#would it be considered controversial if i said that half of the adults on this site should explode? idc if it is because i'm firm on this

[grim-heir]

hey, quick question, why are 70% of the people who interacted with the art of myself i posted in the main tags ADULTS OVER 20? what're you guys liking art with the only detailed one implying sex trauma of a 13yr old for huh? I may not be 13 now but that doesn't mean i don't think it's A LIL WEIRD 😊

[skaruresonic]

why is Gordon x Alyx even controversial? both of them are fully grown adults. What could possibly be the issue here?

The pithy answer is "antis," but the more honest answer is that an influx of fandom tourists came in and gentrified Half-Life, twisting a canon ship into the most bad-faith interpretation possible.

Strap in, because this is a batshit story.

In 2020, wayneradiotv released HLVRAI, also known as "Half-Life but the AI is Self-Aware."

HLVRAI is to Half-Life what the Snapcube dubs are to the Sonic games: a haha funny meme series that is set in its own canon and only superficially resembles the original series. This would not have been a problem had HLVRAI not been conflated with Half-Life; for the longest time, the two fandoms were considered conjoined, and it was because of the ship wars that OG Half-Life fans had to beg AO3 to separate the tags over the course of three years. HLVRAI introduced an influx of young fans to Half-Life, but a certain subsect of new fans kicked up a ruckus because they found Half-Life's canon to be, in short, "problematic." Specifically, HLVRAI is set in a canon where Gordon Freeman has a child based on a throwaway line about an Easter egg of a baby photo in his locker. In reality, Gordon is stated in the PS2 manual to be "unmarried without dependents" and the Easter egg simply depicts a developer's child; this is worth noting in order to better understand how the fandom tourists thought about Half-Life canon.

Fans of HLVRAI shipped HLVRAI!Gordon with the character Benrey, who is an extremely spurious interpretation of Barney Calhoun, Gordon's buddy in HL2.

Benrey and Barney have nothing in common aside from sharing a face, yet fandom tourists who knew nothing about the games saw Freehoun (Gordon/Barney) as, like, a sort of "vessel" for Gordon/Benrey. As such, they started looking for reasons to justify it as The Ultimate Ship.

Being a Valhoun (Alyx Vance/Barney Calhoun) shipper myself, I was only on the fringes when the shitshow happened. At the time, the most prominent ships in the fandom were Freemance and, to a lesser extent, Freehoun. I remember Freemancers had just produced a Freemance zine before HL fandom all went to shit; however, after the dust settled, nothing like that happened again.

The fandom tourists, I kid you not, started calling Freemance pedophilia on the grounds that, and I quote: --- 1.) Gordon is "chronologically 47" in HL2, despite Eli heavily implying that Gordon hasn't aged during stasis and is still mentally and physically 27.

--- 2.) The games heavily push Freemance, which can, according to these geniuses, be taken as a problematic age gap ship at best. Freemance is also predatory because Gordon is preying on a vulnerable Alyx, according to them. In addition to ignoring how it's Alyx who makes the moves on Gordon, HLVRAI fans have repeatedly revealed their ignorance of her age. They think she's a teenager in HL2, despite her age being easily deduced from information offered in HLA's opening scene:

19 + 5 = 24. Alyx is 24 in HL2, only three years younger than Gordon. This tidbit was routinely ignored in favor of portraying her as a younger vulnerable party to a "much" older man (who in reality hadn't aged during his time in stasis). --- 3.) Upon first meeting Gordon in HL2, Alyx off-handedly remarks that Gordon likely "[doesn't] remember" her from Black Mesa. HLVRAI fans took that to mean Gordon definitely knew her when she was a child, or even babysat her, despite her words implying the opposite.

Don't ask me how that works. I don't know.

--- 4.) As an icky 47-year-old whom the game "ships" with a "possible teenager" (who despite living in a world subjugated by alien fascists must be "protected" from older white guys, apparently), Gordon Freeman thinks of the full-grown Alyx who flirts with him as the four-year-old he most definitely babysat back at Black Mesa.

--- Hmm, said the fandom tourists, isn't it sus how Valve keep trying to push Freemance in our faces? Maybe Valve are a bunch of pedos in disguise...? 🤔 If by now you're thinking these are some Olympic-tier mental gymnastics, you'd be right. The situation really was that absurd, to the point where antis straight-up lied about canon in order to justify shipping Freehoun. Which, to rub salt in the wound, wasn't even real Freehoun grounded in Half-Life canon, but some proxy for another ship. Fandom's response to this extreme contortionist act, understandably, was "Jesse what the fuck are you talking about."

And then, being the creatures of reason and intellect that they are, the fandom tourists started doxxing people over this shit. A mutual of mine had an anon report her to the authorities for merely writing Freemance fic. The situation got so bad that most of the old guard packed up and went elsewhere, mostly Disco Elysium.

To this day folks are still tentative about even posting what used to be fandom's most common OTP because that side of fandom is just so rabid.

[brostateexam]

Kadesh Swanson has a rule at sit-down restaurants: He tips 10%. It’s half the norm (at least 20% these days), but it’s what he’s always done. “If servers want more, then they should put the same effort in that I took to earn that money,” he says. Swanson, 34, makes tobacco pipes and hosts taco pop-ups in Olympia, Washington, and sees a gratuity as a reflection of the service he’s offered. He’ll tip more occasionally when the experience feels exceptional, but never on takeout or counter-service orders. “You just came, did your job, and you left,” Swanson says of workers at limited-service restaurants.

A 2023 Pew Research Center study showed that people who have worked for tips are more likely to leave a gratuity. But that’s not the case for Swanson. Even running his own taco pop-ups at local breweries hasn’t changed his views on tipping. He considers his business model comparable to that of a fast-food restaurant: “It comes off the grill and someone hands it to you,” he says. Swanson appreciates a gratuity but admits that “my own business is not one that I would personally tip.” He may not be the average customer, but Swanson is not alone. There are diners across the country who view gratuity in its most literal sense—as totally discretionary.

Tipping has been a controversial topic pretty much forever—but it’s only gotten more polarizing. Stories of people shaming bad tippers are commonplace now, and tipping on everything from takeout to counter service has become the industry norm. Still, there are people among us who are actively resisting this movement. They rarely—if ever—tip 20%, and some believe that by withholding tips, they’re actually protesting an antiquated and inequitable system.

There’s a lot of these people: 5% of Americans never tip and 12% only sometimes leave a gratuity on their meals, according to Bankrate data. In a new YouGov etiquette survey, half of the more than 1,000 respondents indicated they think it’s “acceptable” to leave no tip after receiving “bad service.” That Pew Research Center survey of almost 12,000 adults found that more than half would tip 15% or less on “average—but not exceptional—food and service” at a restaurant. (One quarter of respondents said they would still leave 20% or more, and 2% said they wouldn’t tip at all.)

“I believe the role of tipping should be to incentivize and reward excellent service,” says Anda Galffy, a 69-year-old travel blogger who was born in Europe but now lives in Southern California. “It has nothing to do with generosity.”

[olderthannetfic]

"Friendships are a lot more like romance than people admit" anon here. So I gave zero detail whatsoever, and it's been kind of interesting to see what people came up with in response. That said, I actually meant it a lot more in terms of specifics and mechanics?

Friendships have an "infatuation" phase where getting to know the person and spending time with them is effortless and fun and you feel like you'll never get bored of each other. Friendships often involve an expectation of emotional connection and telling each other things, making the other a part of your life to some extent. It's possible to have feelings of jealousy for a friend, especially if you suddenly become a lot less important to them in favor of a new person in their life (which in an exclusive romantic relationship might be considered a kind of "emotional cheating"). It's possible for a friendship to fail or peter out for the exact same reasons where, if it were a romantic couple getting couples therapy, their therapist would tell them "You need to reconnect by doing things together again, you need to make an effort and work at restoring your connection". Which sometimes romantic couples do, and then they stay together, but in friendships it seems to be kinda seen as normal and not imbued with the same sense of almost-tragedy? Even though it's a very comparable time and energy commitment essentially going down the drain. Finally, it's quite possible to be heartbroken that a friendship ended, and a toxic friendship can be every bit as damaging as a toxic romance. To put it in a phrase, you could take any number of posts asking for relationship advice where, if you removed monikers like "friend" or "SO/gf/bf", it would be very difficult to tell if the relationship is romantic or not.

"Romantic relationships are like friendships" is equally controversial in the sense that a lot of people don't really seem to know what to do when the infatuation wears off, partly because media and culture seem deeply uninterested in exploring this stage of romantic relationships? Or they interpret the inevitable fade of hormone-fueled excitement as falling out of love, break off the relationship, and rinse and repeat this a few times before they wisen up and learn to form long-lasting friendships with the people they fall in love with.

To wit, close friendships and romance both involve love and attachment and (some amount of) commitment. And yet we barely ever seem to talk about friendships using the language of love, even though love is unquestionably what's going on there. (Again, I'm talking about close, long-lasting friendships.)

..Or maybe my experiences are not universal and I'm just a weirdo who gets overly attached. Idk.

--

I refer to "friend breakups" and "friend dumping" all the time.

I think if you put it in those terms, most people agree: they've had some devastating end to a friendship that hurt them more than half their romantic breakups. It's just not how movies tend to describe it... at least not in words. Buddy movies are all about the idea that a friend breakup is the literal worst thing in the universe though.

I guess I roll my eyes a tad because I've witnessed decades of finger-wagging books about how we don't care enough about friendships and those are what really predict adult mental health in the long term, blah blah blah. Things like friend crushes (that honeymoon period) and devastating friend breakups are well known to psychologists and self help book writers.

Anyway, you aren't weird, and people who want to keep their long-term friends need to make time for some friend dates if they want to keep the magic going.

