#am curious to know if I come off as a writer who doesn’t visualize what they’re writing | Explore Tumblr Posts and Blogs

immaturityofthomasastruc · 4 years

Text

#5: The One With Astruc's Self-Insert

In my introductory post, I said the main inspiration for this blog was @hypocrisyofandrewdobson. For those who don't know, Andrew Dobson is an infamous webcomic artist known for drawing webcomics that tend to demonize people he's come across in public or people who disagree with him online (either critical of his art or his political views), while portraying himself as the victim or wise man calling them out on their differing beliefs.

If you want to learn more about this guy who I consider to be far worse than Astruc, check out the blog in question. And no, I don't know why he draws himself as a blue bear.

Why am I talking about this? It's one thing for some schmuck on the internet to use his work to respond to criticism, but the creator of a popular animated series dedicating an entire episode to attacking his critics and trying to get others to feel bad for him is another story.

The second episode of Miraculous Ladybug's third season, “Animaestro” served as a wake-up call for fans (myself included) to make them realize how immature Astruc could be. The plot centers around the premiere of a movie about Ladybug and Cat Noir directed by Thomas Astruc, who voices himself in the original French dub.

And this isn't just a brief cameo like what Stan Lee did in the MCU. Astruc is the Akumatized person this episode, so there's naturally a lot of focus on him. Throughout the first half of the episode, Astruc portrays himself as this timid man who nobody recognizes or respects, like this idiot who doesn't know what animation is.

Doorman: This is a private event, sir.

Astruc: Huh? Excuse me? I'm Thomas Astruc, the movie director.

Doorman: You filmed Cat Noir and Ladybug? What are they like in real life?

Astruc: Er, it's an animated movie. It's all cartoon characters. We don't actually film anyone. See, there's this whole team that draw the chara—

Doorman: Whatever. Who would want to see Ladybug and Cat Noir as cartoon characters?

Get it? Wasn't that meta joke hilarious? This is how much I was laughing:

youtube

And Astruc continues to get about as much respect as Rodney Dangerfield when he interacts with other characters like Jagged Stone and Chloe.

Jagged Stone: Ladybug is one of my best buds! I can't wait to see her movie!

Astruc: Well I—I'm the director, so actually it's more my movie, so to speak.

Jagged Stone: Oh, so you're the one who created the story?

Astruc: Well, technically the screen writers wrote the story, inspired by Ladybug's exploits.

Jagged Stone: Oh, okay. So you did all the drawings?

Thomas: No, no. The animators do all the drawings.

Jagged Stone: So what do you do then?

(Later on...)

Chloe: So you're the one responsible for this movie?

Astruc: Yes, yes! Exactly! That's me!

Chloe: Then you were the one who left Queen Bee out of the trailer. You're lame, utterly lame.

I can't believe Astruc had a scene where he interacted with Chloe and didn't insult her at all.

The episode is determined to make the audience feel bad for Astruc. Nobody respects him and what he does. Isn't that saaaaaad? Nobody cares about animated film directors like Walt Disney or Tex Avery anyway. Not even these stupid children understand how hard Astruc works.

Several Children: Ladybug! Where's Ladybug?

Astruc: Hey there, kids!

Teacher: Ladybug isn't here children. We came here to meet the director of the movie. Children: (frowning in disappointment) Aww.

(Astruc looks visibly disappointed.)

Way to insult your primary demographic, Astruc. I thought you said kids have a better understanding of these stories when people criticized the writing of a certain episode (It's that scene in “Puppeteer 2” if you're curious/don't value your sanity).

It's almost like you're using that as an excuse to half-ass your work while still getting to claim this show is so groundbreaking.

In case you can't tell, “Animaestro” is one of those episodes. The ones where the showrunners decide to dedicate an entire episode to attacking critics of the show in a blunt fashion. Whenever a show addresses criticism, they either create an obvious strawman character to parrot the opinions of fans who don't like their work, or have someone defend the show and insult the critics directly.

youtube

The problem isn't that they're ignoring criticism. It's their show, and they aren't obligated to listen to critics or fans who don't like the direction the show is taking. On the other hand, they aren't obligated to fight back like this and treat their audience like crap. Any show that does something like the three clips I showed you usually comes off as petty and immature because they dedicate so much time to insulting the critics.

Even during the Akuma fight, Astruc has to call out Ladybug for having problems with his movie in-universe, obviously representing critics of the show Astruc claims have no right to criticize the show while it's still airing.

Ladybug: What's with that trailer too? I am not scared of cats, at all.

Astruc/Animaestro: You haven't even seen the movie and you're already slamming it?

Cat Noir: He does have a point, you know.

Ladybug: I wasn't slamming it. It's called constructive criticism!

Yeah, how dare Ladybug be angry that this movie is portraying her as a powerless coward dependent on Cat Noir as opposed to a confident and brave superhero. She just doesn't understand the genius of Thomas Astruc!

And of course the character Astruc claims is “perfect” is the one to take his side.

And that's another problem with this episode, the metatextual references. Before he gets akumatized, Astuc says he spent three years of his life working on his movie. I get that time in this show is weird (we somehow had episodes taking place on the first day of school, Christmas, Valentine's Day, and the first day of Summer), but how did Astruc's self-insert work on a movie based on a superhero who has only been active for a year? Meta-wise, it's an obvious reference to the scorn Astruc has gotten from fans after working so hard on his show, but the only people who would get that reference are the ones who are aware of Astruc's reputation online.

Self-Insert aside, I actually think the titular Animaestro is one of the more visually impressive Akumas featured on the show. Animaestro takes on several forms based off several different forms and eras of animation, like flash, anime, rubber hose, and they all stand out. Granted, some of them are obvious parodies of other characters like Goku or Sailor Moon, but the actual Akuma fight is fun to watch. According to the Mexican Miraculous Ladybug Twitter account, this episode took two and a half years to create, and it shows. It's too bad the story behind it is completely insufferable, almost like the cartoon equidistant to Pixels.

But then comes the part that honestly makes the episode worth it, mainly for how unintentionally hilarious it is. Do you want to know what Animaestro's weakness is? Do you really want to know?

Animaestro is physically incapable of moving unless someone is watching him. I am not making this up.

Ladybug and Cat Noir literally defeat Animaestro by getting everyone to stop paying attention to him.

I could make so many jokes with this, but I can guarantee you're already thinking of something just as good, if not better, than whatever I write.

And there's the end where Astruc gives Marinette his ticket to the movie, which prompts Marinette to kiss up to him for no real reason.

Astruc: Sorry, I guess you don't know who I am either.

Marinette: Of course do. You're Thomas Astruc, the movie director!

Astruc: She recognized me. Somebody actually recognized me!

Nothing happened to make her change her opinion on the Ladybug movie, she didn't really say anything to him earlier in the episode that connects to this exchange, and outside of a few lines Animaestro said, she doesn't even know why he got akumatized (even though ironically she and Chloe accidentally contributed to it because of the awful subplot involving Kagami I talked about last time). If anything, it comes off less like she actually appreciates Astruc's work, and more like she's stroking his ego just to keep him from getting akumatized again.

So yeah, this episode is awful, and the fact that it came out right after the controversial “Chameleon” only proved to show what kind of direction the show was taking this season.

But honestly, even if Astruc still wanted to make about how he doesn't get enough respect the episode could have potentially. All he had to do was make a simple change: Instead of making it about validation for Astruc as a creator, make it about validation for animation in general.

It's a common misconception that animation is only used for shows and movies aimed at children, so the episode could reflect it. Instead of the huge turnout where several celebrities appear at the premiere, instead, the turnout could be a lot smaller, with the media dismissing it as some stupid kiddie flick. Instead of getting akumatized because he gets humiliated in public/getting no respect from anyone else, Astruc gets akumatized because he sees the audience didn't go wild for the movie after the premiere. All he can hear them say is that it's just “kids stuff”.

So when Astruc is Animaestro, he goes on about how important animation is. How it's helped produce propaganda since World War II. How it helped improve special effects in big blockbusters. How the medium is used to create movies that simply can't be filmed on a physical set.

After defeating Animaestro, Ladybug shows up to talk to him. She had seen the movie earlier, and actually enjoyed it. She had a few problems with the story, but they were just minor nitpicks and inaccuracies Astruc wouldn't know about, and she was blown away by the animation. She tells Astruc not to be deterred by his critics, and continue to do what he does. As a designer in her civilian life, Ladybug knows the joy creating brings her, and both she and Astruc want to spread that joy through their work.

Back at the premiere, Astruc thinks about what Ladybug said to him when he sees some kids reenacting a scene from the movie. Astruc walks over to them and asks what they thought of the movie. They said they loved it and how energetic it was. When he tells them he is the director, the kids' faces light up and they say they want to do what he does when they grow up, bringing a smile to Astruc's face.

Isn't that a much more humble approach instead of what we got? It would have helped Astruc come across as more sympathetic, especially with animation fans. But instead, we got an entire episode of Astruc whining about how misunderstood he is.

And you know the footage used for the movie at the beginning? Remember that, because I have a huge rant about it saved for a later post.

For now, here’s an example of a creator appearing in his work done right.

youtube

462 notes · View notes

illuminatedquill · 3 years

Text

Nevertheless, The Finale (Review)

(We could have had this. We could have had it. God, this hurts to write.)

Crash landing.

That’s what comes to mind as I watched the final scene in episode 10 of Nevertheless. We’re here. We made it.

But not for the better. At some point, the engines burst into flame, the wings fell off, the pilots jumped out and we, the viewers, were forced to put our heads between our knees and endure the worst kdrama ending I have ever seen with my own two eyes in recent history.

If you’re reading this and haven’t seen the finale yet, I am warning you now: SPOILERS AHEAD.

For the last time, let’s get into it.

This is immensely painful to write. I don’t know what happened in the writers room between episode 9 and episode 10, because, how we came to this ending makes no sense. None at all. I spoke at length about it another post a couple days ago regarding the spoilers photos that were leaked; the writers, after having established so much growth in episode 9 for Na Bi, surely weren’t going to just throw it all out the window for episode 10, right?

Yet, here we are. That’s exactly what happened.

