#yeah yeah sentimental personal post about my connection to the characters going in the main tags. its new years let me live a little lmao

[tmos-time]

yknow you would think id make them start paying rent after living in my head for this long lol

[amiharana]

all im saying is that since the paraglider is in totk with an updated revali's logo, revali should also be in totk (preferably alive this time) ✋

idk if i would say it's truly an updated "revali's logo" ykwim because now it has four feathers on each wing instead of three :o but i'm very interested to see what the narrative reason for why link's paraglider was updated and if there will be an explanation as to why he has one in the first place.

imo as someone with so much revalink brainrot, regardless of whether or not link regained memories of his past life, he probably recognized that the paraglider had some significant sentimental value to him back then, and hopefully recognized that it must have belonged to revali previously as per revali's symbol on his main landing in rito village and flight range landing. maybe then he realized that he needed to maintain it to, at the very least, honor revali's memory, even if it seemed that revali didn't like him very much. after all, revali was a great warrior revered by his people, one who sacrificed his life in an attempt to save hyrule, and someone who must have mattered to link if the paraglider fatefully fell in his hands. he feels a great need to maintain it and be respectful of one of the remainders of revali's legacy. but give me back the botw paraglider design, it's charming and it's definitely revali!

now. this might be an unpopular opinion but it's one that i stand staunchly by because i talked about it a bit in this post. to be honest, i want to see the champions revived in totk. i'm sure plenty of you would disagree and play the card that the death of the champions was meant to teach link about loss, despair, the effects of war, sacrifice, and all those morals etc. but imo, the problem with teaching link those lessons is that it doesn't feel like much was lost in the first place. maybe this is a personal perception of botw on my end, but to me, there weren't enough of the champions' presence in botw to warrant this idea that it taught link about loss. if you were to go by the idea that link retained all his previous memories, then sure, but it doesn't work if you go the route where he doesn't and everything in the past is just flickers of memories he can't ever really recall. how can you tell a story about grief and loss and sacrifice if your main character, and by extension, your players who are connected to the story via that main character, can't feel a profound enough loss of those characters to understand the moral of the story? the presence of the champions in botw only made me want to see more of them because it felt like their time in the little sliver of spotlight they got was too short. and you could include age of calamity! but that's a non-canon prequel so it can't even really count 😭 i haven't played the champions' ballad dlc, so maybe there could be a change of mind if i did but why would you put a paywall if you want to teach a solid story about loss and sacrifice? what a shit way to tell a story 🥸

but i digress. yeah i do want revali and the rest of the champions back in totk, for all types of shenanigans and interactions. give them back to me nintendo ☝️😐

[oldmanlusting]

Do I need to make an introductory post when this will be solely for myself and no one else? Well I might Sometime, always pleasant if others find themselves agreeing with the sentiments here.

I do not however know what this should contain, so consider it a placeholder at the moment

OK INTRODUCTORY POST WARNING

Adult? Yes.

As you may have surmised from the blog description this is a den of embarassment from yours truly while I go through troublesome moments. Those being that, For the First Time ever, I am attracted to a real-life older man, and have to let out that steam somewhere. Otherwise I'll probably combust in his presence.

However occasionally you'll see sappy and even romantic posts inlaid between these [REDACTED] ones. And, given that fictional old men have been my principal receptactles of all my attraction, I will also likely bring them up every once and again as well.

Depends on my mood, thoughts and whims. Mostly the fact that I cannot put these posts or reblogs on my main blog if I want to remain respectable, though.

This was my containment zone for Scroogeposting of the 2022 Netflix movie, please excuse the rest of my blog those of you who expected normal content here

Also this has turned into my diary for attraction-posting as well

DISCLAIMER: THIS BLOG IS NOT AN INVITATION FOR UNPROMPTED RANDOM UNKNOWN PEOPLE TO MESSAGE ME IN HOPES OF DATING OR A ROMANTIC CONNECTION, OR ANYTHING ELSE ATTRACTION-ADJACENT. WHEN I SAY PEOPLE ARE FREE TO RELATE, I ONLY MEAN INSFOAR AS THEY UNDERSTAND THE CLEAR BOUNDARIES BETWEEN ME VS MY POSTS AND YOU AS A READER.

Fandom people I Know you understand me. Having fun talking about wanting a character to rail you or agreeing how hot they are or what you want them to do to you or liking my posts and going "Yeah ik!!" I just fine. Relating is not the same as invading my personal boundaries. But also pls don't perceive me all my posts are EMBARRASSING.

Other random blogs who don't understand what I'm going on about, DON'T. When I say I am writing about one man specifically, I mean it.

[greensaplinggrace]

honestly THANK YOU for saying all that abt baghra bc i thought i was going crazy from not liking her??? bc i haven't read the books and only summaries of them on wiki and like. i dunno why ppl like her actually even in the show bc this guy, her son, is like "i wanna make the world better for us grisha" and she's just like "no." even tho he sees that she's MAKING HERSELF SICK from suppressing her powers! she's literally like in bed coughing in the flashback yet seem much healthier at the little palace. also like after everything, after her disapproval, after the fold, after centuries of waiting for the sun summoner.. he never abandons her. he makes sure she's cares for. he doesn't harm her. and i have to wonder if baghra has ever thanks him for that, for just not leaving her alone. like i dunno how im suppose ro believe aleks is a heartless villain when he still cares for his abusive mom like this. like has baghra even told her she loved him (honestly she reminds me of a classic emotionally unavailable asian parent but maybe that's just me). also im wondering if baghra ever told aleks that he had an aunt.. bc like.. now that u bring up her isolating him it's like hmmmm...

not at me being like alina... why do u trust the bitter old woman who literally beats u with a stick and verbally abuses u every chance she gets.. just bc she showed a bad painting... like.. pls use two braincells to see that who u figured out as his mother... is also using his protection..

like baghra could've upped and left with alina. but no. she stayed bc she knew she was safe under aleks's protection.

alsoim just impressed that after his first friend tried to drown him and harvest his bones... he didn't go into hiding???? he still wanted to make a safe heaven for grisha!!! HE STILL WANTED TO PROTECT GRISHA EVEN AFTER HIS GRISHA FRIEND TRIED TO KILL HIM FOR HIS FUCKEN BONES. like... this is the guy im suppose to believe is the villain???

honestly i feel like part of the reason why LB's plotlines seem so bad and disconnected (and sometimes outright racist but that's another rant) and why darkles is disproportionately more violent and villainous in the later books is bc she didn't expect the darkling to be so popular and wanted to stick with her guns of making him the villain. but also wanted the money from aleks's popularity. but like you can't have ur cake and eat it too.

Well thank you for sending this ask! It's very sweet and very passionate. I'm glad you liked my post! I didn't put as much thought into it as some of my others lol. I kind of just talked. But it was nice to be able to finally talk about some of the problems I have with both her character and the fandom/author's perception of her.

HERE is the post this is referring to, in case anyone's wondering.

👀👀 You've hit the nail on the head for so many things, here!

Baghra is extremely emotionally unavailable, basically to the point of neglect. She's also verbally and physically abusive, traits which I doubt were only reserved for her students and not her son. Baghra claims she would do anything to protect him, but I've known a lot of parents who have that mindset and yet still harm their children because they think it's "good for them".

Aleksander stays at Baghra's side for years, and even when they're opposing each other she's never too far away from him. Idk if you've read the books but he does eventually hurt her. And as much as I don't like Baghra, I think his actions were horrid. But I'm also honestly kind of surprised it took him so long lmao.

Yeah I mean, in terms of isolation, let's not forget that she never wanted to introduce him to his father, either. Baghra's sense of eternity clouds a lot of her judgments on relationships, which means she views most people as dust and therefore teaches her son to as well. The problem with that is that he's a growing child, and he needs those social and emotional attachments for healthy development.

I would bet quite a bit of money that Baghra has either never told him she loves him or she has told him so few times it's practically forgettable.

And everything becomes more complicated because so many of Baghra's actions are understandable because of her life and her history, but the impacts they have on the people around her, especially Aleksander, are permanently damaging. And the fact that that's never gone over in critical depth in the books or how it's glossed over in fandom is just very disconcerting. Like, acknowledging Baghra's failings doesn't mean we're excusing Aleksander's actions, it just means we're holding Baghra liable for her own. Which the fandom should be doing, considering she's the epitome of an abusive parental figure.

And Alina trusting Baghra over Aleksander is even more confusing! Especially in the show!! This is the woman who beat her and abused her and tortured her friends when they tiny little children (and who probably still does so now that they're adults). This is the woman who mocks you and harasses you and insults you on a regular basis. Why does Baghra revealing she's Aleksander's mother make Alina change her mind?! Like fuck, I'd just feel bad for Aleksander. No wonder he kept it a secret, I would too! And that painting is enough evidence?! Really?! A random painting shown to you by this abusive mentor that's been making your life hell. That's what you're going to betray your new lover over?

The friends trying to harvest his bones thing is a good point, too. I think Aleksander, especially show Aleksander, is incredibly idealistic. I think he cares too much for others - those he's deemed worth his care (a sentiment given to him by Baghra). Despite everything she's tried to teach him about hiding and abandoning others and never caring and never doing anything to help or reach out or connect with people, Aleksander still continues to do so. It's likely because he never got it from Baghra growing up, and so is desperate for those emotional needs to be fulfilled elsewhere.

His turning point, when Baghra tells him it was understandable that those kids tried to kill him because the world is such a hard place for them - that's crucial. And the reason it's possible as a motivating factor is because of that idealism and that desire to help and that desire to be everything his mother isn't. Baghra tells him this trauma he just experienced was because of the oppression of his people, and instead of following her lead and accepting that, going into hiding and abandoning everybody to their misery, he goes I can do something about that. I can make it so this never happens again. Which is usually how trauma like that combines with one's core personality traits at a young age, especially when there's none of the essential support systems in place to aid in recovery (ie, the role Baghra should have been filling but wasn't, because she decided to exacerbate the problem instead).

And yeah, one of my biggest problems with the ham-fisted "beating you over the head with a sledgehammer of evil deeds" look-how-bad-this-character-is! portrayal of the Darkling in the later books comes from the impression I get that Bardugo doesn't trust her readers. She's so desperate to have us hate this character and think him an irredeemable villain, not trusting any of her readers to engage critically with a morally gray character, that it feels quite a bit like condescending fucking bullshit. Which ew, I know how to engage with literature, thanks.

She really does seem to look down on a large part of her fandom, and imo, the infantilization of the female characters in her books seems to carry over to her impression of most of her female readers as well. Which is why the Darkling's character arc gets fucking destroyed. But he's still a good cash grab, of course, so she'll shake his dead corpse in front of the fandom for money every time she wants something from it.

Also! Another reason I think her plotlines feel disconnected (I'm sorry Bardugo I respect you as a person, but shit-) is because the writing in SaB is just bad. I mean, nevermind the absolutely nauseating implications of the way she portrays the Grisha as a persecuted group who's situation is never actually fully addressed as it should be, considering Grisha rights is what her main villain is fighting for (imo for a series called the Grishaverse, LB seems to be pretty anti Grisha), but her characters and story alone are just wrong for each other. They don't fit together.

And the ending is one of the main pieces of evidence in that regard! You can’t say the ending where Alina isn’t Grisha anymore is her “going back to where she started” when she’s always been Grisha. She just didn’t know she was Grisha because she denied that part of herself that she was born with.

Alina is reluctant to move forward or change, she struggles with adapting, and she’s very set on the things she’s grown attached to throughout her life. She also has some latent prejudices against the Grisha, and so denies the possibility of being Grisha for those reasons as well.

Alina’s lack of powers in the beginning of her life because she willfully doesn’t learn about them to avoid change versus her lack of powers at the end of the book when she’s accepted them and then they’re stripped away from her by outer forces are two entirely separate circumstances. You can’t make a parallel about lost powers and lack of Grisha status bringing her back to the start when she was always Grisha and she always had powers and she simply refused to come to terms with it because of personal reasons.

The first situation is an internal conflict that indicates a story about growth and a journey of self acceptance. Denying herself the opportunity to learn about her heritage and to find acceptance with a group of people like her because she’s tied to the past and because of the way she was raised is the setup for a narrative that tackles unlearning prejudice and learning how to connect with a part of her identity that was denied her and learning how to grow independent and self assured. It’s the setup for a different story entirely. The second situation is an external conflict that centers around the ‘corrupting influence of power’... for some reason.

In a world where Grisha do not have social, political, or economic power and they are hunted, centering your heroine’s journey of self acceptance and growth around an external conflict about... the corrupting influence of power (in a group of people that don’t actually have any power?!) just doesn’t work. It is literally impossible to connect the two stories Bardugo is trying to push in Shadow and Bone without seriously damaging the main character’s developmental arc.

The only way a narrative like this would work, claiming that she has gone back to where she started, is either a) if the Grisha weren’t actually a persecuted group and instead were apart of the upper class, or b) if the one bad connection between the two instances is acknowledged - that Alina denied a part of herself crucial to self acceptance and growing up, and that losing her powers at the end has also denied her. It is a tragedy, not a happy ending.

Alina suffered because she didn’t use her powers. She grew sick. It was bad for her. This was not a resistance to 'the corruption of power and the burden of greed', it was her suffering because she couldn’t fully accept herself.

Framing the ending as a return to the beginning can’t be done if you don’t address how bad the beginning was for your main character. You brought her back to a bad point in her life. You regressed her. This should be a low point in her arc. It should be a problem that’s solved so she can finish developing organically or it should be something that is acknowledged as a tragedy in it’s own right, for the future the world (the writing) denied her.

This is a ramble and it makes no sense and I’m really sorry, but my point is that Bardugo put the wrong characters in the wrong story. The character arc required for organic development doesn’t match the story and intended message at all. The narrative doesn’t fit the cast. She's got two clashing stories attempting to work in tandem and she ends up with both conflicting messages that fans still can’t comprehend in her writing and an ending that doesn’t suit her main character to such an impossible degree that it’s almost laughable.

So yeah, there's a few reasons why I think the story and the plot feels so bad and disconnected. I hope you don't mind me making this answer so long! 😅 I was not expecting to write this much.