[dropthedemiurge]

Got prompted by @pinkkop but also partially this might end up as the controversial Thai BL post because the range of characters I'd defend with the passion is very wide for me:D

8 BL BOYS I WILL THROW HANDS FOR

Uea (Bed Friend)

This show isn't jokingly called 'A Tale of 1000 Traumas' for no reason, I mean – there is only so much one young adult can go through, and Uea has been through... well, almost everything. Tagging hurt/comfort fics on AO3 will result into red triggers all around. What fascinates me in this character is his resilience, too. He managed to go through everything with the sheer will power and knowing his own worth, what he deserves and what he does not. I am so glad the show made an active choice to send him to therapy and give him a considerate and loving boyfriend! He really needs both.

Sky (Love in the Air)

Again, no surprise that everyone would want to protect Sky. The acting was also chef's kiss in this show, I know I shouldn't be but I absolutely enjoyed seeing Sky getting triggered and sent to the red-lit room in his mind because this was pure cinematography, but irl I would just hug Sky with consent and never let him go. And kick Gun until he never rises up again too. I think Rain should've been given full freedom to avenge for his best friend. But this is also why I'm writing all these skyrain fics – because they are safe space for each other and I want to keep seeing it.

Rain (Love in the Air)

Ehem, like I said– the show has not declared it loudly but he's one of the most ADHD characters in Thai BLs if I ever saw one. He does not deserve to be mocked for his struggles and airheadness. I wish we saw more of him playing into his strengths beside taming a dom, instead of being infantilized by the show sometimes. Don't ask me to dive into full analysis though, I only could watch the PayuRain half of the show once so I'm going off vibes I remember, but I absolutely adore Rain and love reading fics that focus on his ADHD headcanon and how others understand and help him. And also those platonic BDSM tendencies he has with his best friend Sky.

Kawi (Be My Favorite)

For this guy, I would not fight the show or narration because they treated both characters and viewers with care, gentleness, wise teaching and love (Max is a harsh brat but that's his personality). I would actually fight the fandom: from people who hate-watched this show and refused to acknowledge it was amazingly done further than 'i might've liked it but ew screw this actor and novel the show was inspired by amiright don't judge me for liking it jk lol' to some individuals who missed the beautifully developed and portrayed close bond (aspec on at that, I'll stay firm) that spread across >10 years and different timelines and reduced Kawi to immature whiny weirdo who's scared to fuck Pisaeng ten times a day instead of one, idk. This show is a gem with many life-lessons and Kawi has one of the strongest and fascinating character development in Thai BLs that I've seen. Hands are being thrown.

Boston (Only Friends)

The creators of the show said the series didn't have any intentional message, but considering how many long discussions and poured out frustrations we had with some people, Only Friends definitely did Boston wrong. So what if he's a proud slut, should the show punish him for it while praising 'righteous' characters high on their horses? I don't think so. My guy was constantly filmed illegally and threatened by his hookups and friends, he's very hesitant about falling in love but he tried his best with clearly spoken offers, poly views and limits. I also see Boston kinda neurodivergent and/or demiromantic based on many lines he said about himself and his own view of people and relationships in the series. Nick might not be fully compatible with him, and I would throw hands for both of them, but if those two would communicate better, there would be no need for the OOC "twist" at the end. Their story could be beautiful, sad and realistic, instead Boston being kicked down in the street dirt by everyone after opening up about his heart and fears made me angry.

Akk (The Eclipse)

These descriptions just keep getting longer and longer? Oops... I don't think I need to explain the desire to protect Akk – this guy has not stopped crying since a mischievous and passionate newbie managed to break through his 100m thick wall of composure, pokerface and sheer will to survive. And also through all the manipulation Akk faced from the people he looked up to. Akk and everything that he went through managed to rip my heart out, and I'm not kidding. If you're repressed, oppressed and/or struggling with money, desire to make your parents proud and can't help but feel 'disapproved' feelings for someone – meet Akk, he's very relatable. I'd protect him and you too.

Thua (The Eclipse)

*clears throat* I did say this post would get controversial. I can and I will consider 90% of the people who hate Thua as lacking media literacy :D But without getting into useless fandom discussions, Thua is a poor teenager that needs love and support to be able to find himself and his own voice. He's stressed out by a harsh step-father, constantly facing homophobia and mocking in school, has suicidal intentions and the only good friend who opposed homophobic students and teachers, who showed him safe space and helped reach out to his mother, encouraged him to speak out loudly... went behind everyone's back, started dating the main "bully" of the school who threatened every queer for months and decided to support him while silencing students' and Thua's voices. At least that's what Thua experienced from his POV. Would you throw hands? Thua did, and while I may not agree with how he handled the situation, I can't hate him. He finally stood up for himself and his own, tried to change the system, and I'd fight Suppalo school for him too.

Black (Not Me)

There's someone who doesn't need my protection at all! A second before turning into bloody merciless activist-fighter who doesn't shy away from murdering capitalists and cops, I would still want Black not to think he's better off alone. While antagonistic sexually-tense exchange of comas with his ex-best friend can count as one of the most delicious type of romance that happened in subtext not text, he still deserved to seek solace in his ex-girlfriend and (ex? they were so close, why Gram does not care about him at all when he returns? we'll never know) other activist friend's company. Also, fighting with his life to change something in how the country works and hearing 'nah, your twin is better, he knows how to fight with social media so we achieved more with him than with you' from his mentor and Black deciding that he should again ditch everyone he cares about...noo:( I need spin-off about him where he gets everything he really deserves.

[belle-keys]

I read your opinions about swordcatcher and I was curious about what you consider to be the light borrowing of tlh.

I see bits and pieces of both Grace and Cordelia on Antonetta (good god how I hate this name, I know it's a real name but it doesn't sound like one, why couldn't it be antonella? Idc it rhymes with salmonella, it still sounds more legit), and lady alleyne is sona and Tatiana's love child.There is also the matter of marakand being their equivalent of Persia and Conor and Kel (allegedly) being half Persian, but if I'm being honest I see this more as Cc having the opportunity to express her love for Iran than with tlh specifically. Cordelia and Alastair were white and French originally, after all. Besides that tho none of what I like to call "elements of a cc book" present in sw are really a prerogative of tlh.

I would even argue that it was a smart move on cc's part to bring them on this new universe.As much as she may want to cement herself as name on adult high fantasy, she's not starting from scratch and it is to her advantage to endear her enormous fan base, many of whom grew up with her books and now are adults themselves, to this new world by bringing familiar elements into it.

I would also argue that she repeats them not out of a lack of creativity, this rich new worldbuilding is proof that she has that to spare, but rather bc at this point she knows her public and what appeals to them.It may be controversial, but I think Tda is her least liked series precisely bc it lacks some of those tropes and subverts others

When I said “light borrowing”, I actually was just trying to be sarcastic in my original review, but I would now rather say that Cassie very heavily borrowed from not just TLH but the other TSC books. And Kel and Conor allegedly being half-Persian is the last thing that even crossed my mind when I thought of this.

Lin is so very much Cordelia personality-wise in my opinion. Shy girl looking for a sense of empowerment and independence in a male-dominated place. Dips her toes into high society/court and recoils from it. Does a public sexy dance as a means of embracing her sexuality and femininity even though the sensual element from her personality is very much repressed in the name of female propriety in regular daily life. Red hair. Fairly oblivious. Quite sheltered from society’s depravity.

I would also argue that Kel and Conor’s relationship is just James and Matthew’s relationship but on opioids laced with fentanyl. We have the more serious, obvious, trusting main character and his hedonistic, secretive, higher ranking best friend who is absolutely keeping things from him and vice-versa. Kel is the ground to Conor’s sky and whatnot. They love each other but miscommunication and, gasp, a girl is driving a wedge between them. Kel regularly has to slap sense into an inebriated, flirtatious Conor who can’t get his priorities straight. Sounds a little familiar!

Antonetta is very much aligned with Grace’s character as well. Pretty, dainty, blonde character who knows way more than she lets on to people and with an overbearing mother who has spent her life grooming Antonetta for high society and entrapping powerful men into marriage with her. Of course the simple boy at court (Kel) is obsessed with her.

I have a few more minor examples, but all in all I think I’d take the opposite view of yours in that Cassie gives 110% to worldbuilding and story arcs and layered plot and as a result, she uses up a lot of her energy and spark and focus when it comes to fleshing out her protagonists. Don’t take this post as hate towards Sword Catcher or anything - I loved it. I gave it four stars, and I didn’t minus any stars whatsoever because of the Cassie-isms I detected. But I think she needs to diversify a little more when it comes to character development, that’s all!

