, and the native wants a commitment within their friendships or romantic interests. The native steps into their worth and their value. By valuing themselves, they learn to realize their value in other peoples life. Lessons regarding self worth and value will come up, and the native will find themselves having to speak up for what they deserve in relationships!

Thats all I have ya’ll! I hope y’all enjoyed and please support this blog 💗🤗 it’s very much appreciated! If ya’ll would like I’d love to do more of this!

[retrocanvas]

Web 101:  How The Various Components Of A Website Interact 

There's a lot more to a website than what you see on your screen. Understanding how the various components of a website interact will assist you in refining each step to build a website that loads and works as effectively as feasible. Read more

There’s a lot more to a website than what you see on your screen. Understanding how the various components of a website interact will assist you in refining each step to build a website that loads and works as effectively as feasible. In this post, we’ll look at the details of client-side design as well as server-side features. We’ll also look at how the frontend and backend work together to…

[paper-mario-wiki]

Shangri-La Frontier mid-season review

This is by far the best fake video game I've ever seen written in fiction.

Most MMO-centric isekai stories have trouble with providing accurate and realistic depictions of the complexities and minutia that give MMOs the allure they have. I've seen so much handwavey bullshit tacked onto fake-games that introduce unrealistically overlooked mechanics for reasons like giving the protag immense power just because they're the protag and the story is about them. A good example of this is another MMO Isekai airing this season, "A Playthrough of a Certain Dude's VRMMO Life", wherein the main character becomes extremely rich, powerful, and famous by episode 2 because he stumbled into a stealth archer playstyle, a build which apparently no human in that universe had ever conceived of before, and then making a fortune by selling basic potions to everyone after NPCs stopped selling them (another thing he was uniquely able to do because not a single other player had the forethought to spec into alchemy). These lesser, dime-a-dozen isekai add up to be boring fantasy strories with gaming elements clumsily put in so that the author can demonstrate how powerful the world's inhabitants are by showing their stat allocation screen instead of, say, explaining anything about what they do that's so uniquely powerful and how they figured it out. Ya know, stuff you'd hope to hear about from any competent story.

Shangri-La Frontier is a breath of fresh air for anyone who, like me, is sick of authors ignoring the things that actually make video games compelling in service of creating a stock-standard narratives in fantasy worlds because it allows them to get away with bullshit. I've always found it very convenient that many isekai narratives indulge in things like chattel slavery, because it's societally normal enough for the protag to purchase a beautiful, vulnerable girl to add to his harem (dont worry, she is always inexplicably in love with him no matter what because he's SUCH a kind master). And it never really seems to go anywhere. Because the Video Game Isekai, while an interesting premise in theory, is more often than not used exclusively as a means to simplify the structure of a world's power scaling to abide by an arbitrary set of omnipresent universal rules (e.g. what people who have never cared to look into game development think of video games). This anime, by comparison, is VERY clearly authored by someone who plays a LOT of games.

Every piece of logic used to drive the plot forward, so far, is congruent to a real-world example of video game conventions, and I'm not just talking about levelling up and selling monster parts. Story elements that I've rarely (if ever) seen explored in other isekai are ever-present and genuinely clever and amusingly introduced. My favorite example of this so far has been the way the protagonist has been able to go head to head with so many overlevelled foes in the first 9 episodes. The story of course makes note of how good of a gamer Sanraku (our hero) is, but much like in real life games, being super duper good at dodging attacks doesn't really make up for a 70 level gap in items and learned skills. For that reason, he gets his ass whooped more often than he actually outsmarts others (so far he hasn't beaten a single player in pvp). So how is he getting out of these situations without dying so frequently? Simple: he got access to a later area too early relative to his level (sequence break) and got access to a high level follower NPC that's been carrying him. This is something he acknowledges directly several times, specifically using words like "Emul has been hard-carrying me for a while." This, to me, is extraordinarily meaningful. That's something you can exploit in Skyrim, man. That's REALISTIC CHEESE STRATS. The excitement and wonder I find in this show doesn't come from watching the protag do something unexpected, but by watching him do something that I would think to do.

This knowledge the author has demonstrated regarding modern gaming culture extends further into the actual realistic nature of game design and community. The story exists in a reality where full-dive VRMMOs are the be-all-end-all of gaming, and given the prohibitively expensive nature of developing and designing expansive, immersive worlds, most games are pretty shit. It's been hinted at so far that this is due to a monopolistic megacorp which is one of the only entities rich and powerful enough to make a good game (the game in question being the one that shares the title of the anime), but so far the strife of the characters have been pretty centralized to the happenings of the game world and its politics. By the way, lets talk about the game world's player base politics, which I'm also quite pleased with. It exists in the form of guilds and clans who struggle for power not by participating in seemingly random pvp with other powerful players to see who is the most epic and badass warrior (again, like many contemporary isekai typically opt for), but by gaining actual realistic support from a fictional playerbase with realistic desires and playstyles. Some guilds are interested in lore, some gather for alliance and boss raids, some for things like animal husbandry, and (naturally) at least one is dedicated to trolling and PKing. Each of these factions, through the very little that we've seen of them so far, communicate on forums and only know as much as is reasonable for them to know. The only reason they give a shit about the protagonist at all is because he gained access to a high-level unique scenario quest that they want information on how to access, and the only reason word of that got out in the first place was because someone posted a screenshot of him with a unique NPC onto a forum, asking about it as "where can i find this pet summon, its super cute!" That's real. That's video games, baby.

I like this show a lot so far. I like that it cares about video games, but I also like its writing. I like the main character and how hes less of an ultra badass super cool guy, and more of an earnest challenge-run lets player. Like, a lot of his dialogue straight up sounds strikingly similar to Japanese youtubers. And he's naturally always quick to point out inconsistencies in the game world's logic. I ALSO really like his community of pals from a janky old fighting game, and I ADORE the girl from his school who has a crush on him and also just so happens to be an exceptionally high level player from a top clan, and how she had to spend 9 episodes working up the courage to send him a friend request. I love that so, so much, dude.

I highly recommend this show if you're into a single thing I've mentioned. The animation is great. The world is beautiful. The character design is immaculate. And I'm looking forward to watching it continue.