[botwstoriesandsuch]

hey Kip! I’m sending asks into different writer’s askboxes, inquiring about cool themes/development facts/stuff the author wants to share about their personal favorite work of their own. What’s yours? :)

Ok so this ask is old and when I first got it I was like “dang I don’t really have a lot to talk about, what should I talk about I could those revalink headcanons the Kip Cut that turned into a working fic uhh hmm maybe I’ll just make something new to talk about real quick” and then I did and now there is a 12+ chapter Revalink fic in my drafts and I’m gonna talk about that now, whoopsie doopsie [click "j" to skip]

aHEM, OK so allow me to break out the primary school white board because yeah, I have a lot of thoughts and the oxford comma has not yet made it’s home into my brain. oh and spoilers for paraphrase. for both all of Chapter one and future events in later chapters, but it’s really nothing you couldn’t surmise from the AO3 tags

so I really wanted to tell the story of Revali and Link learning and struggling to love again after the less-than-fortunate events of Botw, but I wanted a...how you say...fresher, approach on the subject? Like I know we always say that fanfic writers writing the same tropes and stories time and time again is good because we eat that shit up--but at the same time I had asian parenting as was told never to half ass anything ever, no matter what. So now I'm gay and extra and have depression maybe and oh would you look at that @motherhyrule has dropped a beautiful revalink prompt right into my lap

Great so now that we have, that, I shall take you on the step by step process on how to make a :sparkles: story. So step one is to spend at least five to eleven business days for your white board to dismantle your genre and themes and work them around your character arcs. Luckily I have prepared one ahead of time

s*breaks out those laser pointers that uni professors use* So let's start with defining genre. As define because I HATE you, fuck you. I want you to suffer and writhe on the ground, motherfucker. How dare you think that I would give you nothing but pure predictable fluff, fuck you and yours

is the set of expectations that your audience has when consuming a piece of media

And the great thing about fanfiction is that unlike movies or book where the genres are more vague like, "oh it's a noir mystery genre. so there's a crime, maybe a murder, and a detective and a criminal." or "oh it's a teen romance. so there's some white people and a morally questionable six-pack 18 year old love interest that will be painted as desirable for some reason" BUT with fanfiction HALF of the work out the window, because as soon as you see those #revalink #aro sidon #zelpha #revali is an idiot and #found family tags you already know what's up.

Now what's so great about genre and expectation? Well the fun thing about it is that

I will use it to fucking break you.

... ... ...

<3 For example! <3

In Chapter 1: Holes, you already expect there to be revalink, you already expect them to be soulmates with the soulmarks and there's angst and yadayada ya. Revali and Link have to match because thatttss what this is all about, this is about them! This is about cute, little soulmarks and romantic words!

But whoooopsie doopsie [disney channel laugh track plays] they DON'T match anymore! Link's got a different mark! The number one rule of this entire genre has been broken whoooooooooooooooops. *ba dum tiss*

You might notice with a lot of my writing that I do this a lot, this whole..."oop but there's one little thing that's different." TebaSaki sick fic? Ok cool, but what if Teba burns an irreplaceable relic of the Rito champion to fight a wizzrobe first to characterize why his dumbass clicks with Saki. Mipha deciding to persue Link? Ok what if she chases after a dragon to externalize this conflict as she pierces it's flesh for a scale. Link fighting a Lynel? Ok but what if it's actually a sidlink angst fic in disguise and it's also world building on how Link deals with the bloodmoon that erases all of his efforts which is sort of similar to how his existence was erased from Hyrule 100 years ago mwaahahaha! Ok now that I say this outloud I think I just have a pattern of using fight scenes to externalize character growth. I like fight scenes...anyways.

I think another great thing about the realm of fanfiction is that with the tagging system, I can basically use a chekhov's gun sort of deal, without doing any writing. You know I'm gonna use that gun marked "soulmates" but you don't know when I'm gonna shoot it, and you SURE as hell don't know how.

And huzzah! One of the main points of conflict both drives the tension between Revali and Link, solidifies the unique genre and setting of this world, while also creating a new mystery that will carry over for the next few chapters.

Is Revali right in that Link's rebirth makes him destined for someone new now? What will Link do with the information that his soulmark has changed? Why did it change? Did Revali's change as well? How does anything fucking work right now?

And sure, you might be able to tell where things will end with them, but you sure as fuck will not know how because I HATE you. Fuck you. I want you to suffer and writhe on the ground, motherfucker. How dare you think that I would give you nothing but pure predictable fluff. I am not your goddamn fairy godmother, I will do as I fucking please. You will suffer as you fucking deserve, fuck you and your little tiny--

/j

Oh! But you might have noticed on my little planning whiteboard thing that there was a little T-Chart! For Revali and Link! That's because the next important thing besides plot (and in a lot of cases, including this one, it's argued to be even MORE important than plot) is

~CHARACTER DEVELOPMENT~

[to the tune of that history of the world video on youtube]

So yes, it's a little T-Chart outlining their character views in relation to the themes. And the great thing about themes is that they're not something you can necessarily predict in the same way you can with the genre and plot.

But now see, I'm very lazy so I'm just gonna plagiarize @hyrule-kingdom-updates thingy [that you should read btw] because they said my point quite clear enough

Now I don't really need to care about those points about bond and relationships and being understood, because I'm dealing with already established canon characters. I'm not some NERD who dabbles with entire casts of ocs who even cares about ocs not me that's for sure ahaahahaahahahahahaahahahahahAHAHAAHAHAHAHAHAHAHAHAH *cries in my orphaned WTTU fic* AHAHAHA*sobs*DONT FUCKING LOOK AT ME THAT WAY I SWEAR--

/j I love ocs

But the points I do wanna focus on is the idea that characters provide new perspectives on the theme, and that characters growth can be tracked based on their wants, lies, and needs.

So see, themes can be predicted the same as genre/plot because while you can have the same fanfic plots and tropes, theme will always vary!

Sometimes it's a journey of selfworth with Revali! Sometimes it's an exploration of trauma with Link. Sometimes it's about how you deal with the vulnerabilities of love with Mipha. Sometimes there's straight up NOOOO theme, and people just be fucking, and kissing, and baking, and having a good time. And that is totally fine too!

But I'm not a fucking coward.

I'm gonna weave in themes with my plot, because I fucking can.

I'm not a weakling like you.

Do you hear me, 2019 Kip? Do you hear me Demmers? Do you hear me Quill? I'm coming for your ass. You think you're so great, but I'm coming for you. Rest assured that your graves will be as deep as your sculptured pride--

Heeeere is that T-Chart again, plus more!

yyyyyYou might notice that Revali and Link are quite parallel, to paraphrase. Ayoooo, see what I did there? *dabs* I'm a genius. Anywho

They both start off the same way: 100 years ago they were in love and happy. Basically the equivalent of childish naivety. For the first time in their lives, life is whimsical and charming, and they make each other happy. In fact, it's almost a flaw with how they perceive this happiness. But don't worry! It doesn't last long!

You know what happens.

I think the chart is pretty self explanatory. Revali builds walls fast enough to give a republican a wet dream. Meanwhile Link makes every aromantic in the chat groan with his doubled down sentiments in the idea that his chances of being truly happy again are gone.

Now, I can't exactly describe the full on process of the inbetweens, and where Revali and Link are gonna go from here, because...you have to read it for yourself! Heehee...but something I did think was fun was how these character views on the themes are revealed. Because you'll notice that, I never give exposition. Ever.

Ok well, let me rephrase that. I never give exposition scenes. I will never give you a big LOTR fancy wizard scene explaining the ins and outs of a character's question or the world's magic or whatever. I'm a very impatient Kip, and I value efficiency. Nonono, it's all about multi tasking, baby!

Chapter 1: Holes is divided into three parts.

Post 100 Years - Medoh (Establishes Ghost Rev/Bonk Head Link's view)

100 Years Ago - Flight Range (Establishes old Revalink views)

Post 100 years - Mark (Develops Ghost Rev/Bonk Head Link's view in contrast to who they once were)

I think the way that you structure flashbacks is incredible vital, as it's a very quick way to characterize people without having them say stuff like "I used to be like you, until I took an arrow to the knee" or whatever.

And with the main structure of the chapters and the fic as a whole is focus on their characters, that means I can hide whatever other stuff I want in those scenes, becuase you're too busy absorbing the fun character stuff to realizing I'm giving you boring exposition. Like for example:

Post 100 Years - Medoh and Mark

Foreshadowing for the end of the fic

Set up connection to Medoh with Revali

Link has defeated Windblight

Link has been visiting Revali every night for the past few days

Link has already met Kass and presumably Teba

Link doesn't have the Mastersword

Revali's Gale is still an ability that needs master and practice on Link's end

And that's just some of the stuff.

And see, the only reason I can efficiently give all of this information regarding character, and even exposition, is because of the theme. The themes make everything relevant, and everything circles and encompasses one another, so there's absolutely no wasted space. I mean don't even get me started on how it's gonna be to characterize the other characters around this

I don't wanna talk about the other characters too much either because that's spoilers, but you can probably take a gandar based on my notes.

And oh my god this is just on the theme of the faults that come with "soulmates" and "true love" and all that, and how even magical destined relationships still require work and effort, and that no one thing or person solves all your problems. And that's not even TOUCHING the shit on trauma and scars. I didn't think it was even possible for me to talk about botw without touching on that, ha. Ah well, I've been talking for too long.

Revalink has a lot o' writing potential so das pretty cool yeah, I am excite

[honkster]

Why the Dream SMP’s way of storytelling is IMPOSSIBLE to recreate in any other medium.

This has been in the back of my mind for the longest time. I think I finally got it.

People have talked about this before, and they’ve put forward some good points, and good for them – most of them are correct. It’s the way the ccs interact with each other, it’s how plot is mixed in with banter, that’s all good! I wanna put more out there.

So you know how you open a book to read, you start a new show, you sit down to watch a movie – that’s all produced by some sort of company, someone who made it specifically for you to enjoy. You expect a certain dramatic flair to it, certain cinematic choices, certain ways of writing, certain camera angles, certain reactions to things. That’s just ingrained expectations of things now.

The DSMP? Doesn’t have that.

The low expectations work very much in its favor. It’s a Minecraft role-playing server with a bunch of famous youtubers/streamers, who are all good friends and have great dynamics with each other. So when you expect “just another Minecraft video” but in stream form, or you watch the videos because there are certain people in them, you don’t expect to be dropped into extreme lore and sensitive topics, realistic situations proposed in game form, a combination of serious stuff and just fun times with friends goofing around – and you’re pleasantly surprised.

We, the fandom, are used to it a bit more now. How excellently they manage to make a serious story in such a “ridiculous” medium, how much it affects us all and gets our creative juices flowing. But even the ccs can’t predict some of the things that happen. And that’s fun.

The whole election ending the way it has? That was on us. And it made some of the most angsty content there has been in the DSMP. People still theorize about the arc and make connections to now – that’s pog!

Fundy being adopted by Eret – that sparked the whole “Fundy just wants a dad – let’s get him some love” thing that made FundyWasTaken and other Fundy+someone ships happen. I see a different person paired with Fundy every week, and somehow, I agree with all of them. I really got into Fundy because of that stream where Eret “slept through the adoption” and Fundy confronted his real dad and spent time with his granddad. That little stream gave us more insight into Fundy’s whole character (Nevermind Fundy showing off his acting skills – you go you funky little fox), but also justifies some of his actions now. DryWaters? Wanting to kill Technoblade? Fucked up reasons, but we still love him.

Phil being broken out of house arrest ahead of time – still made a great stream and Phil agreeing with Techno’s want for revenge – that made us all very happy. The SBI!!! The AE! And that’s also a thing!

That even if we do know or have predicted what’s going to happen, begged it out of the ccs basically, it is still incredibly fun to watch. Where some books/shows/movies fall short and reveal too much and end up being “too predictable”, they’re not fun anymore. I read this somewhere before, that sometimes holding back EVERYTHING from the reader, and relying on shock value to make a good story is just bad. Whereas if you progress the story naturally and let the reader make some predictions of their own and then they end up being right – that’s a lot of serotonin right there. It’s the re-readability that makes it slightly better the second time.

The DSMP takes this concept and fucking yeets with it. Letting fans engage in the story, letting them theorize and then be right, even acknowledging the fanart that was made, just engaging with the community that their roleplay created – that makes it so much more fun. I bet that even if the whole script was revealed to the fandom we would still watch every plot stream. Even if we knew vaguely what happens in the stream, we would tune in and enjoy every second of it. Because the ccs are just that good, we love them that much, we love this plot that much.

Oh and the unpredictability helps too. Tommy in exile was the vague concept of a lot of the streams – it’s taken that and ran with it in a lot of different directions. All quite enjoyable.

Having said all of that… The fact that this type of telling a story is impossible to recreate in any other medium is… kinda saddening? It is incredibly unique, and I’d say has things that not a lot of the people that produce mainstream media would even consider. “Just friends hanging out” – how would that make the script progress? “Engagement with the fandom, even considering their wishes for the characters” – but we’re telling a story here!

The only thing I can think of that would come close to the vibe, would be just a bunch of writer friends coming together, thinking up a universe and general plot, and then each deciding to write a few of their own characters in that universe. When one author focuses on their main characters, the side ones can feel left in the dust, or not fleshed out. The DSMP is just “every character can write their own story”, which takes a lot of the strain from the “main writers”. But the general thing of “just friends hanging out” would be taken away from it. We’re being serious here, why would we change the tone so quick?

With all of that in mind… I kinda wanna make some predictions? And I don’t know if they’re correct, but it’s fun to theorize. See?

1. L’manburg will die.

And not just because Techno has 54 withers. The country is cursed – it definitely is. There is little sentimental value that can be felt for a few flimsy stilts built on top of a crater. It might go out in a blaze of glory, with the withers (Is history repeating itself an interesting enough plot point to recycle a whole arc?), but it might just be forgotten. Yeah there have been some angsty headcanons about how “no one cares about L’manburg anymore, save for two people” and it just gets abandoned, but how about it just becoming irrelevant?

This all comes back to Dream, it always does! His want, need for the server to be “one happy family again”, it just means one thing. He wants the server to return to the peaceful anarchy that it was before L’manburg. No rulers, no factions, no nothing.

That’s never going to happen.

Try as he might, Dream cannot affect that change that L’manburg did to the server. The introduction of a faction, one that can exist without the interference of a higher power – why do you think so many factions have sprouted up since? And it’s not even serious factions a lot of the time, it’s just a few friends deciding to build their bases on a plot of land that they claim is a nation now. L’manburg has changed the mindset of these people, now an alliance with somebody is a political move. An alliance doesn’t exist if it doesn’t have a faction, and that faction can remain neutral for only so long.

Basically, L’manburg introduced the factions mod into the server.