[yet-still-just-a-moth]

To Joe Wright who is solely responsible for the horrid words: "You have bewitched me, body and soul and I love, I love, I love you. I never wish to be parted from you from this day on." Kindly go and incinerate yourself. I am shaking with rage whenever I see some idiot "quoting Jane Austen" using words that had not once appeared in the book, words actual Jane Austen would never write, because unlike Joe who created that spit in the face of classic literature, she had some taste and style and knew better than to write overly cheesy love declarations for a 1) man who would possibly never utter the word 'love' 2) in the age where nobody would ever say something half so straightforward and controversial. If the word 'love' itself was considered imprudent, then Mr. Darcy would rather die than say anything so frank. And yet, there are people who are willing to risk total ridicule just to show off their linguistic expertise. Who base their knowledge of "Pride and Prejudice" on a movie that does no justice to the complicated, delicate structure of the novel and instead favours quick-pacing action, some ballroom dances and Keira Knightley in a period dress. The sappy love confession never happened and I will die mad about how Joe Wright literally took the ready, well-written, faithful screenplay and encouraged ordered Deborah Moggach to change it, after she spent over two years writing it, attempting to remain as truthful as possible to the "fiercely wonderful dialogue in its entirety". Yes, it is a quote from her. After Joe "encouraged" Deborah, half of the book's plot had magically vanished from the screenplay, including the original ending, without a love confession or a kiss. But apparently characters have to kiss on screen for the target audience to be satisfied, the target audience being teens and young adults. If for 192 years before Joe and his terrible opinions his "target audience" had managed to fall in love with Pride and Prejudice, then I think they could stomach the lack of PDA, don't you, Joe? As Deborah Moggach had said, 'If it's not broken, don't fix it'. What Joe had to say on that topic is “I had never read Pride and Prejudice, nor seen a television version. I come from a background of television social realist drama, and so I suppose I was a bit prejudiced against this material, regarding it as posh". I know that he attempted to break the myth of "Clean Regency World" and I would appreciate it, if only it hadn't destroyed one of the greatest pieces of classic literature in the process. Joe is not a supervillain, that is not what this post is meant to show, I am just trying to highlight that "Pride and Prejudice" the movie is inadequate and unfaithful to the book and every self proclaimed "book lover" should actually read the book before quoting something that never happened, or should happen. Jane Austen is probably turning over in her grave every time somebody credits her with creating this monstrosity. For the last goddamn time; Fitzwilliam Darcy never said: "You have bewitched me, body and soul and I love, I love, I love you. I never wish to be parted from you from this day on." And please stop quoting it as if he did. I am looking at you Goodreads Quotes.

[rokhal]

Fun, but unfair, to compare Robbie Reyes with Jaime Reyes

Jaime is nice. Robbie is trying.

In Blue Beetle (2006), Jaime Reyes is a kind, well-adjusted kid, in the same way that Superman is a kind, well-adjusted man. Jaime Reyes is so nice and so well-adjusted that he inspired an alien AI designed to infiltrate and conquer Earth to fight against its programming and experiment with nonlethal weaponry. Jaime’s been through a lot, being involuntarily bonded to said formerly-homicidal alien AI and inadvertently abandoned in deep space by the Justice League, but with the help of his friends and family, he’s pulled through. Jaime’s parents raised him to be compassionate, respectful, and forgiving, without being a push-over, and they’re still around for Jaime to ask for advice or unburden his feelings to.

While it is difficult to assign Jaime character defects other than “He’s sixteen” and “He regards every casualty as a personal failure,” Robbie Reyes has obvious flaws that Smith highlights from his first issue. Robbie is judgmental, vindictive, and paranoid. As far as we can guess, he grew up in foster care and had to raise himself; he currently considers himself an adult, even though half of the adults his age still live with their parents and the vast majority of them still rely on their parents for advice and support. He seems to sublimate his constant anxiety into anger so he feels less helpless. Although Robbie hates to see anyone, even someone he personally detests, suffer when he thinks it is not deserved, he is entirely willing to inflict suffering when he thinks it is deserved. Robbie has proven himself willing to twist his moral compunctions into knots to secure his brother’s safety and happiness.

This is not to say that Robbie is bad or that Jaime is boring. Robbie wants desperately to be a good person worthy of his brother’s admiration, and Jaime is a dynamic driver of his own story with a vivid emotional life. But Jaime has major advantages that Robbie has been deprived of, which has influenced how they view the world and how they understand right from wrong.

Jaime has Alberto Reyes counseling him to forgive the man who got Alberto shot. Robbie has Eli Morrow telling him to run people over for kicking his car.

While Robbie is trying very hard to do what is right, he has no one to turn to but himself when he isn’t sure what the right thing to do is, and his ideas of right and wrong are...controversial. Furthermore, if Robbie perceives that doing the right thing would put his brother at risk, he’ll shrug and do the wrong thing. He sees the world in black and white, but he values his brother’s safety above his own integrity.

Jaime’s story is about the power of friendship and family to overcome obstacles through love, compassion, and sticking to your principles. It’s a great story, because Jaime and his family are so human; they’re flawed, but they acknowledge and work past their flaws, and they all grow through the course of the series’ main arc. Jaime’s heroism is not hindered by his family; they help him realize his potential.

Robbie’s story is about horrible bullshit happening to people who don’t deserve it, and how damaging that is, but that as long as you learn from your mistakes and have a reason to keep going, you might possibly make the world around you a little better. I think, based on Robbie’s harsh view of his hometown in the first few issues, his story might have also shown that if he opens his eyes to the good in people around him, he would see more and more to admire and protect.

[comrade-meow]

Why a hand gesture has South Korean companies on edge 👌

It took three years for players to notice the "offensive" hand gesture lurking in one of South Korea's most popular multiplayer games.

When players made their avatars laugh, talk or give the "OK" sign in "Lost Ark," they clicked an icon featuring a gesture that might have appeared benign to many: an index finger nearly touching a thumb.

But some of "Lost Ark's" users began claiming in August that the gesture was a sexist insult against men, and they demanded its removal.

What happened next underscores a trend in South Korea among anti-feminists, who have been increasingly pushing companies to repent for what they see as a conspiracy within the government and private companies to promote a feminist agenda.

Smilegate — the creator of "Lost Ark" and one of South Korea's biggest video game developers — quickly complied with the requests for removal. The company removed the icon from the game, and vowed to be more vigilant about policing "game-unrelated controversies" in their products.

A gender war has been unfolding in South Korea for years, pitting feminists against angry young men who feel they're being left behind as the country seeks to address gender inequality. 

Now, though, the latest development in this war is reaching a fever pitch. Since May, more than 20 brands and government organizations have removed what some see as feminist symbols from their products, after mounting pressure. At least 12 of those brands or organizations have issued an apology to placate male customers.

Anti-feminism has a years-long history in South Korea, and research suggests that such sentiments are taking hold among the country's young men. In May, the Korean marketing and research firm Hankook Research said it found that more than 77% of men in their twenties and more than 73% of men in their 30s were "repulsed by feminists or feminism," according to a survey. (The firm surveyed 3,000 adults, half of whom were men.)

The fact that corporations are responding to pressure to modify their products suggests that these anti-feminists are gaining influence in a country that is already struggling with gender issues. The Organization for Economic Cooperation and Development says that South Korea has by far the largest gender wage gap among OECD countries. And roughly 5% of board members at publicly listed companies in the country are women compared to the OECD average of nearly 27%.

A suspicious sausage

The online firestorm that has spread across South Korea's corporate landscape kicked off in May with a simple camping advertisement.

GS25, one of the country's biggest convenience store chains, released an ad that month enticing customers to order camping food on their app, promising free items as a reward. The ad showed an index finger and a thumb appearing to pinch a sausage. The finger-pinching motif is frequently used in advertising as a way to hold an item without obscuring the product.

Critics, though, saw something different in that hand signal. They accused it of being a code for feminist sympathies, tracing the use of the finger-pinching motif to 2015, when the symbol was co-opted by Megalia, a now-defunct feminist online community, to ridicule the size of Korean men's genitals.

Megalia has since shut down, but its logo has outlived the group. Now anti-feminists are trying to purge South Korea of its existence.

Source: Megalia, @starbucksrtd/Instagram, @gs25_official/Instagram

GS25 removed the hand symbol from the poster. But critics still weren't satisfied, and began trawling the advertisement for other feminist clues. One person pointed out that the last letter of each word featured on the poster — "Emotional Camping Must-have Item" — spelled "Megal," a shorthand for "Megalia," when read backward.

GS25 removed the text from the poster, but that still wasn't enough. People theorized that even the moon in the background of the poster was a feminist symbol, because a moon is used as the logo of a feminist scholar organization in South Korea.

After revising the poster multiple times, GS eventually pulled it entirely, just a day after the campaign launched. The company apologized and promised a better editorial process. It also said it reprimanded the staff responsible for the ad, and removed the marketing team leader.

The online mob had tasted success, and it wanted more.

Other companies and government organizations soon became targets. The online fashion retailer Musinsa was criticized for offering women-only discounts, as well as using the finger-pinching motif in an ad for a credit card. The company defended the use of that motif as a neutral element regularly used in advertising, and said its discount program was meant to help expand its small female customer base. Still, founder and CEO Cho Man-ho stepped down after the backlash.

South Korean demonstrators hold banners during a rally to mark International Women's Day as part of the country's #MeToo movement in Seoul on March 8, 2018. Dongsuh, the Korean company that licenses a Starbucks ready-to-drink line in the country, was attacked in July after one of its Korean Instagram accounts published an image of fingers pinching a can of coffee. The company pulled the ad and apologized, saying that it "considers these matters seriously." The firm also said the image had no hidden intent.

Even local governments have been caught up in the pressure campaign. The Pyeongtaek city government was criticized in August after uploading an image to its Instagram account that warned residents of a heatwave. It used an illustration of a farmer wiping his forehead — and critics noticed that the farmer's hand was shaped similarly to the finger pinch.

"How deeply did [feminists] infiltrate?" one person wrote on MLB Park, an internet forum used primarily by men. Another person shared contact information for the city government, encouraging people to flood their channels with complaints. The image was later removed from the Instagram account.

Gender wars

At the core of the anti-feminist campaign is a widespread fear among young men that they are falling behind their female peers, according to Professor Park Ju-yeon, professor of sociology at Yonsei University.

The sentiment has grown because of a hyper competitive job market and skyrocketing housing prices. The government has also rolled out programs in recent years to bring more women into the workforce. Proponents of those programs have said they're necessary for closing gender gaps, but some men have worried they give women an unfair advantage.

Another compounding factor: Unlike women, men in South Korea have to complete up to 21 months of military service before they're 28 years old — a sore point for some men who feel unfairly burdened.

Anti-feminists have also taken umbrage with President Moon Jae-in, who, when elected in 2017, promised to be a "feminist president." Moon pledged to fix the systemic and cultural barriers that prevented women from participating more in the workforce. He also vowed to address sexual crimes in the wake of the global #MeToo movement.