First off, I want to talk about the visual elements in this episode: it sucked. Normally, Nevertheless cinematography is top tier and always praise worthy and, here, it felt off to me. I wasn’t drawn is as I usually was. Also the pacing dragged for the first thirty minutes as we see Na Bi and Jae Eon deal with aftermath of their “breakup”. It’s not until almost halfway through the episode that it finally picks up with the destruction of her sculpture.

Jae Eon finds out and vows to help her rebuild it and then leave her alone afterwards. He makes a comment on how she’s at her prettiest when working on her art. Once it’s finished, he leaves her alone, as promised.

Okay. Good. So far, so good.

And then, we hit the café scene with Do Hyeok. And my stomach dropped. All that nice, comfortable, affectionate energy that was building between them vanished. Na Bi speaks about her sculpture and how her assistants really helped her (speaking clearly about Jae Eon).

And I knew. I knew how it was going to end. And so did Do Hyeok. He doesn’t know that Jae Eon is one of her assistants, but I think he guesses by the way Na Bi talks. Na Bi thinks the whole experience was terrible but from the way she talks about it, Do Hyeok points out “maybe you were actually enjoying it the whole time.” Seeing his cheerful smile drop was just crushing.

Oh, Do Hyeok. They did you so bad in this episode.

(And WTF do you mean she was actually enjoying it the whole time, writers?! She was freaking miserable for FIVE WHOLE EPISODES. What toxic BS is this? Sweet Jesus, I wanted to punch something so bad.)

And my outrage at how off the chemistry was between Na Bi and Do Hyeok; it was just so wrong. It felt so forced.

And then hits just kept on coming. Na Bi brings out the butterfly pendant and puts it on. God, please, no.

And then. Do Hyeok returns for his second confession scene. And, hoo boy, what Na Bi said made me almost have a stroke:

Do Hyeok: “Do you still like Jae Eon?”

Na Bi: “Yes, I think I do. I know he’s not someone who will make me happy. But, I was really happy with the moments I spent with you, Do Hyeok.”

What.

Na Bi knows that Jae Eon will not make her happy. She was really happy with the moments she spent with Do Hyeok. But she still chooses Jae Eon.

Does not compute.

No tears from Na Bi and Do Hyeok as they say goodbye to each other. A simple thank you from Do Hyeok and he walks out, flowers in hand.

Your childhood best friend who has been loving you unconditionally just confessed and you can’t even muster some tears as you part ways. Like I said, something is wrong here. Seriously wrong.

(I had to pause the episode and go for a walk around the house to clear my head when I saw this. Like, writers, how the hell does that make sense!)

Na Bi even admits in her confession to Jae Eon that she hates him. But then proceeds to ask him out.

And that’s it. They go on a date, wearing their respective colors (gag me, please), and that’s it.

Or, is it?

Because this show is always good with details. And I noticed something interesting at the end, when they’re walking along, holding hands.

Na Bi and Jae Eon walk by a restaurant and Na Bi spots Do Hyeok sitting inside. He’s clearly talking to someone, but we don’t see who.

And, interestingly, Na Bi’s hand almost slips out of Jae Eon’s. There’s a curious expression on her face as she cranes her neck to see who Do Hyeok is speaking with. It’s just a brief moment before Jae Eon pulls her away to continue their walk, and she resumes her hand holding.

So. There’s that. A potential set up for a second season. I don’t know, don’t ask; nothing’s been confirmed. We’ll see.

I have to say something - this episode was utter BS. Something weird was going on behind the scenes here, and I can prove it.

If you watched the preview, like I did, you might have been mistaken in the belief that Na Bi and Do Hyeok were clearly endgame. Why?

Because she accepted his flowers. The preview shows her walking inside the art gallery holding them, resulting in the lovely photos of them smiling brightly at each other in the above screenshots (the first two). But in the actual episode itself, Na Bi doesn’t accept the flowers and we don’t see the scenes I just talked about. It just cuts straight to her reunion with Jae Eon.

Do you see what I’m getting at? This isn’t some conspiracy theory. What was shown in the preview and what was shown in the actual episode was completely different.

They changed the ending. It’s the only thing that makes sense. Do Hyeok and Na Bi were going to be the endgame, and someone forced them to change it to Jae Eon and Na Bi instead. Perhaps for a setup for Season 2 or someone important really, really wanted Song Kang to get the girl this time.

If it’s setup for season 2, especially coupled with the last scene that suggests that Na Bi’s and Jae Eon’s relationship isn’t going to last (and it’s not, especially if the Fanfic writers have anything to say about it), I’m all for it. Because that means Na Bi and Do Hyeok are endgame. I’ll suffer through another ten episodes if it means that, long as the same cast and team return.

If not, then, this is the ending. And it’s terrible.

I know it hurts. But, I just want to remind everyone that this is just one chapter in Na Bi’s life and nothing between her and Jae Eon are guaranteed to last. I wrote a post some weeks ago how, if they really wanted to make these two endgame, then the writers needed to do the work. Show the characters working through their issues to become healthier, happier people and convince me that they could be a solid couple in the long run.

None of that happened in this episode. Or any of the other episodes proceeding it. Na Bi and Jae Eon spent five episodes just staring at each other and not talking, and then suddenly, a last minute redemption. If there is not going to be a second season, then this is the cheapest, most cop out ending for a kdrama ever. And it really hurts because they really set a high standard for themselves.

Nevertheless promoted itself as a hyper realistic show that wanted to be different from any other kdrama and instead ended up with the most cliche, disappointing finale I have seen in recent memory. What a failure. There needs to be a second season to redeem this dumpster fire of an ending.

Well, that’s all for now. I’m going to watching some other stuff to cleanse this from my memory.

I have two more posts planned for this show and then I’m out for good or until they announce a second season. First post - as promised, my character analysis for our “heroine” Yu Na Bi. I wanted to wait until the series finished to really get a take on her character and, well, I don’t think I’m going to be nice.

And the second post will be an overall review/analysis for the entire drama. All of it; the themes, the acting, the direction, the music, the plot, the writing; the good, the bad, the ugly.

My condolences to everyone who stuck it through from beginning to end. I’m really sorry you wasted your time.

As always, I welcome any discussion. Reply here or message me! I always love to hear your thoughts.

Until next time, everyone.

#jtbc nevertheless #nevertheless #kdrama #han so hee #chae jong hyeop #song kang #yu na bi #yang do hyeok #park jae eon

41 notes · View notes

kn1feinthec0ffee · 4 years

Text

love me love me (say that you love me) - spencer reid

spencer reid x fem!reader

title from lovefool by the cardigans

summary: after a close brush with death in the field, y/n visits an injured spencer in the hospital to have a heart to heart.

warnings: a lil bit of angst, fluff bc im incapable of writing pure angst, descriptions of injury

word count: 1,987

notes: this is my submission for @veraiconcos‘ fic writer challenge, i spent a super long time on this and i really hope you guys enjoy it as its one of my favorite things i’ve ever written ☺️

********************

settling in to what would be another evening of unfortunate, unwanted solitude due to your boyfriend having yet another late night at work, you stretched out across the sofa, wine glass in hand, ready to relax after a hard day’s work.

that was until your phone began to ring and vibrate obnoxiously across the wooden coffee table.

“jj? hi, what’s up?” you inquired, curious as to why she was calling you during a case.

“we got the guy, but spence wasn’t so lucky.” she began hesitantly. “he almost got shot, but he was stabbed a few times.”

she heard your stifled gasp through the speaker, cutting you off before you would inevitably begin rambling off questions, a habit of spencer’s you’d acquired after a long while of knowing him. “don’t worry, he keeps telling everyone he’s fine. doctor says the wounds might scar, but overall he should be alright.”

you scrunched your eyes closed, willing your racing heart to slow with the news that spencer would be okay. despite jj’s calming tone and the relatively good news from the call, you couldn’t help the nagging feeling that your boyfriend was not, in fact, okay.

“thanks, babe. would you mind telling me where you guys are? am i allowed to come visit?” your voice took on a hopeful tone that your hands betrayed, anxiously twirling a loose strand of hair that had fallen out of your bun.

“visiting hours ended a little while ago, but i’m sure i can pull a few strings for you.” your chest deflated with a relieved sigh at the thought of having visual confirmation spencer would be fine. “i just texted you the address, see you soon, y/n.”

“you too. bye,” the phone dropped onto the table with a hollow clatter. you downed what little was left in your wine glass before standing up from the sofa to get ready. you still couldn’t shake the feeling that something was up with spencer so you put in an extra bit of effort to wear some of his favorite pieces of clothing of yours, just to bring a smile to his face.

———————————————

after receiving special clearance from jj at the front desk, you headed down the hallway. you never liked hospitals; you found something about about the stark white, sterile halls cold and off putting.

the door slowly opened, a gentle creak emanating from its well-used hinges. you had hoped your entrance would be quiet enough to let the boy wonder rest, but alas, he had woken up.

though the way his irises glistened in the artificial light when he saw you was just as gratifying.

“y/n, what are you doing here?” the interrogative sounded less like a question and more like an exclamation of awe, but you weren’t complaining.

“what, you didn’t think i’d show up when a little birdie told me my boyfriend was stabbed on duty? some girlfriend i’d be,” you scoffed sarcastically.

the plastic legs of the chair skidded across the linoleum as you dragged it next to the bed. spencer held out a hand towards you to hold, a sure fire sign something was wrong.

he loved affection, especially from you, but he only seemed to initiate it on blue moons.

you gratefully slipped your fingers in between his and gave them a quick, reassuring squeeze. “what happened, hon?”

his amber hues flicked to several spots around the relatively uninteresting room before landing on your intertwined digits. “we raided his apartment just like we usually do and i happened to be the first one to come across him. i saw he had a gun and i’m lucky i ducked pretty quickly or else i might not even be here at all.

“morgan and i moved in on him to make the arrest, but it slipped our minds that the profile said he was hyper-vigilant and paranoid, and i failed to notice knife he had in his other hand and he stabbed me a few times before emily pulled him away from me.” spencer recalled with an expertise that came as a surprise to absolutely no one who knew him.

“you say that like you’re reciting a poem,” you frowned, rubbing a thumb across his knuckles. “you could’ve died, spence.”

“i guess it’s just not that big of a deal to me?” he seemed to question his own statement as it passed through his lips. “i think i’ve grown so accustomed to putting my life on the line that i just doesn’t even faze me anymore.”