And the fact that every faction now has enough relevance to hold weight in a war also means that every nation on the server is doomed to follow the downfall of L’manburg. Eventually, they will get into a fight they can’t win, go up against the wrong people, anger someone they shouldn’t have. All factions will either be destroyed, or lose relevance, until their creators, residents and such just… move on.

(And really you can go into meta and talk about real governments and compare them, but it’s far more simple than that. The server isn’t built for peace, it isn’t meant to be a relaxing place where you can just vibe, it may have been made for a few friends to play Minecraft together, but it has turned into An Author’s Curse. The curse that follows any kind of story being told – the fact that peace is boring. People watched the first streams of the DSMP because they liked the ccs, and that’s valid. But how many more people tuned in to watch the war streams because there was PLOT and there was CHAOS and there WASN’T CALM PEACE ANYMORE – that’s the curse of every writer. That you can write about someone just living their life drama-free, you can make interesting peace with characters or circumstances, but it’s always leading to one inevitable conclusion – war, drama, because people read that. And at this point, it’s just a predictable outcome. No matter how much you say that you are retired, that you’re done with violence (Technoblade), something will happen that will prove to you that you believed in people too much. No matter how “neutral” you may be in the matter, no matter how much you claim that you have no allegiance (Philza), you will be forced to pick one, because out of all the bad things, you pick the least worst one, the most appealing to you, the one that can benefit your want of revenge.

And I can go on, but this is far too deep for one simple reason – The Author’s Curse is so prevalent here because THERE ARE ABSOLUTELY NO STAKES. It’s a video game – you die? You respawn. Something gets destroyed? You can just rebuild. Sure, you’ll want to kill the person who did wrong to you, but whatever they did wrong can just be replaced, remade, recreated. So why not have wars? Why not cause massive amounts of destruction “for the plot”?

It’s literally a playground. How all authors have their little playground with their characters that they meticulously plan out, the DSMP is that playground for all of these people.

And it’s fun! Sure! I like it! I’m just really skeptical whenever someone in character says that they “just want peace”, “are retired”, “swear off violence”, “are building just a little city for themselves”. Because you can do that, nothing wrong. But eventually, no matter how much you distance yourself from all of the chaos happening, all of the wars, you will return.

Because it is just much more fun.

It’s the curse. A cursed cycle.

And everyone is in it.)

2. The prison.

I don’t have anything on the prison because I don’t have anything on the book. Yeah I’ve done a whole post where I overanalyze what it could be, but it doesn’t make it any clearer. Whatever it is, it’s made out to be a huge plot point, something that can only be revealed when the prison is finished.

Cursed. The prison’s reason for being constructed is the book, but the book is only relevant when the prison is finished. We can only wait, and theorize, as we do.

(My only theory is that the book is information about another op on the server. Or at least something related to op or creative mode. Dream only fears one thing on this server, and that’s Technoblade, so if his one fear is the most skilled player on the server, what else could give him existential fear?)

3. The SBI.

Again, I don’t have anything! Yeah the reunion seems to be going smoothly, one member at a time, but there is already conflict in their beliefs among each other. And all that’s happened is a vague “maybe one day we’ll strike”.

Is history repeating itself an interesting enough plot point to recycle a whole arc?

Is L’manburg’s destruction AGAIN really necessary to hammer home the idea that no one likes that place anymore?

I don’t know. Whatever happens, no one’s in the right. No one’s in the wrong either. They’re all not good people and that’s that on that.

4. The Clingy Duo.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.

That’s all.

(Okay seriously? All of these arcs are connected. You know what happens when everything seems to be connected to one another?

A giant, dramatic final showdown between the two opposing sides.

Cause it’s just Chaos vs L’manburg. Those are the sides. People that want L’manburg to exist and people that want it gone. There are no other sides, there isn’t someone who’s like “Well maybe it can exist if we do this and this” cause no one wants to put in anymore effort into this cursed country. The only people were the clingy duo and now they’re separated and everyone is just leaving and Tommy is on the Chaos side like at this point he doesn’t care about L’manburg he just cares about Tubbo but he has to convince Tubbo to leave L’manburg but will Tubbo be convinced but will Tommy even consider leaving L’manburg and breaking free from its curse AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.

Goddamit.)

5. The Egg?

Dunno shit about it. Like the prison – it seems important, but we’re just not being given enough information. Is it a coincidence that the moment Dream commissioned the prison the Egg popped up? Or are the two directly related?

I don’t know. But as long as someone is finding ways to fight the Egg, that’s fantastic. Bad juju indeed.

6. Oh the Butcher Army want to kill Dream!

Hah.

Okay I’ve seen people make the case that the Army is just a bunch of people with trauma repeating the cycle of ab*se that they went through and yes.

Just yes.

And the fact that no one is actually looking at it that way and no one is there to like.. help them or even help them understand that what they are doing is just irrational, even though their reason for doing it and the result they hope to achieve is YES and the only thing that a lot of the people of the server who want peace should try to go for as well, they cannot stand up to Dream on their own. They just can’t, they will get punted into exile. They need allies, and they need powerful ones, people that have also been wronged by Dream and want him gone.

But the cycle continues, and no one knows where it ends.

(Okay but from a writing perspective? Getting rid of Dream is the end goal. It is the be all end all of all conflict, well… most of it, at least most that’s related to the supposed “good side”, or “the side that’s been most victimized”. But from the same perspective, that side is just… no longer. It has proven that is just as bad, if not worse than the final boss. I have to agree that Techno has to pay for his crimes, even though I like him a lot, but Techno did in fact cause insane damage. Yeah L’manburg rebuilt, yeah Wilbur probably caused more – still he isn’t completely free.

But that’s a discussion on morality more than laws.

L’manburg is doomed to die. Dream is doomed to be fought, and probably won against (simply because he has won far too many times already, you know how everyone seems to hate OP characters…). But the Butcher Army is doomed to fail against Dream. So how does that work?

Welp.

Is history repeating itself and interesting enough plot point to recycle a whole arc?

The answer is no.

I’ve repeated that question three times now, and the answer to it is no. No it is not. L’manburg can be destroyed again, and it can be rebuilt again, but the sentimentality that people feel for it will not remain. The cycle of history ends somewhere, and it’s not too far a fetch that it ends here.

So what happens when Technoblade, Philza and Tommy roll up to L’manburg with withers and a destruction wish, only to be met with a bunch of traumatized children with axes and a death wish?

Well, I’ll spare the details, but from a purely writing standpoint…

The two sides team up.

Think about it – The Butcher Army doesn’t care about Technoblade anymore. They’ve seen that Dream is the one pulling the strings, they know that even if they do care about trying to eliminate Technoblade again, they have to get rid of his strongest ally – Dream. But through their anger, they’ve lost their fear. You should fear Dream, he’s a fuckin op. Techno is correct in not wanting to go against him.

But after Tommy? After seeing the Butcher Army at their lowest, screeching about Dream being the villain?

Will Techno finally go past his thinking of “government is evil, always government is source of problem” and realize that Dream has the most evil government in mind for his rule?

I’m still kinda sad that Techno isn’t making the conclusions he should about Dream. But he’s starting to – and really, the SBI-Butcher Army team up is the most logical thing that could happen.

Watch me be completely wrong or miss something and I’ve got ALL of it wrong. I would love that.)

(Also it’s very funny to me that Dream is literally simping for Techno while he’s just here like “Listen bud I would stab you on sight if you didn’t have creative mode”. Dream KNOWS that Techno can and will kill him given the opportunity. Techno knows that that opportunity may never arise.

It’s a weird type of stalemate, to be sure. But goddamn is it interesting.)

Anyway... if you read through all of this... I could bake you a cookie? Thank you! I like to ramble.

[djmarinizelablog]

hi! read your last ask and you said that you took up creative writing classes so you might have a wider knowledge about this but i was wondering when u mentioned different writing styles (like minimalistic, hightened imagery, linear vilennete and all of that) could you maybe explain the difference and what they really mean and maybe examples in our own levihan nation and writers? this might be asking for too much but i was pretty lost and i'd like to know more about all that. however you are def free to ignore this too!

Did you just ask me to write a comprehensive poetics essay, Anon? (I love writing about writing lmao)

Super long post ahead, and I’ll be citing certain fanfics that I’ve read so far and those that I think somehow exemplifies all the different writing styles I mentioned in the previous post. 

First off, the ones I listed beforehand (minimalistic prose, heightened imagery, poetic language, linear narrative, non-linear vignettes) aren’t the only types of writing styles. There are more if you consider the variations of tone (humor/comedy, sentimental, macabre, noir etc), narration/perspective (first person, second person, third person omniscient/limited), and language (dialogue-heavy or action/scene-driven). And the nice thing is that you can actually use of one or two of them in your work---or all of them, if you’re feeling bold. 

As Hange always loves to do: “Let’s experiment!”

--------

I’ll start with minimalistic prose. It is what it is: short, clear, and concise. Think less is more. You have an economy with words where you disregard most adverbs and focus more on the context to make way for meaning, thus allowing the readers to create their own interpretations of your writing. I think the method here is to write your intended draft first, and then cut the unnecessary words to flesh out the scene even more.

Notice how @stereobone wrote this paragraph of Black Dog (an Eruri fic):

Isabel's voice wakes him, brother, brother, has him sitting upright in bed and grabbing for the knife under his mattress. He braces himself for the attack before he realizes there isn't one. There is nothing in the darkness but him and his heavy, panicked breathing. Levi's heart feels like it's trying to beat its way out of his chest. He drops the knife on the mattress and shuts his eyes and tries not to think about Farlan's bloody resigned face before he was eaten. He tries not to think about how he left them. How it's his fault.

It’s very simplistic in language; the paragraph lets you focus on Levi’s innermost thoughts while he deals with an external action (ie, having nightmares). The author hasn’t unraveled the rest of the plot yet, but you already know where the tension is coming from.

Next is heightened imagery. If you’re familiar with the different figures of speech (metaphor, simile, personification, hyperbole, etc), then this is where they all come into play. I think the challenge here is being able to balance it well with the text itself and make sure that the imagery actually clarifies the context of the paragraph instead of convoluting the intended meaning. 

Here’s an excerpt from A Dangerous Game by just_quintessentially_me:

Hanji watched Levi, standing there, head bent and bloodied handkerchief pressed against his arm, and was reminded, irrationally, of a night years ago. When her parents had taken her to the circus. [. . . .] Holding her parent’s hands, she’d gaped, head craned back as she watched the spectacle, a cacophonous mixture of sound and color. At the center of it all, she’d spied a boy. Among the twisting colors and tricks, he alone, was still. [. . . .] The boy was high above, balancing on a platform atop a long pole. In front of him, stretched an audaciously thin rope. Below, no net waited to catch him.

[. . . .]

When Levi looked up, his expression was set - like the boy before the tightrope. And she knew, with sinking certainty, he was going to take the step. Into thin air.

Gray eyes met her gaze and held it.

“Yeah. I’ll go.”

At the door, Kenny smiled.

See how the powerful imagery of the boy on the tightrope was able to fuel the tension in that moment among Levi, Hange, and Kenny? 

I think poetic language is akin to heightened imagery, except that the former is more focused on the actual language. It’s very lyrical, wherein you can actually hear the lulling song of the sentences in a rhythm. One of my favorite works that does this is Deep sea baby by @smallblip. Here she makes use of various setting and scenery to create this entire atmosphere of Levi and Hange’s relationship:

Hanji knows whatever life they've led, this is her favourite.

The one in which her and Levi see the sea for the first time together.

The one in which she’s the Commander, and him, her Captain. And between them, a river of words left unsaid threatening to break the banks.

One day they must cross the ocean, but today they visit the shores again, without the kids this time. And Levi learns why when he watches her peel at her clothes. Her harness comes off first, then her blouse, then everything else, like a little dance for an audience of one. Levi tries not to stare, but he’s already seen her by candlelight in the dead of the night. And yet she never fails to take his breath away.

She makes her way to where the white foams dredge the past up the shores of the present.

"Come on Levi! The water is warm!" she says, and he hears it like a call to come home- where the heavens collide with the sea.

He takes off his clothes and folds them in a neat pile beside Hanji's mess. He swims out to join her.

It’s hauntingly poetic, the way the author is able to connect the metaphor in “a river of words” to the actual body of water right in front of Levi and Hange. Good poetic language is able to tighten up the texts together while keeping the sentence structure flowing with apt figures of speech.

When it comes to narratives, it only comes down to linear or non-linear. See how @lostcauses-noregrets does her opening statement in Trains (also an Eruri fic):

Levi hates trains. To be fair, Levi hates all forms of public transport, but he reserves a particular loathing for trains. They’re dirty, noisy, smelly and worse, filled with people. People who, heaven forbid, might attempt to speak to Levi, engage him in conversation. Levi’s worst nightmare is being stuck on a train with some friendly fuck who wants to pass the time making small talk. Admittedly it’s not a problem he has to deal with too often, his general fuck off demeanour deters all but the most aggressively friendly and hopelessly inebriated. But that doesn’t stop Levi from hating trains.

It’s a short fic and it’s very dependent on the linearity of events happening. But with that banger of a first sentence, the beginning already gives you enough of an idea of Levi’s pet peeve in the story, which in this case, is trains.

Here’s another hot and steamy fic called keep him waiting by keobuns that shows a linear narrative: 

He’s sitting with them in the back of the lab, nursing a cup of tea — it’s still pretty full, and even cold now, for he was far too distracted listening to Hanji talk to properly drink — when he sees it. Hanji’s too preoccupied with overexplaining the same Titan experiment they’ve gone over a hundred times to notice his stare. They just continue on and on and on, gesturing with their hands, pointing with their fingers, flexing their wrists…

Ah. Levi has to bring his teacup to his lips to hide the way his lips tremble. Hanji has incredibly nice hands.

The entire story just revolves around Levi simping for Hange’s hands and how it all goes down from there. But you as a reader are kept wanting more with every paragraph and every sentence that the author constructs (and trust me, it’s not just the sexual tension between Levi and Hange that keeps us going).

Now, as much as I love the straightforwardness of linear prose, non-linear writing brings a different round of ideas onto the table. It can create recollections from flashbacks, heighten the perspective or interior turmoil of a character due to trauma or grief, or even just re-invent what-if scenes that the characters have imagined themselves. 

Gnossiene by @thatalmondgirl​ is one of my all-time favorite Rivetra fics. In this excerpt, you will see how she switches between the past and the present, and how it affects Petra’s POV as a conflicted character:

Contrary to popular belief (fuck Auruo) Petra actually didn’t cry easily.