This year's corporate pressure campaign adds another complication, as brands weigh the possible fallout.

Young men are "big spenders," said Professor Choi Jae-seob, a marketing professor at Namseoul University in Seoul. He added that many young people today are driven by personal political values when they buy things.

Ha, a 23-year-old university student, said he pays attention to what companies say about gender issues before making a purchase.

"Between two stores, I would use the one that doesn't support [feminism]," said Ha, who declined to give his full name because he said that gender is a thorny topic among his peers.

Ha said he's far from alone. When his friends were discussing the GS25 camping poster, for example, he was surprised to find that many of them felt the way he did: "I realized that many men were silently seething."

"I realized that many men were silently seething."Ha, a 23-year-old university student

The gender war leaves companies in a tough spot, according to Noh Yeong-woo, a consultant at the public relations agency PR One.

By not responding to allegations that they are taking a stance on gender issues, that could lead to what Noh called a "constant barrage of accusation" and the creation of a stigma. It also means that companies are actively monitoring online groups and studying what their users have designated as hidden codes or associations, to avoid being called out.

"They are continuously checking for the next problematic symbols," Noh said of brands in South Korea.

Stigmas and fighting back

Some women, though, say that the corporate apologies are also creating a climate where some people are afraid to identify as feminist.

"It's the new Red Scare. Like McCarthyism," said Yonsei University's Park, referring to the mass hysteria to root out communists in the United States in the 1950s.

Lee Ye-rin, a college student, said she has been a feminist since middle school. But in recent years she has found it impossible to be open about her stance.

"It's the new Red Scare. Like McCarthyism."Professor Park Ju-yeon, professor of sociology at Yonsei University

She recalled an incident in high school, when some boys openly heckled a feminist friend of hers while that friend was giving a class presentation on the depiction of women in the media. Lee and her classmates were too scared to defend the friend.

"We all knew that a person who would step up and say that feminism is not some weird thing would be stigmatized, too," Lee said.

In response to this year's anti-feminist pressure campaigns, though, some feminists have been fighting back. The apology over the camping poster from GS25, for example, prompted feminists to call for boycotts against the company. Some people shared images online of themselves shopping at rival stores, using hashtags that called on people to avoid shopping at GS25.

Balancing act

As there doesn't seem to be much hope of finding middle ground for those waging South Korea's gender war, experts say companies have to figure out ways to avoid being dragged into a brand-damaging fight.

Noh, from PR One, encouraged companies and organizations to educate their employees on gender sensitivity — and even reconsider the use of symbols that have become heavily politicized.

Finger-pinching motifs "are images with complex metaphors and symbols and they already carry a social stigma," he said. "So, once you get involved in it, it's hard to explain them away ... the issue keeps spreading until they are removed as demanded."

Park, the Yonsei University professor, said that part of the problem is that many South Korean companies are led by older men who don't have a firm grasp of present-day gender issues. The average age of an executive-level employee at the country's top 30 publicly traded companies is 53, according to a 2020 analysis by JobKorea, a Korean version of LinkedIn.

That suggests a level of irony. Maybe it's not that some of these companies have a specific agenda, as online critics are accusing them. Perhaps for some of them, high levels of leadership are just not in tune with the debate.

To Park, the vitriol directed at companies has also buried some of the underlying, systemic issues that contribute to gender inequality, along with debates about how best to crack the glass ceiling or address the division of labor at home, among other concerns.

"Some very important debates are being buried," Park said, adding that today's gender war is being fought on the tip of the "iceberg." "It's not a fight about the fingers."

[starshipsofstarlord]

April?

Pairing | Peter Parker x reader

Summary | it’s April fools, and you know that peter is far too gullible to not fall for a simple and silly prank. And what aids him in believing your controversial tradition, is the fact that you are pregnant with his child.

Warnings | April fools, Peter is an adult in this, and so is the reader, swearing, pregnancy

Requested ☑️

Quick link to my masterlist, if you’re interested in reading more of my crap 😬

“Oh my god Pete, I’m so sorry.” Tears fell ceremoniously from your eyes, causing your partner to rush to your side, after entering through the front door of your apartment.

He was severely concerned, and so he knelt before you, glancing rapidly between your forlorn face, and the slowly revealing bump of your belly. Currently, you were just under five months pregnant, and so behaviour like this from you was becoming far more regular.

Peter knew that it was a normal occurrence, and he should have been worried if you skipped these symptoms, but nevertheless, he couldn’t help but pose sympathy for the peak emotions that you were composing through.

“Baby, what is it?” His tone was soft, as was his tender touch as he comfortingly stroked the perch of your knee. He swore that his heart broke just looking at the state of you.

“We have nowhere to live... I sold everything!” You brushed his hands off of you, reaching up and dabbing your eyes with your cardigan sleeves, blinking up at the ceiling to suppress farther tears.

“What? How?” It was a gentle ask, he continued to remain gentle with you. If he were to grow angry, which was not at all a common occurrence of his personality, then he would only make you cry more, which would probably then make him cry from feeling terrible.

“I had a craving of plums- and there was this guy, who was selling shit tons of them.” Your hands waved about, emphasising your words, and Peter was uncertain to believe you.

But out of the corner of his eye, he noticed a cradle of the mentioned fruit casually lounging about upon the coffee table, that only made him carry some belief with your sentence.

“Y/n, how many did you buy?” He asked worriedly. He knew that your hormones would have you do impulsive things; like stowing away on a quintet to accompany Thor to Sakaar, to see if the birth and overall pregnancy would be delayed, considering that things aged differently there.

“All of them.” Subconsciously, you reached around him, grabbing one of the sample fruits and biting into one of the purple peaches. “There was some guy, selling them on the side of the street. Said he was from Brooklyn, he seemed like a sweet old man.”

“So... we’re broke, because you bought all the stock from a plum supplier?” He waited for the foolery to come to an end, but no laughter rang out to applause him for his patience. All he earned was a hum of agreement.

“Yeah, got his number, said we should go bird watching sometime,” you put the remainder of the plum in your mouth, decisively chewing on it. “Think he hates falcons, that guy just does not stop complaining about them.” If only he knew the half of it.

“Okay baby, I know you like plums right now, but we’re gonna need to see if we can get a refund.” A shrug tumbled across your shoulders, and with ease, you logged onto your phone, bringing up the number with no reluctance.

Peter immediately clicked on the contact, not hesitating to bring the device to his ear. It rang a couple of times, until the person on the other line picked up. “Hey, this is the pregnant woman’s boyfriend, we were wondering if we can get a refund on all the plums that you sold her.”

A sigh rattled through the speaker, and he could almost feel the stranger’s glare. “I don’t care if y/n is pregnant Parker, all of you punks need to stop this April fool’s shit, I’m too old for your antics, go and bother Tony, at least he’ll retaliate without violence.”

“Mr Barnes-“ he had no time to get a reply, for it seemed that Bucky was no longer paying attention to him.

“Sam, stop telling people that I sell plums!” Was the last thing he heard before the super soldier hung up on him. And that was when the hero realised, that he had been tricked. A wolf smile played on your fruit tinted lips, as you popped another piece in your mouth.

“Happy April fools?” You asked cheerily, and Peter could only shake his head. That was, until it all clicked. It was like a piece he had been searching for, and from the simplistic of the specifics, it had found him instead.

“Honey, what do you think about the name April?”

[soren1830]

Why we want the dream smp

I’ve spent the last couple hours listening to pretentious reviews about what makes film things good so now I am going to do the same to the Dream SMP because none of the reviews I watch will ever do it for me. I’m sure at least half of what I said has been said better by other people, but oh well,

Timing.

Covid meant we where stuck inside. Captive audiences for creators of all types to prey on. According to Forbes, streaming jumped at least 12% and internet usage up to 70%

But why watch amateur Minecraft streamers on Youtube and Twitch? My argument is that consumers were both tired and broke. Disney made their own streaming services, Movie released were up in the air. Controversy after controversy hit franchises throwing into question the morality of watching entertainment made by problematic creators.

Not to mention that the audience is largely younger. Children, teens, and young adults flock to the streamers to catch the story. Incidentally, this is the population that has little to no income. Young adults wracked by student dept found themselves in an economy with little to no room for them. Teens are always among the first to loose jobs when the time gets tough. Parents also had less money to splurge on their kids desired streaming services as the recession hit hard. As such, these groups are going to turn to free platforms, primarily Youtube and Twitch.

Minecraft resurgence. After a dip in popularity, Minecraft resurged in popularity following the 10th anniversary and major updates to the game. Youtubers began picking it up again. First out of nostalgia, then out of enjoyment or to farm views as Minecraft once more hit the trending page. With Minecraft surging in popularity, even those barely familiar with the game can find themselves starting to watch the content. I remember fall 2019, bored out of my mind in my dorm room, coming across a Minecraft randomizer UHC on my trending page. At the time, the most I had done with Minecraft is build in creative, but now I was watching hours of gameplay footage.

With Minecraft rising in popularity not too long before the Covid-19 lockdowns, it is not surprising that Youtube’s now larger audience found themselves watching Minecraft. Top creators, such as Dream, Wilbur Soot, and TommyInnit, made their presence clear and as they wandered from project to project, their viewers came with them.

But why do we love the story?