“i get it, but don’t you ever - i don’t know - get worried you won’t come back to me one of these days?” you averted your eyes to the floor.

his grip on your hand tightened exponentially, causing your gaze to snap up to his. “of course i do, i worry about you all the time. isn’t it normal to worry about the person you want to spend the rest of your life with?”

his admission of love brought heat to your cheeks and tears to your eyes. “good, good, i’m glad we both agree on that then.” you smiled sadly.

the presence of an oddly heavy silence weighed down on both of you as you sat in thought. “do you ever get tired, y/n?” the genius queried quietly, elaborating when he noticed the confusion etched across your features. “i mean - well - tired of me? of my life being on the line every time i go to work? of thinking that maybe that time you said goodbye to me when i left would be the last time? doesn’t that exhaust you?”

this was exactly what you had been anticipating since jj called. the drawn-out periods of unusual silence, less eye contact than normal, the anxious fidgeting. not that you’d tell him, but you’d subtly began subconsciously profiling as well.

“if you’re asking if i get tired of those things, then yes, i do,” you murmured softly. “but if you’re asking if being with you while i have to deal with all those things is exhausting, then my answer is no. absolutely not.”

another pause. spencer played with your fingers, fiddling around with the ring he’d bought for you as fond memories swirled through his mind. “wouldn’t it be easier if you were with someone else? i don’t know, maybe someone with an average career where they don’t look at dead bodies and arrest serial killers all the time? maybe a barista or something less traumatizing than what i do?”

your lips curled up into a smile as you giggled. “yeah, i mean, of course that’d be easier, but when has life ever been easy? and besides, why would i want a barista when i could have a badass, genius iq level guy like you?”

he grinned, holding eye contact for the longest period of time since you passed through the door. “i think those attributes directly contradict each other, but whatever makes you happy, love.”

the tension had lifted, conversation flowing with ease, yet you could still tell there was something off about reid. something left unspoken.

“hey,” you murmured, brushing a stray strand of hair out of his face. “you sure you’re alright?”

a moment of hesitation flickered through his eyes before he answered. “of course i am. didn’t i say i was?”

“you did, but you don’t have the best track record when it comes to being honest about your emotions.” you watched several emotions pass through his eyes - one of his tells; those hazel hues could be read like a book.

he seemed to take a deep, collective inhale before he spoke in a small voice. “i know you said you weren’t tired of me, but i’m just scared you’re lying. n-not that i think you would ever be untruthful,” he immediately corrected himself upon understanding how his words could be perceived.

“i-” tears brimmed his coffee colored optics, terrifying you for what he might say next. “you’re the most important thing in my life- in the world even- and i’m just worried you’ll leave me. i’ll come home one night when you’ve decided you’ve had enough of this life and you have all your bags packed, ready to leave. i don’t want to lose you. i can’t lose you.”

noticing a few drops had landing on your lap, you realized you’d been crying as he admitted his insecurities to you. “i love you so much, spencer. more than anything in the world. and i know how hard it is to quiet those voices, and i know whatever i say will only be enough to quell them for a while, but you’re everything to me. just know i would never, ever even dream of leaving you.”

you sniffled, wiping the tear tracks from your face when you looked over to spencer. he held eye contact with you, something you knew was challenging for him to do.

“y/n,” he moved a hand to cup your cheek. “if i asked you to stay, would you?”

you let his words sink in and nodded nearly imperceptibly. you laid a kiss on his palm before turning to him again. “absolutely. i am wholly and completely devoted to you, spencer reid.”

his cheeks burned and his brows furrowed, almost as if he was having trouble accepting your straightforward answer. “do you promise?”

you debated a sarcastic response, but you were unsure what his reaction might be in such a vulnerable state, and you didn’t want to find out.

“i do, my love.” you murmured, crossing your pinky with his. he settled, visibly, too, at your admission of adoration. you knew he struggled with fully trusting those around him and you were immeasurably proud of him in this moment.

“are you heading home?” his soft lilt broke the silence that had blanketed the room with its persistent presence. “i wouldn’t blame you if you were.”

“are you kidding? after all that rom-com sappiness you think i want to leave?” you both laughed, basking in the positivity of the moment. “i’m afraid you’re stuck with me. look, i even brought a change of clothes and everything.”

while you loved the adorable look of surprise on his face, you almost wished you could wipe away any doubts he may harbor in his mind about you and your unwavering loyalty. you looked up at him again as he spoke. “are you going to sleep in that chair?”

“i’d lay with you, but you’ve got wounds everywhere and no way in hell am i risking re-opening anything that’s been sealed.” you held your hands up in mock defense, earning a chuckle from the doctor.

“you could, um, put your head on my chest,” his cheeks tinted pink. “i love it when you do that.” you planted a quick kiss on his cheekbone before pressing a longer one to his lips.

every time your lips met, as cliched as it was, it felt like the first again. not in every way, they were missing the same awkward teeth clashing and spit swapping as the original, but you could almost feel every ounce of passion jolting all the way through your being. and most assuredly, spencer reciprocated your feelings as he chased your lips every single time they made to retreat from his.

you pulled the chair as close to the hospital bed as you could and rested your head on his chest. the lyrical, constant beat of spencer’s lulled you to sleep, creating a symphony just for you.

before your eyes closed, you intertwined spencer’s fingers with yours, prompting him to look down at you. “i’ve got promises to keep, and miles to go before i sleep.”

though he knew it was medically impossible, spencer reid’s heart leapt a mile in his chest at the irrevocable love he felt for you, both in that moment and always as he completed the line, “and miles to go before i sleep.”

********************

guys wait i think this is the first ending i’ve written that i actually enjoy and i just finished this at 1am last night and i am so sleep deprived

please let me know if you want to be added/removed from my taglist!!

tags: @sojournmichael @stinkyelf @crazyfore3 @cal-ifornication @eggygorl02 @howdycharlie @eosprincess @mortallythoughtfulgurl @illuxions-x @unlikelyempathpruneauthor @blankets-for-bees @holycandypizza @flyingbabyunicornnamedangel @lovelyrdjr @minnie-bby @fantastic-fans @ashwarren32 @rexorangecouny @elitereid @keomoon @achieveonyourown @whogirl7 @jjtheangel @carol-danvers-wife

#vicficwriterchallenge #spencer reid #spencer reid x reader #spencer reid imagine #spencer reid oneshot #spencer reid fanfiction #spencer reid fanfic #spencer reid fic #spencer reid angst #spencer reid fluff #spencer reid criminal minds #criminal minds #cm #matthew gray gubler #matthew gray gubler character #mgg #mgg character #my writing

440 notes · View notes

alwaysalreadyangry · 3 years

Note

Charlotte, I've wanted to get into poetry for a while but haven't really known where or how to start, mostly because I have this kind of maybe weird tendency to rush through poems like I'm gulping down water. Curious how one actually like, reads and enjoys a poem; would love to hear your thoughts on reading and reception. Also I'm looking for lush, angry, queer, weird poems filled with longing, and would love to hear any suggestions or recs you might have!

ooh this has been really interesting to think about!! have been rolling it around in my brain for a while.

so, first off, a disclaimer: i don’t necessarily think i am a great or even a very good reader of poetry a lot of the time, and that’s fine -- if it’s worth doing it’s worth doing badly, etc. i am easily distracted and i tire out quickly and my magpie brain will focus on like, the language of a poem to the detraction of all else, and unless i’m being paid to write about a book or a poem or something then i don’t think reading in a way that feels wrong or inadequate is a problem on its own. sometimes i just enjoy quickly skimming for the language, and that’s good, that’s fine.

BUT for wanting to read to get more pleasure from poetry: i tend to say to read it like this the first time if that comes naturally to you, as it often does to me. skim, read it through without paying attention to the narrative or syntactical structure, but instead just looking for anything that makes your brain sparkle -- for me it’s going to usually be imagery and/or sound-patterning. see if there’s anything that makes you curious enough to dig in, any lines or sentiments that you like on their own. the surface-level or immediate pleasures with poetry are great and often what makes it worth digging down into the other stuff.

then, if you want to dig into a poem, it’s time to re-read! this time i’d recommend reading with closer attention to the most straightforward level of narrative or meaning: what is the poem most obviously saying? i am not someone who subvocalises, and sometimes my instinctively fast reading speed makes it hard for me to actually do this if the poem is at all playing around with language. in that case, it helps to read out loud, and to only move on from one sentence or stanza (or whatever unit of meaning the poem is using) once i have figured out what it means on a semantic level. depending on the length of the poem, once you’ve figured out as much of it as you can or care to, i’d recommend another quick read through to try and consolidate all of that in your mind.

then -- well, then you’ve kind of got the basics and the stuff that you’re interested in, and it can be fun to look back at the bits you liked in the first place to see what they mean to the rest of the poem, what they mean in terms of what the poem is saying. it could be that a rhyme or a repeated use of assonance emphasises something... you might find that two words are being linked by internal rhyme that don’t seem to have much to say to one another otherwise. is there any meaning there, in that connection? does it change what the poem says? how does the poem and what it does make you feel?

and depending on the poem you then want to just read again looking for anything else significant. is there a part of the poem you dislike? if you reread looking out for that, can you work out what’s going on there and why you dislike that aspect of it?

this will only work with certain types of poem, admittedly. i like a lot of poetry that is more innovative and abstract, where i have no clue what a poem is saying or doing, but i like the language and the feeling of the syntax inside my brain. so i’ll reread those a few times but don’t really have a semantic framework to get into them. it’s more about the language.

and then there’s visual poetry which doesn’t make use of words but of like -- shapes or the relation of shapes to space, and then it’s just about, idk. how i decide to try and “read” those relations and shapes, which i have no real roadmap for. i often just find myself staring at it like i would visual art, or trying to somehow reenact the shapes with my body as i “read” (like when i read a visual poem earlier today that is just a sequence of bells ringing in different directions -- to keep track of it i followed the bell’s movement with my head, tilting it right and then left).