Alright, she could admit that at some times, she was...emotional. It was far from a weakness, but even she could admit that they sometimes got in the way and walled off all rational thought. Anger, frustration, sadness, hell, even happiness. The only one she could easily compartmentalise away was fear, which probably stemmed from her military career. Even so. It was never easy to separate all the others from her actions, think from a clean slate like the Commander could do, like the captain. [. . . ] Petra groaned, splayed out across her bed. She drew her arm across her eyes, willing the tears to go away. She’d already blown through her tissue box.

“Petra, a woman needs a man like a fish needs a bicycle.” Mama sat on the end of her bed, with Petra on the floor between her legs. Even though Petra argued firmly that she was old enough to brush her own hair, Mama had insisted. Unfortunately, Petra wasn’t old enough - and probably never would be - to disagree with her mother.

“I know, Mama.” Petra grumbled.

“I don’t think you do. Else you wouldn’t be crying, would you?”

[. . . .]

“But a man shouldn’t complete you when you complete yourself. Maybe he’s an extension to your house. So you’ll be sad if the extension is compromised or burns down. But you still have the main house. And if it’s strong, the main house can still be standing even after the worst storm.”

Aside from Mama’s crazy metaphors that sometimes didn’t make sense, her message hit home. Even if it hit home years later.

See how it switched in between the before and after? 

An off-shoot of non-linear writing are vignettes (a layering of scenes separated by section breaks) wherein this writing style allows writers to curate scenes in terms of fragments, creating some kind of mosaic for the readers once they finally see the big picture. Nakimochiku’s I’m leaving, are you coming with me? stacks up scenes of interactions between Levi and Hange, enough to depict the kind of relationship that they have as young lovers in a school setting. You can string these fragments together, rearrange them in a different order, but in the end, you will still get the author's clear goal of highlighting how Levi and Hange’s relationship develops over time.

Those are the styles that I mentioned in my previous posts, but as I’ve told you, there’s more to writing than those, so I’ll give a short run-through of other methods in writing. 

Whether it’s dialogue-heavy works such as from my window to yours, or action-driven scenes like Carnivores (a Levi x Reader fic by CaptainDegenerate) that propel the story forward, we as readers should be able to follow through the actual storyline that the authors intend to take us. 

A third-person limited (we listen to Hange’s thoughts in Clockwork by @tundrainafrica) vis-à-vis an all-knowing/omniscient narration (the moon is dark by @sayonarasanity alternates the perspective of Levi and Hange) should be able to make us understand why the author chose this particular kind of point-of-view in order to tell the story. 

And lastly, having a solid and consistent tone throughout the work (the macabre of Even Humanity’s Strongest could make mistakes by Rimeko versus the sweet sentimentality of Flowers for You by @fanmoose12) should be able to set the atmosphere that the authors want us to imbibe as we read through their works. 

So there’s your crash course on writing and reading. Enjoy? :) 

[imagining-in-the-margins]

I'm here! Finally answering these Anon Asks!

1. It is real (for now) 😅 It'll be very different than before - exclusive to Paramount+, not including all of the original cast*, only 10 episodes, and will be focused on one case rather than a procedural.

* The main S15 cast was invited back. Kirsten is not returning, and I think Daniel Henney will be busy on his new show. Matthew mentioned not really wanting to, but he was willing to reconsider. Paget and Joe have been very vocal supporters of the reboot, but Paget has been calling for fans to support her in negotiations.

We'll see. Not much has been decided yet. You can read more here.

2. You're my favorite and I hope you get all the hugs and kisses you desire, friend 😚

3. Yeah... I really blame the writers. They clearly wanted her to be some weird, stereotypical "spunky" girl. But, naturally, the writing team is riddled with misogyny and a deep misunderstanding of women, lmao. RLC is an amazing actress. I don't know what she could have done to save that mess of a character.

I really think her character was unnecessary on top of all of that. Spencer's final arc was about how he spent his whole life basing his worth and purpose on the women in his life (his Mother, JJ, Maeve, Cat). Date Night would have been a lot more meaningful if, after he got closure with Cat, he realized that he was still his own person, and would continue to exist after she was gone, and that he was going to be okay.

They could've done something great... but, alas...

4. Awe, of course! Like I mentioned before, I am planning on collecting Dad!Spencer fics to post on Father's Day. I hope that they all comfort you and reassure you that, even though your Father failed you, there are still so many people who will love and appreciate you, and we want you to know it!

5. So, there is a sequel to the book (which I have not read!) where he ends up in a remarkably similar situation. Here is the summary:

A month after narrowly surviving the most harrowing night of his life, Chip Taylor is living in a seedy, pay-by-the-week motel in a sleepy coastal town in Florida. He still has most of the 68 grand he and his crazy ex-girlfriend stole back in Tennessee, but he's a man living at loose ends, directionless and without a plan. He's drinking too much and surrendering to too many of the same temptations that landed him in so much trouble in the first place. It isn't long before Chip finds himself wrapped up in another nightmarish descent into bloody madness and chaos. And this time his survival is more in doubt than ever.

That is, obviously, super depressing, lmao. Probably realistic, too, honestly. I personally like to believe that he got a decent job and lived a modest life. He met a very sweet person that treated him well. He got therapy and spent the rest of his life being perfectly mediocre and happy about it. But to be honest, I haven't thought about it a lot!

6. Angst is a category of literature, although the term is usually used exclusively in fanfiction. Here is a simple definition from Urban Dictionary that, I feel, summarizes it well:

An adjective describing a situation or literary piece which contains dark, depressing, angry, and/or brooding emotions from the participating characters.

7. Ugh, I'm so sorry that you had a bad experience. Medications can be so hard. For you for take steps, even in such a state, to try to self-soothe is extremely impressive and you should be proud of yourself!

I'm glad you exist, too, and I'm so happy to hear that my mindless Spotify collections provided you some comfort in such an awful time.

I hope you have a wonderful day, too. Long-term medication regimens are seriously exhausting, and you are doing a great job. Keep it up, friend! You deserve so much happiness in life, and I'm so proud of you for taking care of yourself the best you can.

8. [NSFW] Hi friend! I can't say much on this subject, as I'm not a lesbian myself, but I do want to assure you that I've heard other lesbians, gay men, and aroace people express similar sentiments!

The truth is, to me, erotica is completely different aspect of enjoyment than the physical acts of sex. There are many things I enjoy reading or watching that I would never engage in physically. When you view erotica as a form of expression, separate from the expression of physicality, you might find that the true divide isn't the gender of the characters, but the emotions and connections established.

TL;DR, I'm very sorry you're feeling confused, but I know a ton of lesbians who enjoy reading het erotica, and you shouldn't necessarily feel like you are less valid of a lesbian because you like erotica works (written predominantly by women, mind you!).

Also, if your friends mock you for reading fanfiction, they kind of sound like jerks. There isn't much difference between fanfic and published works such as Outlander, which have remarkable success. You could always just say you read that (the smut scenes are, IMO, significantly less cringy in Outlander than other mainstream erotica, such as 50 Shades).

I hope that you get some relief from the frustration you're feeling. If you decide that you're bisexual and just heavily lean to women, I am happy to celebrate that with you, but I'm just as excited to celebrate if you decide that you are still a lesbian! 💕

Best of luck, friend. I'm happy you're here no matter what ☺️

[pluviophile-bookworm]

High School Musical: The Musical: The Series: The Rewatch pt. 5

Technically, I shouldn't be doing this right now. But who are we kidding? I miss my Wildcats and this seems like the only thing I can do to see them again right now. So here goes

1x8: The contractually obligated emotional rollercoaster

This episode sure is a lot... I don't know if I'm ready. But it makes no sense to skip this one. I never skip through stuff I love, even when some parts are borderline traumatising. Plus I remember this episode having a bunch of hilarious moments that are definitely worth it.

'I'm really not sure what to say' — Me neither, Miss Jenn, me neither. I'm just sitting here watching this and I know I'm supposed to comment, but I just can't think of what to say. Sometimes the silence just speaks for itself.

'The Lucky Ducky Puppet Pavilion' — I can never overlook that line. Not when I know how much it took for Matt to deliver it. Fun fact: one of my cats is called Lucky, so when his siblings were about to be born, I briefly considered naming them Ducky, Puppet and Pavilion as a joke.

Ah, the El Rey. The place where Miss Jenn totally did not suffer a professional heartbreak. Things are about to get real here. And by real I mean... real dramatic.

I've got to say, I love the duality of Big Red (well, I do love everything about him so that was a no-brainer, but still): doesn't know how to hang a light, but sure does know how to light up a room; amazing with power tools, but took three weeks to make a paper-mache basketball because he kept gluing his fingers together (that last part is far more relatable than I care to admit). I just love him, ok?

The way Carlos acts about Miss Jenn's box of production notes... honestly, I totally get it. I feel like if there's one person at that point who cares about the show much more than anyone else, it's him. And I fully understand why that is. That poor boy has been lonely for too long, and this show is giving him the chance to be part of an accepting community for what feels like the first time in a long time. Just... give my boy Carlito all the hugs.

For a place that allegedly hasn't been used in so long, the El Rey is not nearly dusty enough. I mean, you should see my room if I forget to hoover for longer than a week. And we're talking about years here. There's allegedly mould in that place, but I don't even see dust. Oh well, maybe I would, if it weren't for that lighting — or lack thereof, more like.

'Whatever it says in Miss Jenn's audition file, I am me, and that is the only me I need to be.' — A beautiful sentiment, my dearest EJ. Now maybe hold on to it for a while... just a suggestion.

'Lacks emotional connection to the material' — well, I do have to agree. My first impression of EJ when I was watching the first couple of episodes for the first time was that he was 'too polished to be Troy'. Too much Technician, too little Performer. And I do love my Performers over my Technicians.

Wait, is that a Redlyn background moment I see? I mean, everything is super chaotic and fast-paced, and my two ginger babies are just sitting together on the side of it all. Bonding, I assume. Good for them.

Seb being the only one to know why Natalie is absent, along with the two of them sitting together in 1x1, makes me think... Natalie and Seb are totally besties! I mean, he's basically besties with everyone he ever talks to, so... what can I say, that boy is sunshine incarnate. He deserves all the love and appreciation.

'I know how to hang... out' — gosh, I love this one. And I can only hope everyone was laughing with him, not at him. Because there's nothing to laugh at. My boy got dragged into this whole crew stuff, it's not his fault he doesn't know everything. He's more of an on-stage person than a backstage person anyway. Maybe put him in the spotlight next time and prepare to get your socks knocked off.

No, Ash, your baking club is not at all irrelevant! Honestly, I have nothing but immense admiration for how Ashlyn manages to be in the top two students most dedicated to theatre and do all those other extracurriculars. And she probably has a 4.-something GPA, too. I don't know what the Caswells are feeding their children, but I need it this instant.

'I just don't know how to make things light up' — 'You walk into a room?' — I just... this is one of my favourite Redlyn moments in the history of Redlyn. See, the thing about Ashlyn's line here is the tone in which she says it. She doesn't mean it as a compliment, but as a statement of the absolute truth. You can hear that in her voice. And with good reason, too, because she isn't lying at all. My boy Reddy sure does light up a room by walking into it. Both of them do, really. They're soulmates, you know.

'This place is not creepy at all...' — Yeah, and things between Ricky and Nini are not totally awkward at all, either. I'm living for this.

'I can do Troy!' — Sure you can, Eej. Sure you can. Emotional connection to the material and all.

Ok, but this entire scene... Carlos marking Gabriella's lines completely flatly, EJ emoting like he's in a freaking telenovela and also chopping onions... Carlos' reaction to the latter... I'm living for all of this.

Big Red just suddenly appearing next to Miss Jenn has me rolling... and also kind of wishing he could appear like that next to me too. I mean, it's not like I've visualised that so many times... certainly not every time I have to pass by a stray dog, or give a blood sample, or talk to people, or whatever... why do you ask?

'I never really loved the name Nina anyway' — listen, I relate to the sentiment of not being super fond of your given name, but... what was that stuff in s2 about, then? I mean, I do understand that too, but the two just seem to clash a bit, I reckon. That's all.

Also, can we talk about Rini's chemistry and how it's sometimes there and sometimes nowhere to be found? I think I've figured it out. Every time the chemistry is there, they're talking about or doing things that are not necessarily inherently romantic. Reminiscing about kindergarten, how they gave each other their nicknames, 'the ribbon in your hair, the secrets that we shared, the way that you would stare at me across the room' (yeah, I went there, and for a good reason)... see, Ricky and Nini have that kind of thing going on where, however hard you try, you just can't be indifferent to the other person. It's obvious that they love each other so much, but whenever they try to make it romantic, something goes south. What I'm saying is, when you're really good friends with somebody and you try to force it into something 'more', or better said, something else (because romance is not inherently 'more' than friendship and you can pry that out of my cold dead aro hands), and the operating word here is 'force', things are bound to go wrong and even reach toxic territory. And Rini are living proof of that. Some people are just better as friends, and sometimes the entire 'I don't want to ruin our friendship' trope is very valid. I just want them to be best buddies, is that too much to ask?

Bless Steph for pushing Kourtney forward when Miss Jenn needed someone to sing! Honestly, it's moments like these that make me feel like the background characters are criminally underrated. I realise not every character can be equally central to the plot, but with this cast, I kind of want them to be. I have the feeling that most, if not all of the one-line characters in this show are people with just as much talent and potential as the main cast. They deserve recognition, you know.

Going off of the above, Dara Reneé is living proof of the point I just made. You know how Kourtney was supposed to be a one-scene wonder with two lines? And then Dara showed up and hiding her in the background was instantly out of the question. I wonder how many more hidden gems there are in the show, just sitting in the background, delivering their single line and waiting their turn in the semi-metaphorical wings.

'I just need a minute, or a vacation, it's not clear' — Me, all the time. Especially after I read chapter 11 of @redlyncentral's Let It Go. That ending broke me. And this line by Miss Jenn just reminded me of that feeling, even if what she's feeling right now might not be the exact same thing I went through with that chapter the other day. That being said, everyone go check out my lovely friend's writing right now, I promise you it's worth every second.

'We're going to take a... long five' — What, no 'thank you, five'? I was expecting that. But I guess everyone is a little bit too distraught for that now.

I have to hand it to Carlos — even when he's very obviously uncomfortable and lowkey scared of some people, he just goes up to them and calls them out. I wish I could ever be bold enough to do that.

Wow, not EJ thrashing Carlos' 'forest of boys' idea. Again. I don't get why everyone dislikes it so much, I think it's brilliant visual poetry and should have been given a chance. I said what I said.