This is going be different from person to person, but largely I view the Dream SMP’s success due to our exhaustion with traditional media. In every story, the viewer is fed a narrative of the creator’s making. With the narrative framework the conclusions to be drawn are limited are the creator cannot spend their time fleshing out everyone and everything without the story becoming aimless. There is no chance of becoming sympathetic to the plight of the orcs in Lord of the Rings. We are never able to see their side or are given the chance to sympathize with them. Why would consider Sauron’s viewpoint? From everything we see, there is no way to understand Sauron, nor any reason to try. (I am ignoring the Silmarillion or other outside text. Most people will only know the movies so that is what I am using here). The viewer is stuck with the point of view of the small, usually protagonist, cast. Occasionally you are able to see what the antagonist are up to, but this is almost always to show how evil the enemy is, or to fuel a redemption arc for a set group of antagonists. There is little to no grey area in this set up. Our good guys can do bad things and the bad guys can do good things, but it is always clear to the viewer who the good people must be. Negative traits are never allowed to dictate the main characters action aside from those couple episodes in which it matters, or in a climax in which they need to fail so they see that they are wrong. Nowadays, everyone is always entirely good or entirely bad. And then we find out one bad thing our ‘good’ people did and they are to be punished by the karmatic hammer of cancelation or by punishment ingrained in the stories plot. It is exhausting.

The Dream SMP turns this philosophy on its head. Instead of having to follow one, or a small group of point of views, nearly ever character on the Dream SMP’s point of view can be directly seen. In fact, it is rarer that a character’s point of view isn’t shown, namely that of Dream. As such, every character becomes a main character in their own right. Regardless of if their creator has an active role in their plot, each has their own justifications for their action’s and inactions that are accessible to the viewer, although not to the other characters. (This is also the story’s biggest detriment as well, but I will touch on that another time.)

So we see everyone’s POV, why is this a big deal?

When starting a movie, book, or TV show, the main or point of view character is what makes or breaks the viewers’ enjoyment. It can be the best story in the world, but if the viewer cannot stand the character they are meant to follow, then the viewer will either stop watching/reading or will continue while hating the story from the get go. The Dream SMP dodges this entirely. Want a more hyper POV? Try TommyInnit! Want a nice dash of humor? Try Techno!

The multiple POV’s also increase audience participation with the story. When a major event occurs, such as the fall of Manburg, the viewer can go back and see what each person what doing at the time. Ensamble blockbusters such as the Avengers try to this by switching between POV characters rapidly during battles, but inevitably the camera always has to move away. Imagine an Infinity War shot entirely from Iron Man’s point of view. And another from entirely Captain America’s point of view. And another from Hawkeye’s. You would have a better grasp on not only what is character is doing, but also why. And in a character driven story like the Dream SMP, the Why is incredibly important.

Having the multiply POV’s allows for events that happen around more ‘minor’ characters, sometimes even showing how being relegated to the sidelines affects them emotionally. I am avoiding spoilers, but Nikki and Jack’s ‘Team Rocket’ arc is a great example as is the set up to the Eggpire. Doing this is extremely hard to justify in traditional media and even harder to accomplish.

With no singular character being the true protagonist, there is no pressure on characters to be wholly good. There is time in the narrative to explore each of their grey morals. The events they live through are allowed to have lingering effect on characters. By having such a loose point of view in a character driven story, events are able to happen more naturally. Even when an outside force comes to affect the story, namely Shlatt and the Egg, their biggest affects are not on the physical world, but in the character’s mental state and relationships.

This grey area and heavily character driven plot makes the story feel much more human. Sure we never had to fight in a revolution, but we have stuck by our friend’s side when they needed us. We will never be asked to assist in an execution, but we have struggled in a social situation where our friends couldn’t intervene. The Egg may be supernatural, but it is all to often that one person will hijack a friend group and try and change the people in it to suit their needs. The Egg is almost akin to an abusive friend or partner. Sure the villain in the Dream SMP look larger than life, but each actual conflict is something human that almost every viewer has seen before, albeit in a less life threatening manner.

[potteresque-ire]

Not sure if this has circulated before, but here’s a link to Henry Jenkin’s reactions to 227, largely as responses to an interview he did with Sanlian Lifeweek magazine (三聯生活周刊), a publication modelled after TIME magazine and published under China Press Publishing group (中國出版集團), the largest and state-owned publisher in China. The magazine asked for Jenkin’s opinions on the fandom-related aspects of 227 back in March, 2020. Henry Jenkins, as many may already know, is among the most renowned scholars of (Western) fan culture ... if not the most renowned.

Personally, I find this article to be quite limited in perspective, because 227 had a significant non-fandom-oriented, sociopolitical component ~ and hence its scope, its chaos, its damage. IMO, 227 stopped being a fan war, stopped being about solos, cpfs, and even Gg the moment AO3 was shut down ~ the powerful Chinese state had intervened, and the incident necessarily became a political incident. That One Fic on AO3, the conflict between solos and cpfs about whether and where That Fic should exist was at most a lighter left at the scene of what would become the blaze; it wasn’t even responsible for igniting the first fire. Most i-turtles (i-fruits?) are probably aware too at this point: if fan wars are sufficient to start 227, then there wouldn’t have been a 227 ~ because 227 would have been every date of the year.

Fan culture is fundamentally transgressive, and what that means can only be defined in the context of the subculture’s “mainstream” sociopolitical and cultural environment. I therefore find the article’s attempt to transplant Western fan culture’s observations / theories / analysis / conclusions to the incident without explicitly comparing, addressing in depth the differences of the pre- and post-transplant environment to be ... prone to rejections (as organs are after transplantations!)—exclusion from being useful or valid. And this article was very short on such comparisons or address. Jenkins being a fandom expert aside (and he was careful about not treading outside his area of expertise), early “antis” of 227 presented themselves as crusaders for the freedom of speech and, by late March when this article was published, the heated debates surrounding the incident on Chinese social media had already led to embarrassment for multiple powerful state publications. It was probably a wise choice to not make another dive into the political aspects of the incident.

Being a new(-ish) turtle who joined the fandom a full half-year after 227, I’ve been backtracking, trying to really understand the incident, which remains very much beyond comprehension in many aspects. The discussions I’ve dug up that have most fascinated me have been those in non-fandom spaces, by non-fandomers / politics enthusiasts who barely knew who Gg was, who didn’t know That One Fic involved more than one idol and had zero knowledge about solos vs cpfs. In these discussions, “antis” are not referred to as “antis” because while the action of the so-called “227 coalition” was to kill Gg’s career, that wasn’t considered its ultimate goal ~ its ultimate goal was to warn whoever tried to clamp down the freedom of expression that their opposition was strong enough, populous to fight back and take away whatever, whoever those who attempted the clamp-down care the most about. In this case, “Gg fans”—I put this in quotes because eventually, no one would know who would lurk behind those pro-Gg Weibo IDs (and the anti-Gg ones as well)—were the perceived enemies of creative freedom. Gg, assumed to be the one, the symbol of what “GG fans” cared about the most, naturally became the target of the coalition.

Gg wasn’t special in that sense ~ and that was perhaps, the saddest thing I found about this incident as a Gg fan (without quotation marks); Gg could be any idol who achieved top fame at the moment, who had enough fans to make the point known. The coalition was therefore not “anti-Gg” in its ideological sense. It was anti the fan circle culture that had cemented Gg’s popularity, that had already been known to deal extremely poorly with dissent—complaints had been abound that c-ent was no longer fun for bystanders because the latter could issue no critique, not even doubt, about an idol without the fear of being reported, torn down by fans. The coalition eventually grew to include anti the many happenings, the many censorships and imprisonments in the past few years that had silenced the creative crowd in China, happenings people dared not speak about beyond a loud grumbling ...

The coalition tried to take down Gg, because they couldn’t take down the force that had shut down AO3, that was truly responsible for the silencing. They played the Hunger Games in the Weibo arena instead of challenging Who The Real Enemy Was, because some might not have given much thought about  The Enemy; some might have thought the Enemy too invincible to be worth the effort; some might have got too carried away by their blood thirst, the cruel schadenfreude of shredding a beautiful, successful young man into pieces, and forgot why they were there in the first place ... 

And that was only the political side of 227. 227 was also widely suspected to have a commercial component, which added another layer to the symbolism behind Gg the Idol ~ pretty much as soon as 227 happened, netizens investigated, tried to uncover the chain of capital behind Gg. With the scent of money was the memory of filth associated with it, in a country not exactly  unknown for its corrupt business practices. Much like in The Book of Exodus in the Bible, the Idol is believed to be forged with gold; it is ungodly, tainted. Whether Gg the Person was identical to Gg the Idol, Gg the Symbol mattered to few. That Gg *was* a person seemed lost to many ... 

I’ll have to dive into the non-fandom aspects of 227 with more rigour. As much as I'd love to leave 227 behind, every time I see Gg, I see its legacy on his face, in his smile, and perhaps, I’m not the only one ~ ADLAD cast him as Patient #5 because of 227′s effect on him. Put it another way, 227 is already modifying, writing Gg’s career trajectory ~ a trajectory that is undoubtedly under scrutiny by many who wish to duplicate his success but circumvent his pain. And every time I see a young idol—Gg, Dd, and anyone else—I wonder if the hurt of 227 can happen to them (again) because the crux of the incident has never been resolved; the oppression and silencing have remained strong as ever. 

Anyway (sorry for the rant) ... what I found noteworthy about this article was the quotes the magazine highlighted in its published form (in Chinese), which weren’t highlighted by Jenkins on his own website. They reflected what the magazine would like to be the take-home messages of the interview. I’ve listed them below; all of which had Jenkins as the speaker:

[Pie Note: About Real Person Fiction (RPF) in Western fandoms]

“American fans often do have some shared norms about what is and is not appropriate to write, mostly having to do with protecting the privacy of other people in the star’s life. Writing about the star is seen as fair game; writing about their family members is not.”

---

[Pie Note: About GG being “cast” as a transgender woman in The One Fic that started the incident; gender in fandom]

“We write fan fiction as a form of speculation and exploration. For some people, it may be one of the few spaces in the culture where they can express who they are, what they are feeling, what they are desiring. And for others, it is a place of “what if” where they explore in fantasy things they would not necessarily desire in reality.” 