does that make sense? i truly think that we don’t need to understand poetry to enjoy it; that there’s no right way to read or enjoy poetry, and that if we find we’re reading a poem that doesn’t interest us or make us happy, you can just stop. although if a poem makes a reader uncomfortable it can be a good idea to follow this kind of reading pattern to try and work out why! i hope this makes sense -- i’m afraid my answer is essentially just “reread the poems a lot”, but it’s good to go in knowing what to pay attention to each time, even if it’s just “this time i pay attention to what i like” and “this time i pay attention to what i dislike”. my brain needs structure like that because otherwise it is too flighty and sticky and will just roll around one phrase it likes in there for hours.

in terms of poetry recommendations, this is oddly tricky because there’s such an unexpected gulf between UK and US poetry -- i read more UK poetry and while there’s been a big explosion in the amount of interesting & vital queer poetry being published here over the past decade or so, a lot of it is relatively hard to get hold of unless you’re constantly keeping track of all of the new presses publishing pamphlets. so this is going to swing more US-focused but i will see if there’s any UK stuff i can think of too.

so first off, a cheat: i would recommend getting hold of these two big anthologies of trans poetry and having a look through to see if any of the writers grab your attention. hopefully academic libraries will have these or will get them on request? i say, hopefully. there is we want it all: an anthology of radical trans poetics, which came out recently (and i don’t have a copy yet). and then there’s troubling the line: trans and genderqueer poetry and poetics, from 2013. not as politically radical i’m guessing, but still could be worth looking through to see which writers you connect with.

i am drawing a blank on other anthologies right now, but in terms of exploring UK poetry, you can access issues of the zine zarf online here and i recommend it. not all queer but the editor is and there’s a great collection of stuff in there. i also recommend getting hold of their pamphlets as PDFs here, try alison rumfitt and gloria dawson.

second off, these are some poets i think you might like, i will link to some sample poems. mostly contemporary but not all:

dawn lundy martin

CAConrad

jackie wang

robert duncan

jack spicer (PDF)

jay bernard

miriam bird greenberg

sofia samatar

samuel the nagid

vahni capildeo

sophie robinson

frank o’hara

agha shahid ali

i am sure there are many many others i am forgetting but! i hope this is helpful!!!

#answers #poetry

25 notes · View notes

demenior · 3 years

Text

Dem’s Big Post About The Spn Fics Part 2/2

aka The Wrap Up to celebrate To Exist Again and To Become a Man now being finished!

[Part 1 here]

This part will cover reader questions. Thank you to everyone who submitted some, and please feel free to continue asking if you have any. The series is VERY high-concept in areas and can be confusing. I’ll always answer as best I can without spoiling upcoming events <3

[Kid Cudi voice] now look at this:

HUGE thank you to @lookforaspoopynewangle for this amazing manip that I need everyone to see and love. Click here to reblog it and spread the joy.

InkofEmrys asked:

A couple random questions I'd throw at you: how far into TEA did you get/have a visual for the depth of Dean's struggle with himself and his sexuality that were happening in the background, which ended up being such a big theme in TBAM? Really, just; how much of Dean's perspective was already shaped in your mind as you wrote/began to develop TEA? And, when did the grounding principle of Dean trying not to be like his father when trying to chart this path with Sam first occur to you as something you wanted to really involve? Also, I'm really curious. (Read: bracing myself in mild fear). Whose perspective(s) do you think you'll end up writing the third work from?

From the getgo BOTH Sam n Dean’s stories were about how they had to find an identity outside of their fathers’ shadow. Almost immediately it was obvious that this was easy(er) for Sam, and life-altering for Dean. This is part of where I ultimately made the decision to split Sam and Dean’s stories because their narrative themes didn’t fit the same flow.

The explicit mantra of ‘I am not my father’ was a product of writing, and not intentional. I didn’t set out to make Sam or Dean specifically antagonistic to their father, because that is their Dad! They love him and miss him. But I did want to include just how difficult John made it to love him because he caused a lot of trauma to/for his children.

I’ve joked about this series being actually about Sam n Dean going through a secondary puberty of sorts. In the sense that, while John has been an absent father and they’ve been away from him most of their adult lives, while John was alive he had a huge presence over them and how they lived. One that continued to follow them after his death, and then by the time they were a few years away from that— they were facing down the apocalypse and had very little time for personal journeys other than ‘I love you enough to die for you’ and ‘I love you enough to let you die for me’. So this story is more about the time period where Sam and Dean have space to breathe and to realize ‘oh Dad’s not going to show up and force us to do what he wants anymore’ so they start poking around and finding out what they want to do and who they want to be

I knew from the beginning that a big aspect of Dean’s story would be dealing with feeling like he’d failed to honor his fathers’ memory by being queer, and not being het like he felt his father had forced him to be by raising Dean to be hypermasculine. It was also important to me to highlight that this was a closet of many factors, and not because John explicitly told Dean not to be queer. Things like the very hypermasculine hunter community, the period of time Dean grew up in, Dean’s intensive self-loathing and criticism of himself. What I didn’t expect was HOW MUCH story would come out of that. I fully intended Dean’s story, even in going back to “season 4” and working our way back to the events of TEA, to only be a little bit longer than Sam’s story.

While writing TEA I had the timeline of Dean’s pov in the back of my mind. I knew Cas was going to open the conversation (his ‘I love you’) to Dean early on, and I knew they wouldn’t be together-together until Sam walks in on their kiss (I hadn’t planned for that to be their first Real Kiss while writing TEA, but it worked out that way in TBAM), but I did know that Dean would have a pretty strong moment of realizing he was likely in love with Cas as well while they were in purgatory

Several povs will come into play in To Destroy a Man. I can tell you for certain that we will have rotating between Sam and Dean, and that the story will be set a few years after the events of TEA/TBAM

Anon asked:

Wrap up question: how did you decide to lead into Cas’s no-good-very-bad day the way you did? I feel like if I tried to write something as dramatic and intense as that I’d get seriously bogged down in trying to write a convincing set up. Why are the bros there? What case were they working on when they learned it was a trap? The way you wrote it I never even questioned any of those things- and that’s a sign of great writing imo! But I’d love to know more about your process for when you decide to go light on detail and when you choose to go deeper!

tl;dr: I made it boring af to know what they were doing!

But more to the point, one of the ‘weaknesses’ I highlighted about this fic, is that all the development happened in very tiny segments and little personal moments, rather than big flash n bang scenes all over the place. There was no driving plot beats to give a reader any footing to guess where the story would be going. This was a strength in that it meant I could surprise Sudden Action onto the story without warning— but it also had to be done wisely! You’ll note there are VERY few Surprise Action/Drama Moments: Sam shooting Naomi, when the leviathans swallow Dean, Sam corrupting Amy, and then Cas’ no-good-very-bad-day. Because most of the action has happened off screen, and the pace of the series is slow, suddenly leaping into action feels intense if only for the contrast!

In any case, all the details? Like: what was the case? Where are they” How far into investigating are they? I personally didn’t care about them. They were so inconsequential that it would have just wasted everyone’s time to spend a few paragraphs nicely laying out all of the information. I think the most I say (in ch25 of TBAM) is “They got notice of weird stuff that could be their kind of weird, so they went poking around.” Because I the writer don’t care that much, and because Dean the pov character doesn’t care that much about the info, then neither does the reader.

Light vs deep detail. A lot of it really came down to what I personally found interesting to write. Obviously self-reflection was a big theme in both stories. In Sam’s story I really wanted to write about magic! And explore magic. So most of Sam’s story deal with his magic powers or conversing with his hallucinations of Lucifer, rather than on details around him. In Dean’s I really wanted to explore a man caught between himself and the things he wants. It really came down to what deserved details and what didn’t!

Thank you all for reading! See ya soon <3

#the love it takes series #to exist again fic #to become a man fic #dem speaks

9 notes · View notes

sir-phineas-lost · 3 years

Text

Follow-up post

So I got a reply to my comment about the ableism in Ironwood’s character arc by @swapauanon and then they immediately blocked me. Since I am sometimes a petty bastard I decided to make a separate response anyway.

The first thing I would like to point out is that this person does not actually address my points in any way throughout this lengthy rant. My comment was all about the behind-the-scenes comments from the creators and they only responded with in-text examples and their interpretations of them. Those are important sure, and I will talk about those, but they don’t exactly come off as arguing in good-faith right from the get-go.

Okay, so I don’t TYPICALLY acknowledge RWDE’s beyond blocking them, but I think it’s important to separate how Ironwood views himself versus how the writers view him.

Because Ironwood’s entire downfall is his misunderstanding of how humanity works. He denies his own humanity, and sees maiming his vulnerable flesh and replacing it with unfeeling machinery as ridding himself of his own human weaknesses.

Except at the end of the day, he can’t cast off his VERY human soul, and his refusal to acknowledge that he can’t and SHOULDN’T do that are ultimately what leads to his downfall.

I have seen this “Actually it is just Ironwood himself that is ableist” argument before, and I don’t think it holds any water. While it is true that he begins to see compassion as a weakness, he never expresses the views you say he does about his own machine parts. And if you want to talk about how Ironwood sees himself vs how the writers see him you really can’t do so without talking about framing and subtext. When we get scenes that emphazize Ironwood’s machine parts to make him look intimidating or use his passive superpower (described as “hyper-focus” by the creators themselves) to shut off his empathy, that is the writers telling us that these physical aspects of Ironwood makes him less human.

Meanwhile, what V8C12 was TRYING to convey (even if it was horrible in its execution), was that it’s one’s SOUL that defines them, not the body that houses it.

Literally NO OTHER CHARACTER with mechanical parts added to their body views themselves as less human.

[...]

Penny doesn’t angst over not being human, she angsts over being treated like a soulless tool. (Which is why I don’t like that they turned her human. Had they set up that she’d wanted to be human back in Volume 2, it would’ve been one thing, but they don’t establish that Penny wanted to be human until AFTER her mechanical body has been discarded.)

So here they outright contradict themselves. They start off saying that no other character views themselves this way, and then go on to say that Penny does (but only after she has been turned human). And like, points for admitting that scene was bad, but they seem unwilling to consider that maybe the fact that the writers did include that scene tells us something about the way the show at large views disability. They seem to think they can just write it off and move on like this instance of Penny absolutely seeing herself as inhuman can just be ignored. it also disregards that this isn’t just Penny expressing how she feels about herself. When Penny gets her human body she expresses surprise that hugging someone makes her feel “warm inside” even though she has hugged people countless times before. This is not a villain saying that having machine parts makes you less human and being proven wrong, this is a hero saying outright that “wow, my mechaniocal body made me unable to appreciate this simple human interaction, but now that I have a flesh-body I can”. Things like this is why I do not buy the argument that it is only Ironwood who thinks being part machine makes you less human.