You know, everyone has been calling the show out for saying HSM premiered in the cinema, not on telly like it did in real life; and I have been agreeing with that sentiment. But notice how Miss Jenn said 'the Utah premiere' and how there were family and friends in the audience? What if that was some sort of semi-private screening for cast, crew and their family members? It would make sense. And of course, it was held in Utah because that was where the show was filmed and where the majority of background actors, dancers and extras are from. Idk, but it makes sense to me. Note that I have very limited knowledge of how the period between post-production and the release of a movie works.

Isn't Ashlyn the best, though, always noticing when someone is not ok, hearing them out, helping them... I wish I could be half as good a friend as she is. She and Big Red are totally soulmates in that, too. And they deserve each other more than anyone else deserves them, honestly. I just love both of them so much, both as individuals and as a couple, and I cannot be made to shut up about that just yet.

I've got to say, the entire 'me, me, me, me, me, me, me, me, me' - 'you, you, you, you, you, you, you, you, you' thing was super funny. And it makes me love Rini — strictly as friends — even more. You know, I think I used to ship them during s1 because the script wanted me to. Exactly like I didn't notice Big Red until midway through the season because the script didn't want me to. Sometimes the script, the acting, the directing and other stuff has immense power over viewers' perception of a show's plot and characters. And that is, as I always point out, what rewatches are for — noticing things that may have escaped you the first time over.

Yeah, so Nini was Ricky's first crush. So what? Many people have had crushes on their best friend at some point or another. That doesn't necessarily mean they're better off as a couple than they are as friends. The opposite idea is just amatonormativity speaking. I mean, sometimes it's nice and it works out; I love me some well-written best-friends-to-lovers, but that's just not always the case and the media should stop pushing the idea that platonic relationships are in any way inferior to romantic ones.

I've got to say I really don't like it when someone interrupts two people's romantic moment (and Big Red is not exempt from my frustration in such cases even though I love him so much — just think of the In a Heartbeat scene), but honestly, bless Reddy for not letting Ricky and Nini kiss. I mean, I know full well they do kiss later on (and how!), but it's just nice to have semi-platonic Rini for a while. If and when we get season 3 (manifesting!), I really hope we get more of them putting some stuff behind them and just being best buddies.

Kourtney and Seb's friendship is honestly goals and I really wish we'd got some more of it. Just another thing to add to my season 3 wishlist. Along with, you know, an actual season 3.

EJ saying all those nice (and very true) things to Carlos has my heart (or, well, he's renting it temporarily from Redlyn and Seblos, but you know). And Carlos really was like 'A for effort, C for execution', and I adore him for that. But EJ is seriously growing. He's pretty much reached EJ 1.8 at this point, and I love to see it.

Say what you want about the Lucas Grabeel dream sequence, but I love, love, love it. Completely unironically. I mean, he's kind of my favourite OG cast member. And the 'I'm more of a Glinda' comment referencing Kate Reinders actually being one of the BWay Glindas? Here's a note from when I first watched 1x1: The drama teacher won’t stop spilling her coffee and I love her. Also, her actress was Glinda on Broadway, so I stan. See, I didn't even know Miss Jenn's name yet and I already loved her. But then she went and did some stuff in s2 and ruined all of that. Add 'proper Miss Jenn redemption' to my s3 wishlist, I guess. But I'm getting off-track (when am I not?)

I only just noticed that all of the iconic BWay leads mentioned in the song (sans Glinda, of course, but that wasn't even a proper part of the song) start with an E. I wonder if that was on purpose or a lucky accident...

'And you never know when you'll get a cameo...' — If anyone in the HSM franchise knows anything about making the most of a cameo, it's Lucas. I'm referring to his post-credits scene in Sharpay's Fabulous Adventure, of course. That is one of my absolute favourite scenes in the entire movie. Well, that and The Rest of My Life. I very unironically love that number.

Another thing on the list of things I very unironically love — the transitions both into and out of this scene. I just think they're neat.

Have I mentioned before how much I love it that Carlos' response every time someone asks where he has to be is 'Broadway'... it just reminds me a lot of Seb's 'Friendship!' — that's some soulmate stuff right there, if you ask me.

'I just... almost did something really stupid' — Yes, Nini, yes it was very stupid. And you're going to do it anyway. You wouldn't if I had any say in this, but I don't and so here we are. In a world where Rini are a romantic thing, Redlyn get 5 minutes of screentime in s1 and two major moments demoted to post-credits scenes, Seblos haven't even properly discussed their issues, and Portwell didn't even kiss on screen. I lowkey hate it here. Still, I feel like things are going in the right direction. If we get a season 3, that is — and we better be getting it, or I will riot and I know I won't be the only one.

No but... just imagine if Kourtney hadn't called YAC for Nini, but for herself. There's so much potential there... and I think Kourtney and Ashlyn deserved that spot every bit as much as Nini did, and then some. I said what I said.

Well, this was 1x8. This post is already way too long, plus I want to do a double feature of the last two whenever I get to rewatching them, so I'm ending this here. It was just as much of a journey as I remembered it being, and not nearly as negative as I had the feeling it would be. I absolutely loved it, you know. And with good reason too.

[suitofvibraniumarmor]

** Writing Challenge **

I know, I know, my next one isn’t quite wrapped up yet, buttttt this idea came to me when my cousin and I were taking a walk down a ridiculous part of Memory Lane and I got excited. I’m guessing this has been done before at some point -- that’s not stopping me from presenting to you: 

I love fluff. And I wanna see more of it! 

Below the cut you will find some prompts that, in the context of Twilight, are absolutely cringe-worthy. My challenge to you is to take that prompt and make it something we can love. 

Disclaimer: I’m not Twilight-shaming ANYONE. I literally sat and watched all of Eclipse and now want to watch both Breaking Dawns. It’s more about sentiment, and the occasional girly giggle for me, but ... yeah. No judgement here, friends. 

Guidelines, prompts, and tags are below the cut! (Yes, I copied and tweaked from my last writing challenge. I’m being efficient, thank you! :P )

Please read all of the information carefully!

Rules, Guidelines, Important Dates:

Sign-Ups start when this post is live and will go through to December 30, 2020. I will accept two people for each prompt, one prompt per author.

Please send your sign-ups to my ask box so they’re easier to keep track of. I will answer them privately so I’m not flooding anyone’s dash!

In your ask, please include your preferred prompt and a backup option, as well as your pairing (so I don’t take the same pairing for the same prompt). Also, please let me know if you’ll be posting from a URL other than one you’re asking from.

To be included in the challenge masterlist, please post your fic (or the first part, if it’s a series) by Decemeber 31, 2020.

Please include an author’s note tagging me and mentioning the challenge in your fic post; include #BetterThanTwilightWC in the first five tags. If the tag doesn’t work, you may DM the link to me, also. If you decide to write a series, please tag me in the masterlist.

Please give me up to 48 hours to read your fic before checking if I have seen it. If I have not liked it after 48 hours, please DO check. (You know, since we’re all aware of how unreliable tumblr is. And how unreliable my mind can be. Yikes.)

The challenge masterlist will be posted between January 1 and January 4, 2020.

There are no word count limits, but please use the Keep Reading feature if your story goes beyond 500 words. Additionally, if your fic goes beyond 5000 words, please consider splitting it into multiple parts. This is not a requirement, only something to think about.

Yes, this is a FLUFF challenge, so you MUST have fluff as your main genre. You’re more than welcome to include other genres, but you MUST have a happy and/or hopeful ending.

You’re welcome to think outside of the box! Just because I’m talking Twilight and love stories, doesn’t mean there has to be romance! Give me  amazing friendships or strong family bonds or self-love. Or romance! Whatever you’d like. 

You're welcome to change pronouns in the prompt as necessary! Heck, I tweaked a few of ‘em so they’re not Twilight-specific.

For personal reasons, I do not read and will not accept into the challenge (which means I will not reblog or add to the masterlist) stories that include: non-con/dub-con, underage sex, adult-child romantic/sexual relationships, spouse-bashing, child abuse – I could go on, but I think you get the idea. If you’re not sure about something, I’m always happy to answer questions!

Bring on the ships, OC’s, reader pairings – I’m trying to be more open-minded as of late, but I can’t promise that I will read everything. Again, for personal reasons. But I will reblog everything! 

Characters and RPFs from Marvel/MCU are both welcome. 

If you need an extension or need to drop out, please know that I am extremely flexible when it comes to that deadline/due date. In the words of Captain Barbosa, “It’s really more of a guideline.” Just shoot me an ask or a message and we’ll work something out, no worries! 

Prompts: 

1. “I have always loved you, and I will always love you.”  2. “The clouds I can handle. But I can’t fight with an eclipse.”  3. “I know what you are.”  4. “You held out your hand and I took it without stopping to make sense of what I was doing.” 5. “You have a connection with her that I’ll never understand.” 6. “I’m glad she has you.” 7. “It will be like I never existed. I promise.” 8. “I knew who I wanted to be. I wanted to help people. Brings me happiness.” 9. “That will take a while to get used to.” “We have a while.” 10. “What if I’m not the hero? What if I’m the bad guy?” 11. “I’d rather hear your theories.” 12. (sarcastically) “Super. That makes me really happy.” 13. “You’re like my own personal brand of heroin.” 14. “Maybe I shouldn’t be dating such an old man. It’s gross. I should be thoroughly repulsed.” 15. “It’s an extraordinary thing to meet someone who you can bare your soul to and they’ll accept you for what you are.” 16. “I’ve been waiting for what seems like a very long time to get beyond what I am.” 17. “I feel like I can finally begin.” 18. “He’s totally gorgeous, obviously. But apparently nobody here is good enough for him.” 19. “He did say I couldn’t step inside the door. I came in through the window.” 20. “I know things. Like how to hunt somebody to the ends of the earth. And I know how to use a gun.” 21. “Now I’m afraid.” “Good.” 22. “I’m not afraid of you. I’m only afraid of losing you.” 23.  “About three things I was absolutely positive ...” 24. “You’re so stubborn.” 25. “Do you know how worried I’ve been?” 26. “I can’t even think about someone hurting you.” 27. “The only thing that can hurt me is you, and I don’t have anything else to be afraid of.” 28. “Don’t antagonize her. She’s the strongest one in the house.” 29. “All right. That’s enough experimenting for one day.” 30. “It never made sense for you to love me.” 31. “I wish there had been someone to vote no for me.” 32. “It’s just a little baby.” 33. “How strongly are you opposed to grand theft auto?” 34. “I’m not missing another fight!” 35. “No one can hide like me.” 36. “If I asked you to stay in the car, would you?” 37. “I have one condition, if you want me to do it myself.” 38. “I had an adrenaline rush. It’s very common. You can Google it.” 39. “How did you get in here?” “The window.” 40. “I love a happy ending. They are so rare.” 41. “You should put your seatbelt on.” 42. “Can you talk about something else? Distract me so I won’t turn around.” 43. “I can’t live in a world where you don’t exist.” 44. “After all the thousand times I’ve told you I love you, how could you let one word break your faith in me?” 45. “Maybe that’s why they kicked me out.” 46. “All of my best nights have happened since I met you.” 47. “You know everybody’s staring?” “Not that guy ... no, he just looked.” 48. “She wishes she was that awesome.” 49. “Does he visit often?” “Yeah, all the time.” 50. “Lie ... Lie better.” 51. “I’m Switzerland.” 52. “That should have been our first kiss.” 53. “Would you like to hear my story? It doesn’t have a happy ending -- but which of ours does?” 54. “Another party?” “It’ll be fun.” “Yeah. That’s what you said last time.” 55. “You are the only one who has ever touched my heart. I will always be yours.” 56. “The way he watches you. It’s like he’s willing to leap in front of you and take a bullet or something.” 57. “Kill me! Not him!” 58. “Stay.” “Give me one good reason.” 59. “Yeah, it’s and off day when I don’t get somebody telling me how edible I smell.” 60. “Damn it! You’ll be the death of me, I swear you will.” 61. “If I could dream at all, it would be about you. And I’m not afraid of it.” 62. “Do I dazzle you?” 63. “I’m tired of trying to stay away from you.” 64. “Bring on the shackles, I’m your prisoner.” 65. “You are my life now.” 66. “And then we continued blissfully into this small, perfect piece of our forever.” 67. “Nobody’s ever loved someone as much as I love you.” 68. “I don’t know what happened.” “You love him.” 69. “All of sudden it’s not gravity holding you to the planet, it’s her. Nothing else matters. You would do anything, be anything for her.” 70. “You really love her?” 71. “I don’t see the whole point of the rest of the world without her.” 72. “Then I found a promising site ... I waited impatiently for it to load, quickly clicked closed each ad that flashed across the screen. Finally, the screen finished -- simple, white background with black text; academic-looking. Two quotes greeted me on the homepage:” 73. “I was unconditionally and irrevocably in love with him.” 74. “I’ll be fighting for her, too, and I’ll be fighting twice as hard as you will.” 75. “It’s always been him.” 76. “You don’t know how long I’ve waited for you.” 77. “They’re coming for her.” “They’re not gonna touch her.” 78. “Doesn’t he own a shirt?” 79. “You know, if it weren’t for the fact that we’re enemies and that you’re also trying to steal away the reason for my existence, I might actually like you.” 80. “You have disappeared. Like everything else.” 81. “The absence of him is everywhere I look.” 82. “I don’t have the strength to stay away from you anymore.” 83. “Your number was up the first time I met you.” 84. “We all like to drive fast.” 85. “It’s too easy to be myself with you.” 86. “I’ve never given much thought to how I’d die, but dying in the place of someone I love seems like a good way to go.” 87. “Don’t tempt me too far. My patience isn’t that perfect.” 88. “His tone questions my sanity, but it only made me more suspicious. It was like a perfect delivered line by a skilled actor.” 89. “What’s he mad about?” 90. “No measure of time with you will ever be enough.” 91. “I promise to love you forever, every single day of forever.” 92. “We’re gonna be great friends!” 93. “If I had my way, I would spend the majority of my time kissing him.” 94. “Until your heart stops beating.” 95. “I touched the cool miracle of his ski, and I was home.” 96. “Forbidden to remember, terrified to forget; it was a hard line to walk.” 97. “This isn’t the time to make hard and fast decisions. This is the time to make mistakes.” 98. “Leave it to you ... you have to start hanging out with the first weirdos you can find.” 99. “I love him much more than I should, and yet still nowhere near enough.” 100. “I refuse to be affected by territorial disputes.”