---

[Pie Note: Whether GG should be held responsible for his fans’ behaviour]

“Under these circumstances, I would not hold a performer responsible for his fans’ behaviors but the performer is responsible for their own behavior and fans may respond negatively to performers who over-react to the existence of alternative fantasies and insult or hector their audiences.”    

---

[Pie Note: About AO3 and why fans were so upset about its closure] “Keep in mind that AO3 is a particular kind of platform. Alongside Wikipedia, AO3 is one of the greatest accomplishments of participatory culture in the digital era.”

---

[Pie Note: About the “problematic” content on AO3]

“Among my findings were that fan fiction sites can be a valuable space for young people to acquire skills (and receive feedback) on their writing from more experienced writers who share these same passions ... That said, while teens have participated in fandom, a large part of those on AO3 are adults, engaging in adult conversations on adult topics.”

---

[Pie Note: About media text in the new media era]

“First, I would stress the proliferation of media texts at the current moment ... We have access to a much broader range of media content than ever before and in this context, fans play a constructive role in curating that content, helping some shows get greater visibility ...  Second, these texts have become more malleable”

---

[Pie Note: About idols not producing “good” media texts]

“Rather, the question should be what are fans finding meaningful about these performers and the texts they generate. I start from the premise that human beings do not engage in meaningless activities. I may not immediately recognize why something is meaningful but my job as a scholar is to understand why cultural materials are meaningful to the people who cherish them.”

---

My understanding of this selection of quotes is this: this state publication (as others) was quite ready to forgive Gg, to put this incident behind. It could choose to not publish this interview; it could choose to leave out certain quotes, or not do the highlighting that cast both AO3 and Gg in a positive / innocent light. But it did all these things. This article furthers my impression that the state never intended 227 to blow up the way it did, and that it did—enough for stories about it to be found in non-China websites, and in English—was what I’m still trying to comprehend. 227 was, admittedly, how I was first introduced to Gg beyond Wei Wuxian. And as I got to know Gg, like Gg, my want to understand 227 only becomes stronger, perhaps because only through comprehension I feel I can find peace for the GG fan (again, without quotation marks) in me.

Maybe I should email Dr Jenkins and ask if he’s looking for a PhD candidate. 5 years of research and thinking ... maybe that’s what it’ll take. 

I feel I’ve already started anyway. 

[traincat]

I feel like I've read a ton, but I'm honestly still pretty new to comics rn. That being said... What is one more day? Ik we don't like it and it happened a while ago, but that's about it [,=

Time for Spider-Man History With Traincat: Highly Controversial Storylines! And that feeling is totally normal with comics with huge canons -- you can read a ton and still have some fairly big blindspots in your understanding of the total picture. That being said, this is kind of a big one, both in terms of Spider-Man history/canon and in terms of how Spider-Man fandom functions. I would say probably no other storyline has had quite as much impact on how the fandom views and interacts with the source material as One More Day/Brand New Day. It's been the Wild West out here ever since it happened. (Which was in 2007, so like, yes, fairly long ago, especially when you look at how Spider-Man canon has evolved since, but in the grand scheme of things, also kind of recent. One More Day is not old enough to rent a car.)

So when people talk about Spider-Man's One More Day, they're usually actually talking about two related arcs: One More Day and Brand New Day. For the sake of simplicity, I'm going to be covering both. For the sake of transparency, I am going to admit that I think One More Day, as a self-contained story, is good, actually. This is controversial! I admit that! But I stand by my stupid opinions on this blog, for some reason. I think One More Day when you examine it on its own, by which I mean you ignore the decade and a half worth of canon that came after it, as a Spider-Man story and as a PeterMJ-centric story holds up under scrutiny and that people who don't like it don't like complicated love stories and might actually throw their own mothers under buses. No offense to the OMD haters. Little bit of offense to the OMD haters. Brand New Day, which is the continuation of One More Day, on the other hand -- largely bad. Very largely bad.

But let's backtrack. One More Day is a four issue crossover storyline that takes place directly after Civil War, during which Iron Man and Captain America got divorced and divvied up the superhero community and Spider-Man made some startlingly bad decisions and made a fugitive out of himself and his family in a manner that got Aunt May shot, and Spider-Man: Back in Black (Amazing Spider-Man #539–543) which examines Peter's actions immediately after Aunt May is shot and ends with him humiliating the Kingpin in front of an entire prison. One More Day consists of Amazing Spider-Man #544 -> Friendly Neighborhood Spider-Man #24 -> Sensational Spider-Man v2 #41 -> Amazing Spider-Man #545. In One More Day, Aunt May is dying, all of Peter's efforts to save her have thus far failed, and, consumed by guilt, he is rapidly running out of time. Approached by Mephisto, a literal demon from hell, Peter is offered a deal: Aunt May will live -- and Peter's identity, which was previously revealed to the world at large during Civil War, will once again be hidden from the memories of all but a select few -- if Peter trades him his marriage to Mary Jane. Peter and Mary Jane struggle with this, but eventually both agree to the deal. The clock strikes twelve, the deal is done, and Peter and Mary Jane's marriage fades into history.

(ASM #545) A reasonably simple premise for a story that caused so many problems -- most, I would argue, not actually the original story's fault. So obviously, this was an unpopular move -- Peter and Mary Jane had for a long time been a fan favorite Marvel couple, and in a fictional universe where most relationships are doomed as soon as they begin, the enduring Spider-Marriage was sacred ground. And then, with a snap of its fingers, it was gone: Peter wakes up in Aunt May's house, no longer married, with Mary Jane out of the picture. (She would not return to the book on any sort of consistent basis for over 50 issues.) In the wake of One More Day began Brand New Day, which is basically what it sounds like: a promised "brand new day" of "exciting" Spider-Man content and a publishing schedule where Amazing Spider-Man came out three times a month. (Which sounds good on paper but I think in practice caused more problems than it created good storylines.) Peter, newly single again, had new love interests! And also Harry Osborn was alive again for some reason! I generally like Harry's post-BND stories so that part's fine with me.

But overall? Brand New Day is a mess. It knows it wants to tread new and exciting ground with Peter -- tell new stories! ensnare new readers! make them fork out for a book three times a month. -- but it doesn't know what those stories should be. Readers who were invested in Peter and Mary Jane's relationship -- a major facet of Spider-Man comics for decades at that point -- felt rightfully betrayed that the marriage could be so easily traded in and that Mary Jane herself, perhaps the second most important figure in Spider-Man comics after Peter, could be tossed aside. From a personal point of view, I think Brand New Day fails in large part because it abandons what has always made Spider-Man such a compelling series, and that's the mix of Peter's personal life with his vigilante life. BND sees Peter with new friends, new jobs, new love interests, etc -- it is very much a brand new day! But it isn't a better day compared to the stories that came before it. I do like some post-BND stories, especially American Son (ASM #595-599) and Grim Hunt (ASM #634-637), but compared to pre-BND where I think the majority of canon is good, it's a very lacking body of work that is hurt by the way it divorced itself from the PeterMJ marriage as Spider-Man's central relationship.

"But Traincat, I thought you said you liked One More Day?" Yeaaaaah. I do. This is why I keep saying I like One More Day on its own merits, and not on the merits of the stories it opened the doors for. I like a good romantic tragedy in fiction, and the way Peter and Mary Jane's final scene in One More Day plays out is beautiful. I like the idea of Peter caught in this impossible situation, being asked to choose between two women he loves more than his own life. A really common criticism I see leveled against One More Day is that Peter should have chosen his relationship with Mary Jane over May's life, which is -- okay, I think it's weird that people keep insisting on this, not in the least because by asking Peter to sacrifice his aunt's life they're essentially demanding he commit a callous, out of character act in order to further his own interests. It's also weird because the thing is, Peter already chose Mary Jane over May -- that's what gets them into this situation. It's literally in the scene where May is shot:

(ASM #538) When the gun goes off, Peter's spider-sense kicks in, and he covers Mary Jane, leaving May in the path of the bullet. He does choose Mary Jane over May, regardless of whether he realized what he was doing. And that's why he can't make that choice a second time. His actions in One More Day do make sense for him as a character, whether or not any individual reader likes them, and Mary Jane's actions make sense, too -- after all, she's the one who ultimately tells Mephisto that they agree to the deal when Peter can't bring himself to voice it.

A lot of people also like to nitpick One More Day by going, well, why could (x) or (y) with life saving powers save Aunt May which is like -- yeah, I guess, but if we're going to ask that about this specific comic book near death setup, you kind of have to do it with every single one, and I'm not going to stake every single moment of comic book drama on whether or not that gold kid from the X-Men was busy at the time. Comics are soap operas in flimsy paper form: serialized longform storytelling that relies heavily on melodrama. Sometimes you have to go with things. Sometimes you sell your marriage to the devil. Stuff happens. That in and of itself doesn't make One More Day a bad story -- and while some people blame the Spider-Marriage's dissolution entirely on One More Day, I think that's a little shortsighted when you look at the history of Spider-Man since the turn of the century. It's clear -- and Marvel themselves have been perhaps a little too open about this -- that Marvel in the past few decades has had trouble with the direction they want to take Spider-Man. They WANTED Spider-Man to appeal to a distinctly youthful audience that they didn't think they were actually reaching -- understandable, considering that Marvel nearly went bankrupt around 2000 and was saved by Ultimate Spider-Man, an out of main continuity series which retold Spider-Man from the beginning and focused heavily on Peter as a teen -- but the problem was Spider-Man in the main continuity was at that point in canon a happily married man who was pushing the dreaded 30 whether or not they wanted to admit that. This is also why Marvel has continually pivoted away from Spider-Man having kids, because they feared that making him a dad would age him too much and make him unrelatable to their coveted audience of Teens. (This is also why almost every new Spider-Man property, especially the live action movies, perpetually stick him back into high school, despite that occupying a very small slice of 616 canon.) So around the year 2000, they started trying things in relation to the Spider-Marriage, which was viewed as a major problem -- after all, what's more adult than being married and liking your wife. First, they had Mary Jane presumed dead. Then, they had Mary Jane and Peter separate. Then, when Mary Jane and Peter had only recently gotten back together, One More Day struck. If One More Day specifically hadn't gone the way it had, it's pretty clear that the Spider-Marriage was going to go one way or another -- it's a little bit of a shame it happened when it did, because OMD is the end of J Michael Straczynski's run, and JMS wrote a really beautiful Peter and MJ relationship. But Marvel as a company and especially editor in chief at the time Joe Quesada viewed Peter and Mary Jane's relationship as a major problem in how they wanted to portray Spider-Man and thought that striking the relationship from the books would allow them more freedom in their portrayal of him as younger and more relatable to their Desired Audience of people who I guess really wanted to see Peter sleep with characters who weren't Mary Jane.