Mercury doesn’t angst over the loss of his legs, he angsts over the piece of his soul his father tore out.

[...]

While Yang DOES lose her arm and angst over it, she doesn’t view herself as less human because of her prosthetic.

The closest we get to a LITERAL “cybernetics eats your soul” story is with Cinder, and she doesn’t have ANY cybernetics, just a parasitic leash that’s slowly consuming her flesh and threatens to eventually consume her mind if she doesn’t get rid of it. And if/when she does, I imagine she’ll replace that with a mechanical arm.

(I moved a few parts of their post around here because it made more sense to me to talk about these quotes together)

I feel like this highlights how much this person completely ignores the core argument of what makes the themes in RWBY ableist. They focus way too much on the literal and whether the characters “angst” over their humanity. But like I have said before, thie main issue here is theme and subtext.

Mercury doesn’t “angst” over his legs, but that doesn’t erase the subtext inherent in the fact that he still lost his legs (and presumanbly the piece of his soul) at the same time as he joins team evil.

Yang is probably the best take on a disabled person with a prosthetic in the show. I will give it that. I don’t think there is anything particularly wrong with how it has handled this storyline, but I do think it sets a certain expectation for how it thinks a “good” person should handle their disability. Because Yang basically deals with her lost arm by seeing her prosthetic as an “extra”. She creates a distance between herself and it instead of seeing her mechanical arm as actually part of herself. Again, nothing inherently wrong with that but combined with the Penny-nonsense it creates a pattern of seeing machine parts as inherently inhuman and “lesser”.

The point about Cinder is where the argument relies too much on technicality. Sure, Cinder’s new arm isn’t cybernetic, bhut it is still a prosthetic and it is unambiguously presented as evil and corrupting.

So, no, it’s not the fact that Ironwood has prosthetics that makes him less human, they’re simply a symptom of his view of “soft” traits (kindness, empathy, forgiveness, and flesh), as weaknesses to be sacrificed for the “greater good”. Basically, while I know this term gets misused a lot, Ironwood embodies toxic masculinity. The idea that showing any emotion other than rage and pride is “shameful” and “unmanly”. The idea that brute strength matters more than strategy. That taking unnecessary risks to achieve your goal is “brave” and “daring” and not “stupid beyond belief”. Plus, I want to point out that WINTER HERSELF said that Penny (as a robot) was more “human” than her.

Again, this completely ignores how Ironwood and his prosthetics are framed by the narrative. The idea that all of his flaws are based in toxic masculinity and have nothing to do with his disability is just not very supported by the text or by word of God (again, it was the creators themselves who said that losing his arm was “symbolic of losing his humanity).

And Winter’s words to Penny aren’t very positive either. The point being made there is that Penny was always human “underneeth” her robotics, which sounds good until you realize that this still frames her mechanical differences as negative. They are treated as a prison for the “real” Penny and the narrative explicitly tells us that they have made her unable to feel certain emotions.

It’s just that searing off that flesh after breaking his own Aura serves as a good visual metaphor for Ironwood giving up his “softer” traits to accomplish his goals, even if there was a better solution staring him right in the face (i.e. the rings were EXPOSED and he could’ve just nudged them out of alignment to get to Watts).

This feels like a really big reach on their parts to justify their idea of Ironwood as stupid on top of everything else. It relies on assuming things about fictional technology that was never explained in the show itself. I mean, if the rings are so easy to nudge then what is even holding them in place?

Either way it doesn’t really matter because the message of the scene is the same. If the point is to signal that ironwood is willing to give up his softer traits because he is also willing to give up his soft bady, then that also tells the viewer that being able-bodied and being capable of compassion/kindness/etc are synonymous.

It has nothing to do with the metal, and everything to do with the “Mettle”.

I have no idea why they would bring up the fantasy neurodivergence the writers added in through word-of-God as if it somehow makes the show less ableist. “Mettle” as it is described by the writers, is not a character flaw. It is a chronic condition.

Edit: Seriously, I hope you realize that the hatedom makes it VERY hard for any criticism of the show to be taken seriously when the very VALID cricisms are downed out by “Adam should’ve been an anti-hero!” and “Fascism is good, actually!” leading to those of us with ACTUAL constructive criticism getting lumped in with you lot!

I am curious what they think “constructive criticism” looks like since apparently “Hey, constantly equating robot parts with inhuman behavior is shitty and ableist, please stop” doesn’t cut it.

Anyways, fuck this guy. If they want to be taken seriously maybe they should think about why they had to make such a long-ass rant to dismiss criticism of very basic ableist tropes.

#rwby #rwby meta #meta #rwby critical #rwde

27 notes · View notes

schleierkauz · 3 years

Text

Q&A Highlights

Ok so bad news first: My questions were ignored. Cornelia did not clarify any of our death-related theories. Maybe next time.

There was A Lot of other stuff, though so... Enjoy!

- The stream starts with everyone wishing us a happy women’s day! Usually women in Erfurt (where the bookstore people are) get flowers but not today because... you know. Cornelia says America is starting to go back to normal, meanwhile Germany... :| Anyway. Don’t look over here.

- Cornelia says she probably won’t get the vaccine anytime soon because she’s just chilling on her farm anyway and people who have to be out in public/are vulnerable should get it first

- Question: When will Cornelia visit Germany again? In response to this, she gives us some exclusive news, not official yet, heard it here first: She’s gonna move to Italy! Apparently she bought an olive farm there which is cheaper, better for the environment (her current farm will be sold to some people who want to turn it into an organic farm) and obviously closer to Germany so she’ll be here more often. :)

- The 4th Reckless book will be released in English at some point this autumn

- There’s no definite release date for TCoR because she’s busy with Dragonrider but she hopes she’ll have finished writing it by the end of this year

- If she’s still alive after all that to work on Reckless 5, it’ll be the last book of the series... probably. She’s also working on a bunch of smaller projects with her artists in residence

- Question: What are Cornelia’s favorite stories by Jane Austen, the Brontë sister and Shakespeare? She’s not a huge fan of Austen or Brontë because she finds all those repressed emotions too exhausting to read about. With Shakespeare on the other hand she struggles to name a favorite because there’s so much greatness to choose from (she does name MacBeth and Romeo and Juliet though)

- The Black Prince’s legacy in the Reckless timeline may play a role in the next Reckless book or it might evolve into a whole other story. Either way, she’s thinking about it 👀

- Someone asks about Reckless characters and Cornelia says that Kami’en and the Dark Fairy felt very familiar to her from the start in that she always knew who they were as people. She’s not sure why that is. She thinks the Dark Fairy represents many aspects of womanhood, like the ancient forgotten Goddess. Same with Fox, who embodies different sides of that.

- If Cornelia had to date a man from the Mirrorworld, Kami’en would interest her

- Rainer Strecker randomly joins the chat to say hi and everyone is delighted

- Cornelia’s favorite book series is still Lord of the Rings

- Question: Why has the Black Prince never found his true love? Cornelia says she’s not sure that’s true - maybe he did found true love at some point and then lost it again? ‘...and they lived happily ever after’ isn’t a guaranteed outcome after all. Since he’s such a passionate man, she’s pretty sure he’s had at least one big lovestory at this point. She hasn’t asked him about that yet but hopes she’ll find out when she continues writing his story.

- Jumping off that question, Cornelia says she respects her characters’ privacy and lets them keep their secrets until the time comes to ask about them, just as she would with real people.

- Someone asks if Cornelia has ever written herself into a story and she says a part of her is in all her characters. Except the villains because she hates them. She feels closest to Fox because she also always wished she could shapeshift

- The bookstore lady jumps in and asks about Meggie, is she similar to how Cornelia was as a child? Cornelia says yes, especially because she also had a very close relationship with her father and they would bond over books. However, she always envisioned Meggie with dark hair and as a different kind of girl than she was. (Ok sidenote from me on that, I wonder what she means by ‘dark hair’? Because Meggie is explicitly blond, so like... dark blond? Or did we just unlock brunette Meggie in 2021? Cornelia-)

- Continuing the conversation, Cornelia says she doesn’t consider herself the creator of any of the characters in her stories, she feels like she met them and wrote about him but she would never say something like ‘I invented Dustfinger’ because that’s absurd. How would that even work. That’s disrespectful. No.

- Some characters pretty much demand to be written about and are very impatient (like Jacob), others are more shy and elusive and take effort to understand (like Will or Dustfinger)

- There probably won’t be another book like The Labyrinth of the Faun because it was created under such unbelievable circumstances. Cornelia does enjoy writing film scripts, though, like she did for the Wild Chicks recently

- Question: How does Cornelia come up with character names? She has a bunch of encyclopedias and when she knows where a story takes place she checks if there are any artists from there whose names she can steal. She always wants names to have meaning and to paint a picture of whatever character it belongs to. However, she says that sometimes the vibe of a name is a tricky thing: When she wrote The Thief Lord (which takes place in Italy), she thought ‘Mosca’ was the perfect name for a big strong boy. However when the time came to translate the story into Italian, the Italians told her that ‘Mosca’ sounds like the name of a tiny little fly. Oh well.

- Cornelia says a lot of readers have written to her about The Thief Lord because at one point Victor (the detective) calls Mosca (who is black) a “Mohrenkopf”. Context: ‘Mohrenkopf’ is a German slur towards black people and also an outdated name for this goddamn marshmallow cookie:

Fuck this cookie.

- Cornelia says yeah, Victor is being racist in that moment but that doesn’t mean that she, the author, is racist. Similarly, she used the term ‘Indians’ in Reckless and a lot of readers were upset which she did not anticipate. To her it’s a positive word since she admires ‘Indians’ so deeply and finds terms like ‘Native/Indigenous Americans’ very complicated. She wonders how much longer she’ll be allowed to say ‘Black Prince’

- She thinks it’s right to be vigilant about bigotry but simply searching for problematic words is dangerous because context matters

- Bookstore lady brings up Pippi Longstocking and how the N-word has been removed from modern copies (think Pippi’s father). She think’s it’s wrong because the original text is part of the cultural heritage and shouldn’t be hidden from children but instead explained.