Tags for possible interest/signal boosting (if you’re so inclined): 

 @captain-s-rogers​​​​​​​​​​​​​ @star-spangled-man-with-a-plan​​​​​​​​​​​​​ @letsgetfuckingsuperwholocked​​​​​​​​​ @hurricanerin​​​​​​​​​​​​​ @horsesandbandsforlife​​​​​​​​​​​​​ @im-not-an-armrest-im-short​​​​​​​​​​​​​ @captain-rogers-beard​​​​​​​​​​​​​ @shynara51​​​​​​​​​​​​​ @sea040561​​​​​​​​​​​​​  @pinknerdpanda​​​​​​​​​​​​​ @xtina2191​​​​​​​​​​​​​ @jackryanplz​​​​​​​​​​​​​ @beakami​​​​​​​​​​​​​ @heartsaved​​​​​​​​​​​​​ @fullprunerebelstatesman​​​​​​​​​​​​​ @blackwidowismyhomegirl​​​​​​​​​​​​​ @the-murder-strut-murdered-me​​​​​​​​​​​​​  @shield-agent78​​​​​​​​​​​​​  @jennmurawski13​​​​​​​​​​​​​​ @okay-maybe-i-like-marvel-too​​​​​​​​​​​​​

[tardytothepardy]

Y’know yesterday I finally got around to watching the third season of Aggretsuko and honestly I thought it was interesting. As I’m re-watching the show as a whole, I’m fully realizing that this third season really did just go off. 

The first season was fairly realistic: the normal life of a normal young adult in the workforce and dealing with the bs that goes along with it. She tries to get in a relationship so that she could get married just to get away from her job, but it just didn’t work out. Which is realistic, things don’t always work out.

The second season went a little more out there by having Retsuko somehow get in a relationship with a young millionaire (I think) and then she was swept up in the chaos that went along with being Tadano’s girlfriend. She had to deal with people online being shitty to her just for being with Tadano, and then at the end of it all, they broke up after they realized that they had different life plans. 

The third season seemed to just take that whole “Retsuko in the eye of the online public” to a whole new level, by not only throwing her into the position of the accountant for an up and coming icon group, but to end up as one of or the main singer? Like what? How did she get there? (I know how but still that shit’s zany) And the fact that it came to the point of a rabid, angry, toxic “fan” attacking her after stalking her for potentially weeks/months? Holy shit. 

I’ve seen a few posts and videos that talk about the attack, and the aftermath, specifically about what Haida did to “wake up” Retsuko, and I kinda agree with the sentiment of ‘Good intentions, not the best course of action.’ I mean, when I was watching those last two episodes, things were going so fast that I couldn’t really keep up. It was pretty intense, and when there was that whole meetup with Haida and Gori and Washimi (and I think Fenneko? I’m pretty sure she was also there) and Gori did her whole soulmate match up thing, it was kind of a “Huh this better not be a pre-orchestrated thing.” (I don’t think that Tadano somehow coded the app so that Retsuko would be matched with Haida because Haida didn’t even have an account or whatever when Tadano revised the code like if he were to do that he’d be hinging on the idea that 1) Haida would get an app like that and 2) he would get that one specific app and idk that just doesn’t make sense to me)

But then when Haida busted into Retsuko’s parent’s house (at night? Couldn’t it have waited until morning or smthn?) I was like “whoa” and then when he grabbed Retsuko I was like “whOA my guy that is not the move you could be fucking up severely here do you know what you’re doing?” I admit that I was not entirely okay with everything that was going on, and I was kinda waiting for Retsuko to freak out a little bit (here’s me forgetting that she was still recovering from her trauma and was a bit... out of it, let’s just say). 

The choice to have both Haida and Retsuko vent their thoughts/emotions through the songs is something that I think is just a “this is the kind of show that does this” thing, because for one thing, that’s the primary way that Retsuko vents out her emotions about things, and there are a few moments where other characters (like Director Ton in the first season during that work party) do the same. I’ve seen a few people be weirded out by Haida singing his emotions, saying something like “He could have just said it normally he didn’t need to sing” well yeah no duh so could Retsuko but that’s just what the show is doing, but I also feel like it’s a connection thing. Because Retsuko’s death voice thing is something that she keeps to herself, and she feels that she’s sticking her neck out to show that aspect of herself, such as with Retsasuke, I’m pretty sure Tadano, Gori and Washimi, the OTM group, and now Haida. So I kinda think of it as an emotional connection thing. 

But then, as all who watched that scene know, Haida kinda responded. I mean, he started the song thing, then Retsuko responded, but then he responded to that response. It was like a weird music conversation! Which I’m pretty sure no other character has done before, but basically in that he was like “Bruh it’s cool that you’re upset and everything, but like, you have friends. You don’t have to do it alone” and everything, which was nice. By the end of the season, I got the feeling that there can now be an actual relationship (by which I mean friendship, I’m half expecting a romantic thing, half not), rather than just being “that one person who sits across from me at work for the last 5 years”. Progress. 

In general though, I think one of the complaints about season three (and potentially the show as a whole) is that everything goes by so fast. It really felt like attackthenmemoriesthenhaida’stherethensingingthenendofseason and there wasn’t any time to pause, take a breath, and continue. I have no idea what the passage of time was. How much time has passed between the first season and the third season? I have no idea, they never address it. And I feel it’s a similar thing with the whole ending of the third season. With the 15 minute, 10 episode seasons, either a lot of nothing happens, or a lot is just jam packed into the episodes, and we can’t always see various reactions (such as Retsuko’s parent’s reactions to their daughter being attacked!!) or be told that x amount of days/weeks/months have passed since a particular event. 

(Though honestly I feel like that could’ve been resolved with the ending of the third season by someone saying something like “Retsuko’s been away from work for ___ weeks now, she could end up losing her job” or something. Just a little line in there, some kind of indication.)

I really feel like the ending of season three (golly i am just really focusing on that aren’t i) could’ve been just a little bit better if there was an episode’s space between the attack and the whole karaoke thing and the end of the season, because it still might have felt kinda rushed and short, but there would be that buffer to show that some time has passed.  

I don’t really have any expectations for the fourth season of Aggretsuko, other than if the series does decide to make Haida and Retsuko endgame, can they do it right? Can they give a legit groundwork for their relationship, and edge away (as much as they can at this point) from the whole “No means keep trying” and “Yeah she’s turned him down twice but he’s still going to try again anyway” thing, because as many other people have said, it’s a trope that happens a lot in media, and more importantly, it’s not a good one. Some people have said that they just don’t want Haida and Retsuko to be a thing, which I can kinda get, but I think that I just want to see where the show is gonna go with that whole Thing. Idk. I can ship it, but I would also be pretty damn okay if they were just friends. Because good friends are always nice. (and as a bonus if they do become great friends then i can vicariously experience a good friendship hooray i love it when that happens) Also hey can they go through Retsuko’s recovery process? If they just leave that whole mess behind in season 4 and pretend it didn’t happen omfg what even was the point do not do that Aggretsuko you will make so many people mad.

[chasehermes]

i saw your previous posts about HP, and i think even if you're a fan, you seem pretty open-minded about it. all my friends adore it, and i think i just need to let off some steam. you can ignore this if you want but i think i just need to rant. i love that drama, i really do. it's so well-written, but i'm just annoyed that it was peppered with love lines. my favorite episodes were the first five--when it was free of all the ships and we can freely enjoy the story, their friendship, --

continuation: --and the characters, without the drama of the romance. i would have preferred that song-hwa and ik-jun didn't have the whole iksong love line because it would have been a nice break from all the director's previous works (PP is the main exemption though). and at the same time, the fans (esp in twitter) scare me. they stalk the characters irl and ship them irl, connecting their IG posts together :((( i just dont think about it at all, so i can love the drama but it sucks because for me, it felt like the second half of the season focused more on the chemistry and the romance, rather than the touching stories that they showed in the first six episodes. anyway i am sorry for ranting. i hope you're well. i love that drama to bits and it's a masterpiece, but i think it could have benefited if it established itself as something that didn't pay much details/attention to lovelines. and with all the things they are releasing, i get the feeling that they’re milking the franchise :(( i’m just sad because i also bought khino kit and the vibes aren’t the same anymore. you don’t have to reply to me :(( i'm just sad

Thank you for sending the message. I am honored that you think you can rant to me. I thought about how to deal with this because you left a message as an anon. I was against posting this with the hospital playlist tag because it might draw some flak, especially from the fans, but after some time, I decided to tag it here, just in case you can’t check my actual blog or it gets buried by my reblogs.

Just like you, I love Hospital Playlist. The humor was fun and the characters are lovable. But I have to agree with you when you mentioned that it banked on romance. We might be part of the minority though because there are definitely fans who tuned in to find out which lovelines will actually 'sail’. To relieve myself  of the stress, I just thought o fit this way: HP is a slice-of life, so it is a realistic portrayal. And we have to accept that romance is a part of that life they are trying to portray. Some lovelines did not really sit that well with me. For example, IkSong. The two characters are adorable. Initially, I wanted IkSong to push through so it can portray a healthy relationship between a stepmother and a child. But after much thinking, I ended up wishing that  the writer kept Ik-jun as a cool single dad and Song-hwa as a woman in her 40s who can find new love or not end up with anyone at all. 

Why? Because single dads exist, and we rarely get a portrayal of a single father who is also a doctor. Because it would be a nice to message to the viewers if Song-hwa can meet someone new and outside of her circle of friends. Or because there are single women (and men) who actually enjoy being single. Because it would be nice to see a woman help her bestfriend (who is a man) raise his kid without either of them developing feelings for each other. 

The only loveline that I genuinely enjoyed was Bidulgi :) GomGom was cute. But I looked forward more to Min-ha’s growing respect for Seok-hyeong as a professor and Seok-hyeong’s journey to heal his own trauma. Like you, I wished it ocused more on doctors, nurses, and other members of th medical community interacted (including the physical and occupational therapists, pscyhiatrists, med techs, etc.), but without the romance to draw the viewers in, I don’t know if the drama will receive that much of love. 

Anyway, about the fans on twitter. It really does happen. It’s not just on HP. But yeah, I have a friend who also ranted to me about this once--the whole WinterGarden shipping extending to YYS and SHB in real life. Sadly, we can’t really do anything about it. If it makes you uncomfortable, maybe you can just refrain from checking the hashtags? Or you can unfollow people who are posting about them? Unfortunately, celebrities don’t get the privacy some of us can have.

It’s nice that it has a season 2 (and 3), but I guess South Korea will be seeing the downside of having a show that also shows the romance between characters. Actually, of having a slice of life drama that is multi-seasonal. It’s easier for Kingdom and Stranger because the focus is mosly on the plot. But for HP cast, it might be more difficult for them to get out of the mold or the character that they are portraying in the drama -- at least in the eyes of the viewers. And of course, they have to be careful about the details of their personal lives.  I don’t think any of the cast members will be announcing anything about their dating life until the whole show is over because it might ruin the on-screen chemistry for some viewers. 

You can call it milking the franchise, others might go for promoting. We really can’t do anything about that, so maybe it’s best if you mute it from your search engine or something to that effect? I know some people who preferred to have the drama set at 20 episodes rather than the whole season 1 and 2 format because they don’t really like how some fans gush about every single announcement/detail or do the other Twitter games that the fandom has. I guess it’s just a matter of preference :)

Anyway, I hope you feel better because you got to talk about it. Don’t worry you’re not alone in your sentiments. I have friends who feel the same way. Just drop by my ask (preferrably, not anon so we can have a nice private chat instead?). Just remember the phrase To Each His Own. Just watch the show and patiently wait for HP season 2. If it helps, I guess you can also stay away from social media.  There are lots of good dramas that you can tune into. Right now, I’m watching It’s Okay To Not Be Okay, and the pacing and aesthetics are satisfying, and I am getting some healing and cathartic moments from it. It deals with mental health so proceed with caution, especially if it is a topic that you find especially sensitive. 

Take care. :) 

[rhowena]

Pile of stuff concerning what happened to Loki between Thor and The Avengers

Originally posted on r/FanTheories

https://inforapid.org/webapp/webapp.php?shareddb=IAxUFHnwkGJSYMj9OFbT8mRl5goHm9SC2qHbWw4knO1cng5qI5Wrg48nP1MdgbWlJmHj6UpwbN343IqnstQUwxIIO01M5Rvb

As it does not escape my notice that I’ve created a digital version of this meme, some navigation help for anyone who needs it:

Mouse over/tap an item or relation to view its description

For items with the yellow ‘Note’ label, select the node and then 'Notes on Item’ in the side menu to view an additional notes page

If an item has a globe icon it the top-left corner, click it to open a webpage

'Adjust View’ in the side menu has controls to zoom in/out, increase/decrease the distance between items, and filter items or relations by category

Relations (and items) are color-coded by type: solid green lines are for in-universe evidence (light green connects evidence to the theory it supports, while dark green connects pieces of evidence that should be looked at together), purple dotted lines denote parallels, and dark red lines mark cases of “one of these things is not like the other”

And an overview of the theories contained therein:

First, the central piece of tinfoil around which all other tinfoil is arrayed: remember how, at the end of the first Thor, Loki was pathologically obsessed with gaining his father’s approval? And how, when he next showed up after vanishing for an entire year, he’d gotten mixed up with a guy who keeps a menagerie of adopted children? And how, during his argument with Thor on the mountaintop, he said this?

Loki: Did you mourn? Thor: We all did. Our father– Loki: Your father. He did tell you my true parentage, did he not?

Loki: I’ve seen worlds you’ve never known about! I have grown, Odinson, in my exile. I have seen the true power of the Tesseract and when I wield it—

Tom Hiddleston: There’s a bit where Thor says, “We all mourned! Our father…” and Loki interrupts him and says, “YOUR father.” And it’s that sense of 'don’t include me in this anymore. I have no relation or connection to you.’ It’s his way of saying 'I’ve let go, I’m gone, I’m on the outside of the fence, I’m happy here, I don’t want to come back in.’

If I may take a minute to get out some of my extremely complicated feelings on this, while there’s a bunch more evidence in favor of Loki having been another of Thanos’s children that can be viewed on the mind map, I want to highlight this pair of quotes because it’s everything implied by the words “Your father” that makes it into a devastating punch in the stomach which draws on both halves of Loki’s Woobie, Destroyer of Worlds characterization: his genuine love for his family is his primary redeeming quality and that he forswore it like this puts the terrible moment when he first knelt before Thanos and pledged himself to the Mad Titan’s service firmly into archetypal Faustian sell-your-soul territory, but when you consider the straits he was in at the time and the implication that Thanos initially ensnared him not through promises of power but by preying on him emotionally, it’s a very human kind of tragic mistake.