(ASM #546. Younger! Fresher! Less attached! Kissing random women in the club!)

The problem with One More Day has always been in the follow through -- from the content of Brand New Day to the pacing of events to the fact that Marvel withheld key information for such a long time that it allowed misinformation to thrive. After all, what does it MEAN to trade Peter and Mary Jane's marriage to the devil? It altered the events of canon in Peter and the majority of other characters' memories so that the marriage didn't exist, but it left people wondering -- did the relationship as they remembered it existed? How much of Spider-Man canon was altered? And the answers didn't come for over 100 issues of Amazing Spider-Man. One Moment In Time or OMIT (Amazing Spider-Man #638-641), which revealed that while Peter and Mary Jane never got married in the altered canon they did continue their long committed relationship up until just after Civil War, was published in 2010, so essentially readers were hung out to dry without answers for three years. That's a long time to string people along, but not as long as it took Marvel to confirm that the popular fan theory that Mary Jane retained her memories of the original timeline as part of her own deal with Mephisto was also true, which happened this year. I would say, at least from my perspective, a lot of the frustration doesn't come from the individual One More Day storyline so much as how Marvel has continually dragged out the aftermath, using the promise of a Spider-Marriage return to keep fans on the hook. Which is why One More Day continually comes up in discussion of current Spider-Man, because Spencer's run has relied very heavily on imagery from that period with a serious question of whether or not there actually was going to be payoff, something which is still up in the air.

This has been Spider-Man History With Traincat, brought to you by anonymice like you.

[nitrateglow]

Favorite films discovered in 2020

Well, this year sucked. I did see some good movies though. Some even made after I was born!

Perfect Blue (dir. Satoshi Kon, 1997)

I watch a lot of thrillers and horror movies, but precious few actually unsettle me in any lasting way. This cannot be said of Perfect Blue, which gave me one of the most visceral cinematic experiences of my life. Beyond the brief flashes of bloodletting (you will never look at a screwdriver the same way again), the scariest thing about Perfect Blue might be how the protagonist has both her life and her sense of self threatened by the villains. The movie’s prescience regarding public persona is also incredibly eerie, especially in our age of social media. While anime is seen as a very niche interest (albeit one that has become more mainstream in recent years), I would highly recommend this movie to thriller fans, whether they typically watch anime or not. It’s right up there with the best of Hitchcock or De Palma.

The Good, the Bad, and the Ugly (dir. Sergio Leone, 1966)

Nothing is better than when an iconic movie lives up to the hype. Clint Eastwood, Eli Wallach, and Lee Van Cleef play off of one another perfectly. I was impressed by Wallach as Tuco in particular: his character initially seems like a one-dimensional greedy criminal, but the performance is packed with wonderful moments of humanity. Do I really need to say anything about the direction? Or about the wonderful storyline, which takes on an almost mythic feel in its grandeur? Or that soundtrack?

Die Niebelungen (both movies) (dir. Fritz Lang, 1924)

I did NOT expect to love these movies as much as I did. That they would be dazzlingly gorgeous I never doubted: the medieval world of the story is brought to vivid life through the geometrical mise en scene and detailed costuming. However, the plot itself is so, so riveting, never losing steam over the course of the four hours it takes to watch both movies. The first half is heroic fantasy; the second half involves a revenge plot of almost Shakespearean proportions. This might actually be my favorite silent Fritz Lang movie now.

Muppet Treasure Island (dir. Brian Henson, 1996)

I understand that people have different tastes and all, but how does this movie have such a mixed reception? It’s absolutely hilarious. How could anybody get through the scene with “THA BLACK SPOT AGGHHHHHHH” and not declare this a masterpiece of comedy? And I risk being excommunicated from the Muppet fandom for saying it, but I like this one more than The Great Muppet Caper. It’s probably now my second favorite Muppet movie.

Belle de Jour (dir. Luis Bunuel, 1967)

I confess I’m not terribly fond of “but was it real???” movies. They tend to feel gimmicky more often than not. Belle de Jour is an exception. This is about more than a repressed housewife getting her kicks working as a daytime prostitute. The film delves into victim blaming, trauma, class, and identity-- sure, this sounds academic and dry when I put it that way, but what I’m trying to say is that these are very complicated characters and the blurring of fantasy and reality becomes thought-provoking rather than trite due to that complexity.

Secondhand Lions (dir. Tim McCanlies, 2003)

The term “family movie” is often used as a synonym for “children’s movie.” However, there is an important distinction: children’s movies only appeal to kids, while family movies retain their appeal as one grows up. Secondhand Lions is perhaps a perfect family movie, with a great deal more nuance than one might expect regarding the need for storytelling and its purpose in creating meaning for one’s life. It’s also amazingly cast: Haley Joel Osment is excellent as the juvenile lead, and Michael Caine and Robert Duvall steal the show as Osment’s eccentric uncles.

The Pawnbroker (dir. Sidney Lumet, 1964)

Controversial in its day for depicting frontal nudity, The Pawnbroker shocks today for different reasons. As the top review of the film on IMDB says, we’re used to victims of great atrocities being presented as sympathetic, good people in fiction. Here, Rod Steiger’s Sol Nazerman subverts such a trope: his suffering at the hands of the Nazis has made him a hard, closed-off person, dismissive of his second wife (herself also a survivor of the Holocaust), cold to his friendly assistant, and bitter towards himself. The movie follows Nazerman’s postwar life, vividly presenting his inner pain in a way that is almost too much to bear. Gotta say, Steiger gives one of the best performances I have ever seen in a movie here: he’s so three-dimensional and complex. The emotions on his face are registered with Falconetti-level brilliance.

The Apartment (dir. Billy Wilder, 1960)

While not the most depressing Christmas movie ever, The Apartment certainly puts a good injection of cynicism into the season. I have rarely seen a movie so adept at blending comedy, romance, and satire without feeling tone-deaf. There are a lot of things to praise about The Apartment, but I want to give a special shoutout to the dialogue. “Witty” dialogue that sounds natural is hard to come by-- so often, it just feels smart-assy and strained. Not here.

Anatomy of a Murder (dir. Otto Preminger, 1959)

I’m not big into courtroom dramas, but Anatomy of a Murder is a big exception. Its morally ambiguous characters elevate it from being a mere “whodunit” (or I guess in the case of this movie, “whydunit”), because if there’s something you’re not going to get with this movie, it’s a clear answer as to what happened on the night of the crime. Jimmy Stewart gives one of his least characteristic performances as the cynical lawyer, and is absolutely brilliant. 

Oldboy (dir. Park Chan-Wook, 2003)

Oldboy reminded me a great deal of John Webster’s 17th century tragedy The Duchess of Malfi. Both are gruesome, frightening, and heartbreaking works of art, straddling the line between sensationalism and intelligence, proving the two are not mutually exclusive. It’s both entertaining and difficult to watch. The thought of revisiting it terrifies me but I feel there is so much more to appreciate about the sheer craft on display.

Family Plot (dir. Alfred Hitchcock, 1976)

Family Plot is an enjoyable comedy; you guys are just mean. I know in an ideal world, Hitchcock’s swan song would be a great thriller masterpiece in the vein of Vertigo or Psycho. Family Plot is instead a silly send-up of Hitchcock’s favorite tropes, lampooning everything from the dangerous blonde archetype (with not one but two characters) to complicated MacGuffin plots. You’ll probably demand my film buff card be revoked for my opinion, but to hell with it-- this is my favorite of Hitchcock’s post-Psycho movies.

My Best Girl (dir. Sam Taylor, 1927)

Mary Pickford’s farewell to silent film also happens to be among her best movies. It’s a simple, charming romantic comedy starring her future husband, Charles “Buddy” Rogers. Pickford also gets to play an adult character here, rather than the little girl parts her public demanded she essay even well into her thirties. She and Rogers are sweet together without being diabetes-inducing, and the comedy is often laugh out loud funny. It even mocks a few tropes that anyone who watches enough old movies will recognize and probably dislike-- such as “break his heart to save him!!” (my personal most loathed 1920s/1930s trope).

Parasite (dir. Bong Joon-ho, 2019)

This feels like such a zeitgeist movie. It’s about the gap between the rich and the poor, it’s ironic,  it’s depressing, it’s unpredictable as hell. I don’t like terms like “modern classic,” because by its very definition, a classic can only be deemed as such after a long passage of time, but I have a good feeling Parasite will be considered one of the definitive films of the 2010s in the years to come.

Indiscreet (dir. Stanley Donen, 1958)

Indiscreet often gets criticized for not being Notorious more or less, which is a shame. It’s not SUPPOSED to be-- it’s cinematic souffle and both Ingrid Bergman and Cary Grant elevate that light material with their perfect chemistry and comedic timing. It’s also refreshing to see a rom-com with characters over 40 as the leads-- and the movie does not try to make them seem younger or less mature, making the zany moments all the more hilarious. It’s worth seeing for Cary Grant’s jig (picture above) alone.