- Cornelia says that in America she sees the hurt that’s connected to that word but she doesn’t think it’s right to simply remove the slur and expect everything to be fine. After all, the text in which it was used is still the same so any harmful ideas would still be in there and that needs to be discussed. Simply whitewashing things doesn’t make them any less racist.

- Cornelia brings up a visual example: The Asterix comics. She always liked them but the fact that the only black character is drawn as a racist caricature is harmful and wrong. It’s time to listen when black people express how hurtful depictions like that can be. Many white people never noticed racism growing up because it never affected them and that’s why it’s important to learn

- The ‘from rags to riches’ American dream was usually reserved for white people and Cornelia thinks a lot of (white) people are waking up to that fact. The way black people are still being criminalized and the way prisons use inmates for cheap labor is horrible and like a modern kind of slavery

- The bookstore people try to say something but Cornelia is not done: We Europeans are not off the hook either because the sins and wounds of colonialism are still felt around the world, not to mention the way other countries are still exploited today. Our wealth rests on the shoulders of poorer nations. Many doors are opening and it’s difficult to step through but we have to do it and admit to the things we may have been blind to due to privilege.

- The three of them agree on that and go back to reading questions

- Question: What are Cornelia’s tips for young authors? She advises to never start writing a story on a computer, always get a notebook and collect ideas & pictures for your story. Don’t rush things. If you have more than one story, give each story its own book and feed whichever one is hungry. It’s important to follow the idea where it leads, if you use cliches your readers will recognize them. And then it just takes time and passion. And trust in your own unique voice. She paraphrases a quote by Robert Louis Stevenson who once said no one cares about stories or characters or whatever, people read books to see the world through the goggles the author puts on them. I’m sure he said it prettier, I’m paraphrasing the paraphrase.

- That said, Cornelia thinks authors who say things like “I’m writing to express my innermost turbulences” are kinda dumb. She thinks it’s important to write about the things that happen everywhere else and around yourself and to try to find voices for others, not just yourself. Just like how carpenters build furniture for everyone else, a writer should use words to build things for others, whether it’s a window or door or a hiding place.

- Speaking of notebooks, as most of us probably know Cornelia has a lot of those and occasionally publishes them on her website. She says she’d love to let people look through them in person, maybe at the new farm in Germany (Cornelia sure does love farms)

- Speaking of writing things on paper, all three of them stress that everyone should write more letters because one day they’ll be old letters and curious people will want to read them, just as we like to read old documents now.

- Last question: How come both the Inkworld and the Mirrorworld feature a character called Bastard? Cornelia thinks that’s a good question and she should probably think about that. (Am I stupid? Are they talking about Basta? I’m confused)

...And with that, the livestream ends. They’ll get back together to do this again two months from now, until then: I’m going tf to sleep

#its 4am fuck me this took SO LONG-#cornelia funke #info #reckless #inkheart #man this was a long one #a lot to unpack here #thanks cornelia i have more questions now hdfhkjghd #i googled way more slurs than i had planned for today ngl #i really really hope i managed to accurately translate especially that part of the conversation #honestly i cringed a bit hearing them talk about it #but it is an important discussion i suppose #also @ the people who actually read my tags:#thank you for the good luck wishes for my interview today!! it went really well!#i was vibrating the entire time bc its been so long since i talked to a stranger #but i got the job :) so all is well

25 notes · View notes

shefanispeculator · 3 years

Link

I'm slightly disappointed to log onto Zoom and find Gwen Stefani in Los Angeles. I wanted to see the ranch. Stefani spent most of the pandemic in Oklahoma with her fiancé and fellow The Voice coach Blake Shelton, with whom she has recently collaborated on a string of country radio hits, alongside a kitsch Christmas song. For a ska-pop superstar, it's a pivot, but Stefani and Shelton are cute together — picture-perfect in their opposite attraction.

Country Gwen exists, her urban counterpart assures me, but on this particular MacBook she's nowhere to be seen. I'm not sure what crude regional stereotypes I was expecting (Stefani spitting sunflower seeds? Shelton line dancing in the background?) but I get Californian sunshine instead, illuminating a version of Stefani more familiar from my teenage years, when Love. Angel. Music. Baby and its follow-up The Sweet Escape spawned millions of fans, haters and imitators. She's platinum blonde, red lipsticked and wearing a black-and-white outfit that matches the decor. The checkerboard pattern can be traced back to an even earlier era, when Stefani and her No Doubt bandmates were '80s teenagers obsessed with two-tone acts like Madness and The Specials.

Cowboy boots wouldn't fit this picture, and nor would Stefani's glitzy showgirl outfits from The Voice, where she just wrapped another season as a celebrity coach. As she prepares to release her fourth solo record, and enters the fifth decade of an extraordinarily successful music career, Gwen Stefani is re-re-branding as... Gwen Stefani.

Top: Local Boogeyman, Pants: GCDS, Shoes: Valentino, Earrings, bracelets and rings: Dena Kemp (The Residency Experience), Necklaces: Gwen's own, Engagement ring: Gwen's own

"But what is that?" Stefani asks with seriousness, as we consider the possibility of some essential, inherent Gwen. "Everyone's interpretation of what I am and how I sing, I mean, that's what this era is about for me."

Said era kicked off late last year, with the music video for "Let Me Reintroduce Myself." It saw Stefani playfully revisit the wardrobes of album cycles past, from the ab-bearing tomboy tank tops of "Hollaback Girl" to the club kid blue hair mascara of '90s No Doubt. Her Harajuku Girls also make a return. The entire visual is a huge flex, not only for the sheer volume of iconic career moments recreated in dutiful detail, but the fact Stefani can still fit into the clothes originally worn during all of them. She looks eerily the same, frighteningly good, ageing in reverse at the same pace as her frequent collaborator Pharrell.

"It's really a blessing to be able to have such a long career, where there really is nothing to prove anymore."

Pop stars are expected to be young forever, in looks but also in their capacity to innovate new trends. Which makes the nostalgic music video a curious choice. Doesn't Stefani know by now that the cardinal rule of pop is to avoid repeating yourself? That even the hottest artists in the world are basically required by law to create completely new eras from scratch every six months in order to appease fans and maintain maximum TikTok-ready relevance?

Of course she does, but that doesn't mean she has to participate. Stefani isn't trying to chase down her contemporaries, despite clearly possessing the physical fitness required. "It's really a blessing to be able to have such a long career, where there really is nothing to prove anymore," she says. "It's a different energy. You know, it's really just about doing it to do it, as opposed to trying to make a statement or make a mark."

Corset: Ronald van der Kemp, Bracelets: Dena Kemp (The Residency Experience), Earrings: Lana Jewelry (The Residency Experience), Engagement ring: Gwen's own

Even the Saweetie remix of her latest single "Slow Clap" happened on a whim, after the younger artist happened to post a video of herself vibing to Stefani's 2004 single "Luxurious" on Instagram Stories. They knocked out the song and accompanying video in a day. Neither seems bothered by the Old Navy meme. "It was just this little video that we did on the fly," Stefani says. "It just happened. It just feels good to put new stuff out there."

Stefani completed a two-year Vegas greatest hits residency in 2019, which gave her a sense of perspective on her own legacy. "You make a new record because that's what is exciting for you," she says. "But people really just want to hear the records after a while that were the backdrop to their lives, a 'Don't Speak' or a 'Just a Girl' or a 'Hollaback Girl,' or whatever it was for them. So, you know, it's hard — you can only be new when you're new, and that's just the truth, and I know that."

She says she was pleasantly surprised that "Let Me Reintroduce Myself" charted at all, and that she only found out it did when Shelton walked into the kitchen to show her the iTunes numbers. "I burst out crying with joy, because it was like, 'Whoa, really?' I think I'd set myself up to be quite realistic about where I'm at."

Stefani, endlessly polite and self-deprecating in conversation, which on her end mostly consists of endearingly earnest run-on monologues, says she still has "tons" of insecurities. I get the impression she has been trying harder to give herself credit lately. She recalls recently hearing Cyndi Lauper's "Girls Just Want to Have Fun" on the car radio and finding herself in awe of the song's timeless catchiness.

Suit: Balmain, Earrings and choker: Lana Jewelry (The Residency Experience), Necklaces: Gwen's own

"But then I started thinking," she says, in a goofy Cher Horowitz tone. "Like, I have a few of those myself." She talks of this realization as a genuine breakthrough, which is a little worrying for a woman who has sold 40 million records. No shit, she has a "few of those." More of them than Lauper, actually.

More new music is coming along slowly, but I've caught Stefani on a day when the horizon looks closer than usual, and while things haven't quite fallen into place yet, she's feeling more confident that they eventually will. "I'm at the end," she declares. "The idea of going for a session and not being with my kids or the idea of taking time away from Blake doesn't fuel my fire like it did two months ago. I need to decide, wrap it up, put out the project."

Crucially, there's no rush. The album will simply arrive sometime this year, tracklist and title currently undecided.

"You're talking to me at a weird transitional time," Stefani says repeatedly throughout our conversation, which sometimes takes on the cathartic tone of therapy. But having time in the first place is a new feeling.

Bracelet and choker: Dana Kemp (The Residency Experience), Obsession necklace: Lidow Archive, Gold necklaces: Gwen's own, Clothing: Blumarine, Boots: Philipp Plein

NO DOUBT WERE A BAND for nine years before getting on the radio. Enough time for Stefani and bassist Tony Kanal to be in a long term relationship then break up and write a whole hit album about it. All of the Fleetwood Mac drama was resolved pre-fame, which enabled the group to capitalize on the surprise success of Tragic Kingdom singles like "Don't Speak" and "Just a Girl" with a world tour that lasted almost three years. Three more albums followed, and Stefani has reinforced her household name status in every decade since, launching a solo career and multiple fashion lines while never totally cutting the cord from her original musical project.