The other mitigating factor is that based on everything we’ve heard from Thanos’s other children, it’s a safe bet that he did in fact do unspeakably horrible things to Loki too – indeed, noticing the resemblance between the existing theories about Loki having been tortured/brainwashed and Gamora’s “He took me, tortured me, turned me into a weapon” was what prompted the above realization in the first place. (It’s reminiscent of Theon’s storyline in ASOIAF/GOT: yeah, he betrayed his adoptive family and did some generally awful stuff, but no one deserves what happened to him.) It also bears emphasizing that accountability cuts both ways: one of the key takeaways from the previous bullet point is that the suffering Loki went through doesn’t absolve him of responsibility for his villainous actions, but the other side of the coin is that Loki’s partial complicity doesn’t absolve Thanos of responsibility for the choice he made to take a broken, desperate young man who’d just lost everything and turn him into the rabid animal we saw during The Avengers, and I dearly hope that exploring the rich font of psychological horror that is that time period will erase any remaining doubt that Thanos’s claims of acting For The Greater Good are nothing but empty, egotistical, self-righteous posturing and everyone in the audience who insists on taking them at face value is being duped just as Loki was.

Stephen: No. I mean, come on. Look at your face. Dormammu made you a murderer. Just how good can his kingdom be?

As for where this is all going, I believe there’s a good chance that the Loki Disney+ series will be where they finally address this as a. the split timeline Loki the series will be following is still fresh from his time with Thanos and it will therefore have to explain what happened if we’re to understand the kind of headspace that he’s in at that moment and b. Tom Hiddleston has revealed that the series will also clarify whether or not Loki really is dead in the main timeline, and everything I have so far indicates that understanding the nature of his original pact with Thanos is essential to understanding both Loki’s choice to die and Thanos’s choice to kill him (see the 'Pledge of fidelity’ and 'Limited use’ notes pages on the mind map). Character-wise, I think one of the points of emphasis will be that Loki’s death in Infinity War doesn’t wrap up his story as neatly as it may appear to on the surface; truly completing his redemption arc will require him to confront this part of his past in full, and with it his guilt over everything he’s done and his fear that he’s wrecked his life and relationship with his family so thoroughly that he can never, ever fix them.

Loki: Can you? Can you wipe out that much red? […] Your ledger is dripping, it’s gushing red, and you think saving a man no more virtuous than yourself will change anything? This is the basest sentimentality. This is a child at prayer… PATHETIC! You lie and kill in the service of liars and killers. You pretend to be separate, to have your own code. Something that makes up for the horrors. But they are a part of you, and they will *never* go away!

An additional giant red flag indicating we really should be asking more questions about that time gap is a group of lines in The Avengers which reveal that Thanos taught Loki how to use the Tesseract.

The Other: The Tesseract has awakened. It is on a little world. A human world. They would wield its power, but our ally knows its workings as they never will.

The Other: You question us? You question HIM? He, who put the Scepter in your hand? Who gave you ancient knowledge and new purpose when you were cast out, defeated?

Loki: I’ve seen worlds you’ve never known about! I have grown, Odinson, in my exile. I have seen the true power of the Tesseract and when I wield it— Thor: Who showed you this power? Who controls the would-be king?

Sharing that kind of knowledge and power with someone as volatile as Loki strikes me as an monumentally terrible idea (and as much as I don’t want to be the person who throws a tantrum because their fanfic didn’t come true, I’m kinda salty that Thanos was defeated without it coming back to bite him in the ass), which leaves me wondering what Thanos hoped to gain that he believed would be worth the risks. My thoughts on that particular sub-puzzle are still somewhat hazy, but my basic sense is that there’s something weird going on between Loki and the Tesseract and wanting to exploit that connection is one of the reasons Thanos went to all the trouble of breaking him into submission.

Loki: So I am no more than another stolen relic, locked up here until you might have use of me?

The other reason for Thanos’s interest in Loki ties back to all that emotional twistiness I talked about earlier: he planned to leverage Loki’s anger and resentment towards his family in a bid to destroy Odin and Asgard from the inside.

Zemo: An empire toppled by its enemies can rise again. But one which crumbles from within? That’s dead… forever.

As a prelude to this, during The Avengers Thanos had additionally tasked Loki with killing Thor as a way to prove his loyalty and destroy the last remaining shreds of his own humanity, a test Loki failed because he still loved his brother too much.

Coulson: You’re going to lose. It’s in your nature. […] You lack conviction.

What’s more, Thanos anticipated this, and the Scepter’s influence over Loki was aimed at forcing him to go through with it if he refused.

Loki: I won’t touch Barton, not until I make him kill you! Slowly, intimately, in every way he knows you fear! And then he’ll wake, just long enough to see his good work, and when he screams, I’ll split his skull!

Lastly, even with Infinity War having established that Thanos simply gets off on emotional torture, that he would go out of his way to fuck with Odin personally by turning his second son against him leads me to believe there was a special hatred there stemming from some as-yet unrevealed history between the two. I mean, when I picture the alternate universe where Thanos shows up to attack Asgard with a corrupted Loki in tow like “You screwed up so badly that he chose me as a father figure over you” …that isn’t something you say to a complete stranger.

GRRM on writing villain POVs: That’s a comic book kind of thing, where the Red Skull gets up in the morning [and asks] “What evil can I do today?” Real people don’t think that way. We all think we’re heroes, we all think we’re good guys. We have our rationalizations when we do bad things. “Well, I had no choice,” or “It’s the best of several bad alternatives,” or “No it was actually good because God told me so,” or “I had to do it for my family.” We all have rationalizations for why we do shitty things or selfish things or cruel things. So when I’m writing from the viewpoint of one of my characters who has done these things, I try to have that in my head.

[morshtalon]

Dragon Quest II

Well, it's been a while since I wrote a review on something. I've played a number of games in the meantime, but none of them really gave me anything I felt was worth talking about or that hasn't been talked about before, so I just keep them in the backburner of my mind for possible future reference.

However, I feel like current circumstances make for a good time to dig up one of the games I wanted to share my thoughts on for a long time, and that I had beaten before even writing the first review I've ever "published". That game is Dragon Quest II.

Part of the reason why I held off on it for so long is that I don't think my review of the first game is all that great, and another part is that, again, I don't feel like I've bunched up enough good stuff to say, even though I really wanted to talk about it ever since I played it.

But hey, by far and wide my post popular post is technically related to Dragon Quest II, so why not cut to the chase and do it, right?

Anyway, to say that the first game took off in popularity is an understatement, it being the seminal harbinger of an entire genre of gaming that would soon take the world by storm. You would think that means this would be the time-old tale of "runaway success game making company executives pressure developers into slaving away at a sequel with suffocating deadlines". However, planning for DQII apparently began before DQI was released. 1986 was a different time, I guess. A time when the industry was fledgling enough that it wasn't that much more than a group of dudes banding together to bring an idea to life, and then - not a moment of hesitation after that idea comes to fruition - immediately start brainstorming ways in which they can build on it to give birth to new, more complex explorations of the concepts they had just tackled.

I believe this is why it's good to go back and play these games in their original versions, in chronological release order. Nowadays, it's virtually impossible to innovate. Back then, almost every big-time franchise was always finding ways to breathe fresh air into the structure of their games. Though Dragon Quest isn't the most innovative when compared to the likes of Final Fantasy, they were still making great strides into the codification of the type of game they had pioneered. With that knowledge in mind, one can really appreciate the evolution by going back and exploring these things as they grew with the times. And hey, Final Fantasy still wasn't around by the time DQII came out, so once again, they had to rely on ideas from western RPGs they liked.

In my opinion, II is the first jRPG that actually feels good to play, if you can put yourself into the mindset of an 80's gamer. The designers felt the 1v1 battles of the first title were boring - a sentiment which I share - and put in different groups of enemies as well as extra party members for you to find. One thing that some of these old RPGs that only let you target a group of enemies does is drawing only one enemy sprite on-screen to represent the entire group. Surprisingly, this game does not do that, even though it predates all the ones that do. It draws every enemy on-screen, which doesn't seem like much nowadays, but it's very appreciated nonetheless. Sure, it came at the cost of battle backgrounds (all fights in this game are set against pure blackness), but they did the right thing. The party itself follows what would become a typical archetype of 3-person groups: One character who is a jack-of-all-stats, balanced between physical prowess and magic, one who is focused on physical combat (in this game, this character actually has no magic capabilities whatsoever), and one who is a pure mage. Perhaps surprisingly, because these structures hadn't become tropes yet, the main character is the physical one, and he's also pretty much the most reliable party member by a reasonable margin, even though all he can do is attack normally. Balance issues aside (we'll talk about that later), I honestly sort of dig this arrangement. It's a little bit of a breath of fresh air to see the main character in an RPG rely completely on his weapons, and in the future, in any DQ title that has a reasonable degree of character customization, I always try to make the protagonist a physical powerhouse, to match the one from this game. It hardly ever works, but hey, it just goes for show that I enjoyed it while playing. Given that the other party members join you as you progress through the game at specific points, that also means the complexity of magic spells is added to your arsenal slowly, getting you used to it without feeling overwhelming. Sure, the game is simple enough that it wouldn't be overwhelming regardless of how they had set up the pacing, but I never felt like any of the times I struggled were because of insufficient knowledge of the game mechanics. So, the battles are fun enough, and they feel just right in terms of complexity vs. focus. The strategies to win are simple - really, the whole game is very simple - but it does its job well, and it allowed the developers to have near-perfect control of the game's difficulty curve. As a result, it is also - almost up to the end of the game - pretty nice, even if the whole thing is on the challenging end of things. At the end, it gets... A little special. We'll get to that later.

Let's take a step back and look at the gameplay outside battles. First of all, the story is... sparse, to say the least. Not as much as the one in the first game, and supplemented in the international version by a frankly kick-ass introduction that gives the experience a certain tone and atmosphere I appreciate a lot, but still, it's 1987. jRPGs were... not so much about the story back then, if you can believe that. In fact, they were more like an extension of a point-and-click adventure game. DQII is, essentially, a big fetch quest. In a different story, one that has enough plot points that you can sense a type of underlying narrative progression, I would not enjoy having the game interrupted by a blatant collectathon. However, the fetch quest aspect is basically the soul of this entire game. The extremely loose story paves the way for an experience that boils down to pure exploration and combat, with light elements of puzzle-solving woven in, using the fetch quest premise simply as a background to leave the developers with fertile soil to plant their little tricks and enigmas without worrying too much about how it would all connect rationally. And here, we witness an aspect of old games that could only spring about as a byproduct of limited graphics, ill-defined representations of the setting's reality, and a healthy disregard for common sense, things that were the style at the time. The puzzles, and sometimes just the exploration, violate logic quite heavily. Traversing through a monster-infested castle to get to a point that is technically outside the castle, but you can't just walk around it because most of the outside grass tiles are exit tiles that warp you back to the world map? Sure, why not? Having dedicated "teleport-room" maps that only serve the explicit purpose of housing a teleporter to another part of the world, except for one which also houses a chest with an essential item if you walk along the right border of the map, but not the identical-looking left one? Mario 2 hid a goal post inside a secret too, so yeah! Throw that in! Stairs down in a brick islet surrounded by water which brings you to a room that's... Also at water level? We hardly have enough tiles to go around, let alone a set to represent underwater or underground rooms, so whatever! Nobody cares! And, honestly, I truly don't care, either. If a game is up to, let's say, willfully forgo a bit of logic in order to formulate a creative puzzle to play around with your expectations, then all the more power to it. I honestly feel like puzzles nowadays are too sectioned-off, contained within a single room in a single dungeon, ready for the player to walk in, solve it, move on to the next point in the flowchart and never think about it twice. When puzzles are woven in so closely with the world, requiring the player to think outside the box at all times, as they're out there exploring, it makes the whole game feel like it's working together to make a point, and helps reduce that feeling one gets when playing RPGs where there are very separate elements of gameplay that... Don't really connect to each other very well. Sure, you're blatantly aware you're playing a videogame at all times, and it's not super great for immersion, but this was a time when there just... wasn't enough memory for immersion. It was a constraint that naturally gave way to challenges that capitalized on its own limitations, and therefore, created a type of immersion of its own, where the player is completely sucked into their own thoughts, holding a notebook with a rough sketch of the world map in their hand (yeah, I might have done that), taking notes and thinking where in the world could that last crest possibly be?! I think DQII hit that sweet spot of looseness vs. clarity in the narrative that helped these wild, nonsensical elements flourish. I really don't know how other people react to this sort of thing, but I don't care. I had a good time with it, and soon after this game, everything RPG started to become more focused on story. That's definitely not a bad thing, but I felt a kind of clear, developer-to-player kind of communication from these small bits of wrongness that made me more aware of the time, effort and creativity put into it by the people who were making it. I realized that, were I in the shoes of the dude who was making all this crazy stuff, I'd be stoked to see my friends trying to solve them. I'm not trying to be sentimental, that's how I honestly felt while playing that part with the teleporter and the chest. In any case, I appreciated it.

Then you get to the road to Rhone.