The Taking of Pelham One Two Three (dir. Joseph Sargent, 1974)

This movie embodies so much of what I love about 70s cinema: it’s gritty, irreverent, and hard-hitting. It’s both hilarious and suspenseful-- I was tense all throughout the run time. I heard there was a remake and it just seems... so, so pointless when you already have this gem perfect as it is.

They All Laughed (dir. Peter Bogdonavich, 1981)

Bogdonavich’s lesser known homage to 1930s screwball comedy is also a weirdly autumnal movie. Among the last gasps of the New Hollywood movement, it is also marks the final time Audrey Hepburn would star in a theatrical release. The gentle comedy, excellent ensemble cast (John Ritter is the standout), and the mature but short-lived romance between Hepburn and Ben Gazarra’s characters make this a memorably bittersweet gem.

The Palm Beach Story (dir. Preston Sturges, 1942)

Absolutely hilarious. I was watching this with my parents in the room. My mom tends to like old movies while my dad doesn’t, but both of them were laughing aloud at this one. Not much else to say about it, other than I love Joel McCrea the more movies I see him in-- though it’s weird seeing him in comedies since I’m so used to him as a back-breaking man on the edge in The Most Dangerous Game!

Nothing Sacred (dir. William Wellman, 1937)

I tend to associate William Wellman with the pre-code era, so I’ve tried delving more into his post-code work. Nothing Sacred is easily my favorite of those films thus far, mainly for Carole Lombard but also because the story still feels pretty fresh due to the jabs it takes at celebrity worship and moral hypocrisy. For a satire, it’s still very warm towards its characters, even when they’re misbehaving or deluding themselves, so it’s oddly a feel-good film too.

Applause (dir. Rouben Mamoulian, 1929)

I love watching early sound movies, but my inner history nerd tends to enjoy them more than the part of me that, well, craves good, well-made movies. Most early sound films are pure awkward, but there’s always an exception and Applause is one of them. While the plot’s backstage melodrama is nothing special, the way the story is told is super sophisticated and expressive for this period of cinema history, and Helen Morgan makes the figure of the discarded burlesque queen seem truly human and tragic rather than merely sentimental.

Topaz (dir. Alfred Hitchcock, 1969)

Another late Hitchcock everyone but me seems to hate. After suffering through Torn Curtain, I expected Hitchcock’s other cold war thriller was going to be dull as dishwater, but instead I found an understated espionage movie standing in stark contrast to the more popular spy movies of the period. It’ll never be top Hitchcock, of course-- still it was stylish and enjoyable, with some truly haunting moments. I think it deserves more appreciation than it’s been given.

What were your favorite cinematic discoveries in 2020?

[dragynkeep]

Hi there, ironpines! (Love the name btw, I read a really good fic about ironwood being a father-figure to Oscar when RWBY and co. get to Atlas).

So this is probably going to be very long but I’ve really gotta vent about some stuff.

(Also, first ask. I honestly didn’t know how to do this for the longest time. Just got back into tumblr a bit ago).

1. I hate Jaune Arc (a lot of people do), but I want to know why. Do you think/believe he’s an author’s pet? Also, why the HELL did he kill Penny in the first place?!? Why not Winter, Nora, or Ruby? Why did he have to go to the island? Just- WHY?

2. In the first three volumes I really liked Team RWBY, but now….how did they get so skewed? What went wrong? How can Ruby be THAT arrogant that she point-blank says to Qrow: “we never needed an adult’s help.” Like- yes you did! If not for Qrow killing the Grimm in v4 they would have been continuously fighting Grimm. I’m the fight against Tyrian (one of my favorite characters and favorite fights) if not for Ruby getting in the way Qrow wouldn’t have been POISONED!

3. (This is the one I’m going to get cyber-ly killed for). (I also had just started RWBY when volume 5 was airing weekly.) The beginning of Volume 5, in my opinion was good. I liked the first five-six chapters, but when AU watched ‘Rest and Resolutions’ V5C7, I was so angry! Everything about the conversation between Ruby, Weiss, and Yang felt so out of character and out of place. It was so bad and the next episodes following that were not good either (only the raven v cinder fight was any good). The battle of Haven was a train wreck that I honestly have no idea how I even retained braincells after that. Like- why KEEP teasing Weiss v emerald if you aren’t going to do anything with it. Why tease Mercury v Yang if you’re not going to do anything new and interesting with the two (Mercury isn’t even a character anymore!)

4. I wish we got good rep. I really wish we didn’t get confirmation on LGBTQ+ characters from supplemental material (that’s not even canon). And I’ve gotta ask, why do you consider cannon? Cuz for me, the only things I consider actually CANNON to the storyline are the Red, White, Black, Yellow Trailers and the show itself (Grimm Eclipse just for the sake of more cool lore about Mountain Glenn and the fact of mutant Grimm). That’s it. I don’t consider the World of Remnants, manga (DC or otherwise, those were HORRIBLE!), anthologies, and the DISGUSTING novels.

(This is the last thing, I promise!)

5. I’m working on a quasi-rewrite RWBY fic and I didn’t know whether or not I should post the first chapter on my page or not. I just really don’t want the simps to come for my head (though it might happen anyway). But I’ve been writing this for about a year and a half now and I really want to post it but I’m so nervous about the reception and backlash. What do you think?

Thanks for answering me and indulging the fact that it’s okay to like something and still want it to be better (critics/the Rwde tag is my favorite because I can read opinions that I mused share but are too scared to put as a post).

Thanks, we picked Ironpines because we loved Ironwood and Oscar, and then our friends, being the good friends they are, immediately told us it was the ship name for them so now we can't have anything nice.

1) First off, yes, we absolutely think Jaune is an author's pet. We don't really go for self-insert anymore since everyone in RWBY was a self-insert, Monty clearly based them off his friends. But now, Jaune is absolutely an author's pet and has been since the start of the show.

Just look at Volume 1. Jaune literally had more of a storyline than Yang, one of the girls in the title. He then went on to have a dumb love triangle in V2, only to resolve it with Neptune without any input from Weiss, because why not, and then V3 was Jaune finally taking more of a step back for Pyrrha, who was long over due some character.

Until V4 where, rather than everyone mourning Pyrrha, we focused on Jaune mourning her instead. Nevermind that Pyrrha was Ren and Nora's teammate too, probably their only family since they're orphans, or how Ruby literally watched Pyrrha die in front of her. Nope, gotta focus on Jaune. Add that it stretches into V5 also, adding another storyline about his Semblance while Ren, Nora, and Ruby have to stand in the background and wait their turn, while Weiss literally loses all her braincells so she's injured for Jaune's development, how the confrontation with Cinder doesn't go to Ruby, the main protagonist, but Jaune.

Then we get that stupid statue scene in V6 that took over Oscar finally getting some development of his own. It's not even the whole team, because it's only Jaune that gets to meet the lady who totally isn't Pyrrha's mother, it's Jaune that gets the big teary moment, and how Ren and Nora have to stop and comfort Jaune because of course they have to.

I was glad that Jaune finally took a backseat in V7. I actually started to like him again, because he wasn't sucking screentime away from those who need it. But then V8 happened and now I want him dead.

I've said it countless times before so I don't wanna repeat myself, but Jaune is one of the last people that should've killed Penny. He shouldn't have killed her, he shouldn't have had the big tearful scene because another redhead died, he shouldn't have fallen into the void to join Team RWBY, but he did. Now there's no doubt in my mind that Jaune is a fucking author's pet, because the writers won't let him go into the background where he belongs.

2) There's not much to say about Team RWBY. They just suck now.

3) After watching V8, V5 is no longer my least favourite volume. That's how bad it was.

4) Yeah, RWBY's rep is absolute trash and it's because they keep putting it in supplemental material, and also because they look at the LGBT and only see L. The only MLM we have is Scarlet, and he's a catty fae gay stereotype that is so unlikeable and voiced by a creep. Nevermind the whole Fairgame queerbait controversy because this company can't stop themselves for five minutes.

5) I always say that, when you post work on the internet, whether its art of writing, you have to understand that you will get criticism back. It'll suck, especially when you've put so much time and effort into something, but that's the risk you have to take as a content creator.

The good thing is that AO3 has features that let you manage what you see properly. If people just want to hate without giving proper criticism, you can always remove it and ignore it, but I personally believe that people aren't entitled to criticism when it's only said nicely. Sometimes, people will get annoyed and say it in a meaner way, but that doesn't make the criticism any less valid.

Either way, decide based on how you think you'll react to it. If you don't want the stress of criticism, be careful, but if you think you can handle it? Then go for it, the world's your oyster.

[tagthescullion]

Okay, controversial PJO opinion that I kind of wanted to share.

Everyone’s hatred for Luke for using child soldiers is kind of unfounded considering both sides use child soldiers so neither side is in the right for that.

Also, so much more could have been done to prevent him from turning evil like Chiron and Camp Half-Blood seemed kind of neglectful with sending a twelve year old on a quest and not checking up on kids who had gone through major trauma and stress. Any of the campers could have done the same thing as Luke did tbh so part of the blame is defo on the adults in charge of them

imo they were child soldiers because the story is for middle school children and they don’t want middle aged bob and karen complaining about back pain and taxes. The characters ages were probably chosn so middleschoolers would feel a connection with them (not to mention rick told the story to his 10 year old son at the time)

That being said, it’s true that people (I saw it more before but it’s still a thing) complained a lot about luke’s child soldiers when in camp they were negligent as it could get... nico gets therapy, so all is apparently forgiven, but unless you’re the fandom’s favourite character, there’s no one to help you