In other words, record executives have been dictating Stefani's schedule since the mid-'90s. She even sings about it on Love. Angel. Music. Baby opener "What You Waiting For," in which her biological clock ticks like a metronome. Interscope Co-Founder Jimmy Iovine, who discovered No Doubt and continued to work with Stefani on her solo output, was quick to point out that his client's prime childbearing years were also her last opportunity to cross over into pop stardom. And after her first record went number one, it only made sense to lay down some new tracks straight away.

"Whether or not I get the response that I would hope to get — because that's what I'm used to, because I'm so damn spoiled and I've tasted the blood of success — I still got to do the creative journey."

"I had the baby, the first one, and it was only like eight weeks after I had him, that Jimmy was calling me saying, you've got to go in the studio with Akon," Stefani recalls cheerfully. "Like, Akon wants to work with you. Like, no, I'm nursing my baby. But then I couldn't say no." And then? "We wrote 'Sweet Escape.'" And then? "I went on a world tour." And then? "In the month that I got home from that one hundred and whatever shows it was, I got pregnant with Zuma. So then that was that." (It wasn't. Admittedly: "Then it was like, No Doubt, let's do another record.")

Things are different now: "You can just drop singles and you don't have to put a record out. But if you want to put a record out, you can work on it slowly." But even as she talks of slowing down, speculating that she might not even go on tour after the pandemic ends, in the next sentence Stefani's back to admitting that there's more work to be done, that she wants to write a couple more songs for her new record, "just to make sure."

Earrings: Lana Jewelry (The Residency Experience) Choker: Chanel, Necklaces: Gwen's own, Gloves: Laurel DeWitt, Top: Local Boogeyman

"The creation is the thing that fuels me so much," she says. "Whether or not I get the response that I would hope to get — because that's what I'm used to, because I'm so damn spoiled and I've tasted the blood of success — I still got to do the creative journey."

Like any good lyricist, she reaches out to her listener, hoping to convey a more universal point. "It's just probably the same for you as a writer," she guesses. "You know, it's the anticipation. You're in it now. You're getting the information. This is what you live for. You're doing the interview and then you're going to write it. And that's going to be the challenge."

GWEN STEFANI WAS PUTTING out diary entry pop when Olivia Rodrigo was still in diapers and Taylor Swift was but a humble Pennsylvania Christmas tree heiress. She struggles to pen lyrics that aren't confessional ("I'm not a creative writer when it comes to like, 'Oh, let's just write a sad song about something that didn't happen to me'"), and occasionally re-traumatizes herself when performing old hits. Return of Saturn deep cut "Dark Blue" triggers "crazy, just horrible" recollections of a past relationship. Even "Don't Speak" felt emotional onstage in Vegas.

But after releasing an excruciating divorce album, This Is What the Truth Feels Like, in 2016, Stefani is back to writing happy songs only. She's getting married, after all. She won't be releasing any of her trademark breakup anthems anytime soon. "Girl," she laughs, "I think I've had my fair share."

Bow: Laurel DeWitt, Earrings: Lana Jewelry (The Residency Experience), Bracelets: Dena Kemp (The Residency Experience), Shirt: Vintage Archive, Dress: Erdem, Tights: Capezio, Shoes: Marc Jacobs (Lidow Archive)

Stefani and Shelton's relationship has puzzled some fans. Shelton, a country radio phenomenon, never endorsed Trump in the 2016 election, but he did come close. Earlier this year, he was criticized for releasing a song called "Minimum Wage," about finding small joys during periods of economic struggle, at the peak of a recession.

Is Gwen Stefani a Republican now? She's not offended by the question, or really anything I have to ask. She has been famous for so long that she expects and even embraces scrutiny. "If you're going to be a star, that's what you get," she says. "You know what I mean? You get what you get, and you don't get upset, at all."

As for her politics, it's read-between-the-lines."I can see how people would be curious, but I think it's pretty obvious who I am," she says. "I've been around forever. I started my band because we were really influenced by ska, which was a movement that happened in the late '70s, and it was really all about people coming together. The first song I ever wrote was a song called 'Different People,' which was on the Obama playlist, you know, a song about everyone being different and being the same and loving each other. The very first song I wrote."

One of very few multi-racial bands playing stadium shows for hoardes of American teenangers in the 1990s, No Doubt did very literally embody those second-wave ska principles of inclusion. Stefani even wore bindis and saris on stage as a symbol of cultural exchange with Kanal, who is Indian-American, briefly kickstarting a white girl facial jewelry trend that it's safe to say would not fly in 2021.

Rings (left): Dena Kemp (The Residency Experience)

"The Specials and The Selecter and all those groups, and what they were doing in the late '70s was this whole kind of anti-racism, we come together, Black and white ska movement," Stefani elaborates on the band's founding principles. "And we were sort of echoing that in the '80s when we did it, we were like the third generation of ska."

Ska she's always happy to discuss, but Stefani was brought up to keep her electoral preferences personal, and that rule has held for her entire career. "The whole point of voting, is you have this personal space to feel how you feel," she explains. "I use my platform to share my life story and to engage with people and to exchange whatever gift I was giving. I'm not a political science major. I am not that person. Everyone knows that. So why would I even talk about it?"

"I don't need to go on Instagram and say 'girl power.' I just need to live and be a good person and leave a trail of greatness behind me."

It never has been. Looking back, it's weird that "Just a Girl" is so integral to Gwen Stefani's brand. She's never written anything else with remotely the same message, and or publicly identified as a feminist. To Stefani, it's just a song about growing up, and "all of a sudden you realize your gender." It wasn't meant as a protest or anthem: in fact, being her breakout hit, she didn't think anyone other than her bandmates and some local fans would ever hear it.

"I don't even know if I knew what feminist at that time was," she says. "I was very sheltered growing up with my family. I wasn't political. I wasn't angry." Even now: "I don't need to go on Instagram and say 'girl power.' I just need to live and be a good person and leave a trail of greatness behind me. Stop talking about it and stop trying to bully everybody about it. Just do it. And that's how I feel like I've lived my life."

WHEN STEFANI WAS GROWING up in 1970s Anaheim, her father got a job doing market research for Yamaha, which required frequent business trips to Japan. He'd bring home Sanrio toys, as well as anecdotes about the Tokyo district of Harajuku, where teenagers were dressing like Elvis, and "taking all these American things and making them Japanese." His daughter was entranced. "He would be telling me these things my whole life, like my whole life. I had a deep fascination."

So when No Doubt played Japan in 1996, Stefani describes, "It was a pretty big deal for me." The tour was the first time she'd traveled outside of the United states, save one trip to Italy when she was 21. "I just was inspired," she recalls. "It's a world away. And at that time it was even further, because you couldn't see it on the internet. I don't think a younger generation can even imagine what it's like to not have access to the world."

From then on, Japan became one of Stefani's biggest career motivations, especially when it came to her solo albums. If she could just write more hits, she'd get to tour there again, see the street style, visit the vintage stores. "If you read the actual lyrics [in 'What You Waiting For?'], it talks about being a fan of Japan and how if I do good, I get to go back there," she says.

In the meantime, she decided she'd bring Japan to Los Angeles. "I never got to have dancers with No Doubt. I never got to change costumes. I never got to do all of those fun girl things that I always love to do. So I had this idea that I would have a posse of girls — because I never got to hang with girls — and they would be Japanese, Harajuku girls, because those are the girls that I love. Those are my homies. That's where I would be if I had my dream come true, I could go live there and I could go hang out in Harajuku."

Earrings, bracelets and rings: Dena Kemp (The Residency Experience, Gold Necklaces: Gwen's own, Top: Local Boogeyman, Pants: GCDS, Shoes: Valentino

Dancers Maya Chino ("Love"), Jennifer Kita ("Angel"), Rino Nakasone ("Music") and Mayuko Kitayama ("Baby") would go on to accompany Stefani for her next two album cycles, dancing on stage and in her videos while also making silent, but very well-dressed, awards show appearances. Kita, who'd grown up in LA, visited Japan for the first time on Stefani's tour.

In a 2006 interview with Blender magazine, comedian Margaret Cho compared the Harajuku Girls to a minstrel show. The backlash against them has been consistent ever since. Stefani, to this day, disagrees.

"If we didn't buy and sell and trade our cultures in, we wouldn't have so much beauty, you know?" she says. "We learn from each other, we share from each other, we grow from each other. And all these rules are just dividing us more and more."

Hello Kitty merch was harder to come by when she was a kid, but in other ways, life felt easier. "I think that we grew up in a time where we didn't have so many rules. We didn't have to follow a narrative that was being edited for us through social media, we just had so much more freedom."

Earrings, bracelets and rings: Dena Kemp (The Residency Experience), Necklaces: Gwen's own, Dress: GCDS, Shirt: Faith Connexion, Tights: Capezio, Shoes: Marc Jacobs (Lidow Archive)

Stefani's penchant for rule breaking has always been apparent in her music as much as her aesthetic. Genre-wise, she's a randomista. The chart success of No Doubt's bouncing ska beats felt like an accidental post-grunge-era glitch in the matrix, and it's insane to this day that one of Stefani's biggest solo hits samples "If I Were a Rich Man" from Fiddler on the Roof, by way of '90s British dancehall duo Louchie Lou & Michie One. That another, "Wind It Up," features earnest Sound of Music yodeling.

"I just make up whatever comes out," Stefani says of her songwriting process. "I don't even know where it comes from. I feel like it just comes from the source. It's not trained, and it's not perfect, it's just real."

She looks back on the Love.Angel.Music.Baby era as unusually experimental and artistically fulfilling. "It was just a really incredible time, and a very creative time. I feel like it was just a really creative project."

STEFANI VIEWS HER CAREER success as mostly a matter of luck. Pop stardom is God-given and mysterious."Because the fact I made it, it doesn't make any sense," she reflects. "It's written in the stars. You know what I'm saying? I'm not the most talented. I'm not the most pretty. I'm not the most smart. None of those things. But I made it, right?"

Clothing: Blumarine, Bracelet and choker: Dena Kemp (The Residency Experience), Obsession necklace: Lidow Archive, Gold necklaces: Gwen's Own

Every week on The Voice she watches objectively gifted musicians fail at becoming artists. "I watched people that went through that without seeing their faces, without knowing what color they are. And I chose the ones that pulled my heartstrings. And even though they were so talented, none of them have had careers. It's made me look at myself and even feel even more amazed by the fact that anyone cared or cares."