Though, apparently, the game was not pressured into deadlines by higher-ups, I did read something about one of the guys in the team offhandedly setting a deadline that turned out to be just that little bit too tight, requiring it to be delayed from November 1986 to January 1987. This, along with the fact that, at the time, the second title in a franchise had the habit of being designed for people who were hardcore fans of the first game in that series, might go a little ways into explaining why everything starting from the road to Rhone is absolutely fucking brutal. Every element of the game that, previously, was a tad questionable, leaving that little itch of worry in the back of your head, returns here with the express intent to make your life miserable. I have a high tolerance for difficulty, one that is even higher for RPGs where, for the most part, there are always ways to slightly circumvent it and make your life easier. The simplicity of design in DQII means that this is not the case here, and from this point on you're expected to not only have the skill and familiarity you've accrued while playing, but also a very healthy amount of luck to go with you, otherwise you will die. And rest assured, you WILL die. In fact, due to the specific way in which the player's mortality rate skyrockets in Rhone, it's almost not even a matter of the game being "hard" in the traditional sense, because it doesn't exactly require you to be strong enough or smart enough anymore, it just requires you to be patient enough to slowly trudge through the mountain of corpses of your former attempts until you figure out how to minimize your risks to the lowest degree they possibly can be minimized, then hitting that sweet spot of luck and control that finally allows you to reach the end of the game. This particular way of handling things means that, after you hit about level 30 with the main character, further leveling will only render you negligibly less likely to die, and the effects are not strong enough from level to level to even be clearly noticed. But what exactly makes it so hard? The answer is primarily RNG. When you reach the end, you will begin to notice just how much RNG there is through the whole game. Starting off, the turn order is entirely random. There is an agility stat, but I never found any evidence of it actually factoring into who goes first in battle (instead, it's a carryover from DQI that calculates your base defense). If there are more than three enemies, you're at a disadvantage, but even if there aren't, a stray run of bad luck - which is guaranteed to happen given the density of random encounters - means you're gonna have to scramble with enemy attacks, and they are perfectly capable of leaving you in such a state that it would take a miracle to put yourself back in shape, if they don't just wipe you out instantly. Now, remember, two of your three characters have magic. However, at this point in the game, enemies have a large amount of magic resistance to all kinds of different spells, and magic resistance in this game means that there is a chance the spell simply won't work. If it does, it deals full damage. If it doesn't, it deals none at all. I don't know about you, but I almost never take my chances with low-accuracy, gimmicky stuff in other games. This one renders all spells like that given enough time. If you decide to rely on physical strength, the main character is the only one who will bring you any significant results. The pure mage at this point in the game is far more efficient at support casting than direct damage, and the balanced character is - memetically, at this point - incompetent at both, and also sucks as a physical fighter, so once again, you're boned on that front. All of a sudden, running away becomes an alluring strategy. However, once again, there is an ever-prevalent random factor to it, so the pressure is on in all fronts. The game becomes a challenge of carefully planning out how to simply survive each encounter. Do you take the chance and run? If you fail, you'll be wailed on by the full force of the enemy party, and will likely be too weak to attempt mounting a resistance. Do you take the bait and unleash the full force of your attacks? What if they all target different enemies in the group? You won't deal enough damage to kill one of them, so you'll suffer heavy retaliation and waste precious MP that could be spent on healing spells. Did you win or escape successfully? You've only lost about 20% of your health, but some encounters can relieve you of the remaining 80% before you can even act, so do you spend MP healing or do you trudge on because you already don't have that many to go around? If you make the wrong decision at any of these break points - and rest assured, there won't be a shortage of them - you'll either die or get so close to death it will be almost irrelevant to keep going. And then, it's back to the last save point. Rinse and repeat many times until you clear the road and get to Rhone proper, for one final save point and one last, grueling stretch of game before the final boss. Here, the game introduces enemies that have, no joke, a move that kills your entire party and has 100% accuracy. Typing it out, it sounds like hyperbole, like i'm salty that I died so much and am exaggerating the things the game does in order to trick myself into believing that it was super impossible times infinity, but no, it's true. To be fair, there isn't a high chance the enemy will perform this move, but when they do, there's absolutely nothing you can do to save yourself. Just reset the game when the screen turns red. Other than that, the rest of the lovely cast of enemies rounding up the final waves are more than capable of just killing you the regular way, so keep your wits about you like you did back in the cave and grind yourself up until the stat bonuses start getting negligible, because now, you need to face five bosses in a row. Right, okay, technically you can go back and heal yourself right before the last one, but I didn't know that, so if you're an idiot like me, try to get ahold of a Wizard Ring, as well. It's the only way to heal MP, and can be used multiple times until - you guessed it - it randomly decides to break. After that, you just have to contend with two bosses that use a move that heals all their HP when it gets low, so you also have to roughly keep track of their state in your mind so you can unleash a full round of attack before they can get in that heal. Unless your spell doesn't hit them, of course. Or they happen to go first. Or you just barely miss the threshold of HP that will actually kill them. Oh, and be careful! One of the other bosses also knows the instant death move. He won't use it often, but 30 or so attempts in, you're likely to see it once or twice.

Then, the final boss can randomly spawn with a number of hit points between 75% and 100% of his assigned value (every enemy does that), and you're gonna deal an average of about 15% damage per turn to it. Sounds easy at first, but he will take you out in either one or two moves, and...

...Here's the motherload...

...He has a 1 in 16 chance of casting the full heal move at any point in the battle. And he WILL do that the first 2 or 3 times you get to him, sucking you dry of resources and smashing your face all the way back to the save point to try the 5 bosses again, so it's back to grinding attempts until you have another mostly hopeless shot at him.

But when you get him, man...

When you do it...

*sigh*

Anyway, this was a long, rambling, focus-shifting tangent just to correctly capture the degree of luck and randomness that constitutes the final stretch of Dragon Quest II. How does it impact the rest of the game? Well, I still appreciate it for what it did right, and there's a small, strange part of me that actually thinks the insane difficulty perfectly fits the stakes that the game set up, but it is, nevertheless, very hard. And once again, it's the kind of hard that is virtually impossible to circumvent. For any average, non-god-tier player, there is no alternate way of tackling the simple-looking, but highly controlled challenges in this game that trivializes it. You can't change your party, you can't buy extra spells, you can't really use stat-up items to change stat configurations in any significant way. You just have to keep trying and hope it works, and for the first few dozen times, it won't, so you'll just have to deal with it.

Still, it shows, even up to the end, that the DQ team has a certain grasp of consistency in design that will slowly grow and adapt as the series embraces new complexities through the years. DQII stands as somewhat of a black sheep in the series (as the second titles of old franchises often do), but I think it has its place, and it's surely a wild ride. Also, if you can get yourself into the mindset of late 80's design, I can assure you it won't ever be boring. Maddening, sure, but not boring. It's more fun in the midgame, in my opinion, as for someone who is very used to RPGs, it can be exceesingly simplistic at the start and too hopelessly uncontrollable at the end, but I feel it deserves a score of 7 out of 10. It's pure gameplay, and, for what it's worth, you WILL get an intense experience. Just be ready to shake, a lot. And pad your walls.

[misscrawfords]

More shipping asks because I can: 10, 20, 37

10. Do you ship any characters that have never met?

I thought Henry Crawford/Susan Price was going to fit this, but no - they did meet briefly in Portsmouth! Um... I don’t think so? Does Walter Scott/Jane Austen count? :P Joking. Maybe.

20. Talk about a ship you feel alone in shipping.

Any original character ships tbh. If it’s RP, I might have just one other person shipping them, but sometimes, if this isn’t even a ship that we got to write or isn’t a ship that is canon on the RPG then yeah, I genuinely am the only shipper and it’s very lonely. When I watch Asian dramas, that feels a bit lonely because nobody else that I follow is particularly invested in them. And I actually used to feel lonely shipping Reylo. I felt very conscious that a lot of my internet friends, before I made Reylo friends, not only didn’t ship it but actively hated it and it would make me very sad to see anti type comments from them. I would feel guilty for what I shipped, felt guilty for inflicting my shipping on other people’s timelines, wondered if people hate me because of what I ship, have always been obsessive over tagging so people can blacklist what they don’t want to see so that they can still follow me for whatever other reason they have for doing so, but it’s not nice feeling like something I love so much is a source of disgust to people I like. And considering the absolutely appalling behaviour of antis towards Reylos (thankfully none has ever been directed to me personally because I’m such small fry and I know I’m very lucky) even seeing a random reblog of an anti-Reylo sentiment on my timeline makes me sad and nervous. I’ve lost a lot of that guilt because honestly Reylo is the main romantic ship in the SW ST and if your not shipping it (which is totally fine of course) actively impacts your life negatively... get over it. It’s nothing to do with me. I won’t feel guilty about it. I’ve met amazing Reylo shippers IRL who are kind, generous and intelligent, truly “saving what they love not fighting what they hate” and it’s also lovely to see old friends from previous fandoms recently join the fold - I’m very excited by that! :)

37. Do you have a favorite trope and/or AU for your OTP?

It’s funny how different ships lend themselves to different tropes! My favourite Reylo AU is a social media AU. I just love the potential for expressing the connection yet distance of a force bond, for enemies-to-lovers, for wearing a mask and exposing yourself in stories set at least partially online. Meta stories in fandom, gaming, twitter etc. are all brilliant settings for Reylo fics. There was a trend last year for text fics on twitter - a fantastic way of updating the epistolary novel to 21st century technology. I love the fics but I also love the concept and the way this feels like truly innovative storytelling.

tbh I have mainly been reading Reylo recently. But they’re the only fandom I reaaally like modern AUs. I could never read Downton modern AUs - basically either it was my own universe in University Challenge or it didn’t count. Canon or bust for Downton. I sometimes read Dramione fics and I quite like alternate versions of Book 7 or “8th year fics” or resorting fics/AUs. But the more magical the better with the coolest world-building. Also “they work together at the Ministry now”.

I have a “secret” desire to RP an AU/immediately post-Potter Dramione story. Just really traditional - the kind of RPG that everyone was doing like 15 years ago. Anyone secretly wanna write Draco Malfoy with me!??!

[taiblogcomics]

Not Home For the Holidays

Hey there, day-one bug fix. So we've finally laid that long nightmare we call Suicide Squad behind us. And now we're officially out of the holidays. So what better way to celebrate than a My Little Pony holiday special~?

Here's the cover:

Ah, a typical depiction of caroling, and well in character. Half of them are just singing nicely. Pinkie Pie, meanwhile, is belting out her own death metal versions of the songs, by the look of her expression, which is obviously not to Applejack and Rarity's taste. Rainbow Dash, on the other hand, doesn't care about Pinkie's antics. She'd look just as not-thrilled to be there even if all of them were singing nicely. Otherwise, the rest of the cover has some nice, gentle holiday imagery. The brighter colours of our cast contrast nicely with the darker forest green and such~

So it's been a while since the last holiday special, eh? Seems like it goes every other year. 2015, 2017, and now this one. That's fine with me, doing it every other year makes the stories more unique and interesting. Anyway, we open with Pinkie decorating--but it's Applejack's leg she's decorating. Applejack's all laid up with a broken leg. Her friends are all here to keep her company--it never addresses why her family isn't here for this role--and Rainbow Dash even suggests they make it an early Hearth's Warming party. Unfortunately, Rarity announces that she has another engagement in Manehattan that night.

Here's the wrinkle: Celestia is also holding a royal gala that night, and Rarity has overscheduled. That's the big plot here: Rarity has overscheduled, and intends to attend all her events in one night. And if you think the gala and the soiree are the only things on the schedule, there's also a fireworks show in Ponyville that night as well. Spike in particular wants to attend that one, but he gladly joins Rarity as an assistant while she tries to get to each of these events. And while all this is discussed, Pinkie goes a bit Christmas Vacation cat on Applejack's leg in the background~

So we start that evening in Canterlot, with Rarity in a long gown and Spike in the top half of a tux. The pair of them arrive, noting with some confusion that the royal guards aren't posted to announce them. They enter the main ballroom, only to find everypony still in the midst of setup. Seems Twilight over-extended her stay at Applejack's (further playing into the comic's theme of overscheduling), and also didn't take into account not having Spike around to assist. So they're still getting the party together. There's almost an exciting moment where you think the chef hurrying in is going to drop the cheese fondue on Rarity, but it doesn't seem to end up that way.

Rarity and Spike instead end up helping to set up the party instead of mingling with the guests, and the time comes for them to rush out to Manehattan for that party just as the princesses arrive. The pair jump on the train, and Spike tries to console Rarity a bit. She's a bit bummed about having to run out on her friends just as the party started, and wishes she had considered swapping the order of events. They're off to meet her friends in the fashion world instead, and she's not wearing her most up-to-date gown. While on the train, they go over a series of signals to guide each other to ideal conversation. Two fingers for a change-up, three for a knuckleball, right?

This is a much smaller party, and also is also sort of a meetup of fashion-minded individuals to exchange ideas. Andy Warhol here has a difference of opinion on colour shades (he's so pretentious, they're both just red), and while Spike actually meets a nice pony named Chiffon Ruffles who's wearing a clever candy cane dress with real candy canes (Pinkie would approve so hard), Rarity ushers him out the door as the clock suddenly ticks over. There's a minor error where it says they have to get back "to Equestria" and not "to Ponyville", but it's fine.

The pair are back aboard a train, and Rarity wonders if they might stop and find a way to get him back to Ponyville while she returns to Manehattan to chat Chiffon up, and Spike finally cracks a bit. He is still young, after all, and he might be a bit tired. But he explains that he didn't get the things he wanted at the other parties--not even a candy cane off Chiffon's gown--and the one thing he was promised by Rarity was the chance to see the fireworks. He gave up all that stuff to spend time with her. And that's when the avalanche suddenly knocks the train off the tracks~

I'm not even kidding. There's a full-page spread of it and everything. And since it's another Andy Price issue, it's gorgeously drawn. Fortunately, nopony is hurt, and Rarity even uses her magic to dig a way out so the other passengers can escape. Since they're going nowhere fast, Rarity takes a moment to apologise to Spike. She expected the night to be a whirlwind of connections and conversations, but everypony at the gala was too distracted by setup, and all the fashion ponies were more interested in being seen than heard. She ended up treating Spike the same way, and now his holiday's ruined.

She offers to make it up to Spike by carrying him back to Ponyville personally. Fortunately, they don't get too far before they instead hear jolly laughter from overhead. Yes indeed, the pair are visited by none other than... Rainbow Dash and Twilight, who are here with a rescue team. What, did you think it was Santa or something~? The other passengers board the rescue sleds the pegasi brought, but suddenly there's a loud explosion. No, it's not another train wreck, but the fireworks show going off. The rest of the story is a wrap-up of what was learned: it's the quality and not quantity of the connections you make over the holidays. And so the Mane Six and Spike just spend the rest of their evening at Applejack's~

Before you think that's all there is, the comic has a short four-page story to finish off the issue. This one features the Student Six and Pinkie Pie. The Six are in exactly the kind of mood you'd expect kids to be in around the holidays: excited, goofing off, and throwing snowballs. In order to get them to behave, Pinkie tells them about Krumple Horn, who is essentially a MLP-friendly version of Krampus. Over the next page, each time they stir up trouble, something karmic happens to them. And Ocellus goes missing, leaving behind a bed full of mud. Now that’s horror. The end result is that the Student Six are eager to clear out and go home for the holidays, to their teachers' relief. And of course, Discord appears to reveal he was the one who set up all the karmic retribution, because frankly the role suits him a little too well~

Another holiday, another nice Hearth’s Warming story from our friends in Ponyville. I like this one, and encourage you to go out and read it for yourselves, if only because I summed up the ending sentiment of the main story a bit quickly. It goes on for quite a bit more, and the nice sentiment is much better read in full. And just because the holidays are over doesn’t mean you shouldn’t keep the spirit of them going, yeah~?