If all of this is actually so out of her control, then Stefani feels safe stepping back a little bit. "I don't have that fuel in me like I used to, because I already won," she says. And now she has other victories in mind. "Being a good human, a good mother. I want to have a good marriage. I want to be a good wife. I want to win at finding peace. I want to win at finding other hobbies that I'm good at."

But at the same time? "If I'm inspired, I'm going to try to do something with that inspiration." That's the most fun part: whatever else comes after has always been an amazing bonus.

The "Let Me Reintroduce Myself" era, whatever form it may eventually take, isn't a desperate grab at former glory. It's Stefani refusing to evolve for the sake of it. She's poking fun at the whole idea of having to compete with past personas alongside current ones, while acknowledging the fact she's grateful to still be in the game at all.

"You don't know what you're doing," she says, somehow both confident and resigned. "You're a cartoon of yourself at this point, and you don't know what people are thinking. They're wondering, what? Why are you still here? And I'm like, I don't know. They said I could be here. So I'm here!"

Photography: Jamie Nelson Styling: Nicola Formichetti Hair: Sami Knight Makeup: Michael Anthony Nails: Carolyn Orellana Wardrobe director: Marta Del Rio Production: Katrina Kudlick Digitatech: Sean MacGillivray Logo design: Luca Devinu Story: Kat Gillespie

FROM YOUR SITE ARTICLES

14 notes · View notes

time-to-write-and-suffer · 3 years

Note

I wouldn't mind that post on VNs!

So I was gonna write three different lists, but then after writing the first part I realized this is very long and takes a while to write and nobody cares anyway so I’ll just post my recommended list only. Well, I mean, you asked, but I doubt you wanted all this lol. Thank you for giving me an excuse to talk about this stuff, though. Hope you enjoy my ramblings!

An explanation for what this list is: Sometimes I know a game isn't perfect in many aspects but I still had a genuinely good time playing it, hence why I'm recommending it. Also I should mention that I could talk for hours about some of these games so if anyone’s curious about more of my thoughts, let me know.

Alright, now that that's out of the way ...

How to Take Off Your Mask / How to Fool a Liar King / How to Sing to Open Your Heart (f/m): This is a trilogy of smaller, single-RO games where you can take one of two routes depending on how you act, and they’re all interconnected where you get to meet and interact with the previous games’ characters in the sequel games. I went into this expecting very little but what I got blew me away with how funny, charming and cute the games were. They don’t take themselves too seriously, at one point an angsty male character monologues deeply about some shit, and another one just slides into frame and starts mocking him. It was so fucking funny, holy shit. Also, a central theme is literally racism against catgirls? Which is monumentally stupid, and probably the games’ main flaw, especially in the final game where it pairs up a catgirl with a catgirl racist, but that one still ends with a literal bisexual queen literally making a man her malewife because she fell in love with his cooking, so like ... It speaks for itself. My favorite game of the three is the second one, where you get to play a punchy fake catgirl and romance a pink-haired prince. And honestly, all the female protags in these games are lovely and a breath of fresh air, and the male characters are fun and not abusive assholes either. There’s full Japanese voice acting, and two out of three female protags are literal catgirls who pepper in “nya” and “mya” into their dialogue, and it’s just treated as a quirk of their catgirl race. I AM NOT KIDDING. Yet somehow it never comes off as cringe, because it doesn’t take it self too seriously. These games are just cozy. That’s the only way I can describe them. Cozy and hilarious. Play them yesterday. Dream Daddy (m/m): Man tumblr did this game dirty. This is just a cute, wholesome daddy dating simulator with gorgeous art. Coming out on Top (m/m): So you know Dream Daddy? What if it was EXTREMELY, MAJORLY NSFW? Though I realize how bad the comparison really is, the only thing these games have in common is that they’re gay dating sims and don’t have an anime art style and oh, yeah, they’re both really well-written. Or at least, extremely funny. COOT (heh) is DDADDS’ horny older cousin, and I first encountered the game on a lesbian letsplayer’s YouTube channel. Yes I watched a lesbian play a gay porn game and it was GOOD. I was there for the cringe and fun and got surprised by how genuinely funny and sometimes actually touching the game was. I can’t give it my universal endorsement because it’s not a game for everyone, as I said, it’s extremely NSFW and the menu theme literally includes the singers screaming “SEX SEX” at the top of their lungs. There’s more to this game than the porn, but there’s just so much porn. It can be censored in the settings but it’s unavoidable. However, I still think it’s worth a look just because of how funny it is and how charming the characters are. If you don’t want to play it yourself, at least watch Anima’s playthrough of it. It hasn’t aged super well in some spots but I still go back to it every now and then. Akash: Path of the Five (f/m): This game markets itself as a more “professionally produced” western dating sim, and that’s accurate in some superficial aspects. The game is pretty poorly written, but it’s absolutely gorgeous and has really good English voice acting by actual professional voice actors. The premise is quite self-indulgent, but I genuinely respect that about it. You play as the only female elemental in a village with only men, and all five of your classmates want a piece of you. It’s clear the writers have put some thought into the lore and worldbuilding of this world, but barely any of it comes through in the actual writing and plot, which is basically just a vehicle for you to get together with your boy of choice. The ROs aren’t very well-developed either, and the plot is the same in every route with only minor variations depending on which guy you pick, up to the point where the protag has the same voice lines in some parts regardless of which guy she’s talking about. It also has one extra half-route that’s so bad and pointless I genuinely wonder why they wasted resources on making it instead of spending a bit more on the writing/adding some variations to the main plot. So why am I recommending this game? Well, it’s pretty, and it sounds nice. This game is a himbo, gorgeous but dumb as rocks. Enjoy it for what it is. I know I did. Get it when it’s on sale, I think if I hadn’t gotten it at half-price I would’ve felt a bit more cranky about it. Also Rocco is bae. Mystic Destinies: Serendipity of Aeons (f/m): Yes that’s the full title, no I don’t know what it means either. You may have noticed how most of the games so far I’ve enjoyed because they don’t take themselves too seriously? Well, this one does. It takes itself SO FUCKING SERIOUSLY. Like, way too seriously. It’s a little embarrassing at points because baby, you’re an urban fantasy dating sim. Calm down. But the game has gorgeous art and 3 out of 5 routes are very good. The last route, the one with your teacher, is both the most problematic yet somehow the one that breaks down the very concept of a dating sim within its own narrative (yes, this shit gets fucking META) and it got so wild at the end that 1) I still listen to the soundtrack for that route and 2) I still remember it to this day despite finishing it ages ago. My favorite route is Shou, he’s a sweetheart, but the mindfuck route is so buckwild that I think the game is worth playing just for that. There’s also a route that’s like a neo-noir mystery? I Do Not Know. This game is many, many things and it does them so sincerely and tries so hard, you can’t help but respect it. It doesn’t always stick the landing but man, just let this thing take your hand and wax poetic at you for a bit. Also get this one at a sale because it’s very expensive to get the full version. I got it for 9 bucks on itch.io and I felt that was a fair enough price, I’d say I wouldn’t have minded paying more for it because there’s a lot of content to enjoy and/or be baffled by. Arcade Spirits: This one’s a bit more weird from what I recall, and I honestly couldn’t tell you much about it, but I remember having a very good time with it and recommending it to a friend when she was going through some tough times and she said it made her feel better. I remember it making me feel better, as well. This is a VN about an arcade and the ROs are wonderfully diverse, with very real human conflicts that get explored in each of their routes. It can get quite existential and heavy at times, but in the end it’s a kindhearted game that I think everyone can enjoy. The main character was also, how you say, mood. It’s a game about getting possessed by a video game and then learning self-love. Ebon Light (f/m): This one’s free/name your own price on itch.io so go play it. It’s a weird plot where you play as a girl who ate an elven relic? And then the elves kidnap you because you’re the relic now. All the ROs are extremely pasty (like, literally white, as in literally the color white) dark-haired elves, except for one, who’s an extremely pasty blond elf, so ... diversity? I honestly don’t know what this game is aside from unique. I used to be a bit put off by the art style but now I think it contributes to the general atmosphere. It’s a weird game that technically doesn’t do anything groundbreaking but still left an impression of “huh. weird” in my mind and I think more people should play it. The ROs are all pretty generic dating sim archetypes but done well, with bonus points to Duliae who’s just a massive creep and I love him, and also Vadeyn who’s the only bitch in this house I respect. The worldbuilding is honestly a bit buckwild and I can’t give enough credit for how unique the elves’ culture is in this game. Definitely give it a go. Hakuoki: Kyoto Winds / Hakuoki: Edo Blossoms (f/m): These two are newer releases of an older Japanese visual novel. I wouldn’t call it a dating sim, it’s ... it’s more of a super depressing historical fantasy epic with some minor romance aspects awkwardly wedged in. It’s seriously some of the heaviest and most grimdark shit I’ve ever played in a VN/otome. I don’t understand why it’s a dating sim, it doesn’t read like one, it’s just historical fantasy based on real world events with characters based on real people, and they kill and they die and they grieve and they suffer. The games are literally about the downfall of the Shinsengumi, there’s no way of avoiding everything going to shit and you get to watch and be in the middle of it all as they struggle to stay alive and relevant in a world that doesn’t need them anymore. And there’s the protag in the middle of it all, being useless and submissive and bland just the way the usual otome protag is. I don’t think these games are necessarily fun, and the romance is certainly a lot more downplayed and deeply problematic just based on the age differences alone with some of the men, but the sheer amount of horror and sadness in these games make them stand out above its peers. It’s like watching a war movie. Since most of the characters are based on real people, they feel like real people instead of the usual otome archetypes, and they are so, SO flawed, it’s interesting to just watch them deal with the shit the world throws at them. It’s an Experience, and if you’re up for it, I think it’s worth the time. Cinderella Phenomenon (f/m): This game is free on Steam so go get it. You play as a really, genuinely shitty princess who gets cursed to be poor and forgotten and she has to help one of the ROs break his fairy tale curse so that she can learn about being a good person herself and return to her normal life. This game doesn’t look like much, but it has a genuinely well-written main character who’s actually at the center of each of the stories and in the overarching plot instead of just being around to make eyes at the real protagonists, aka the love interests. Aside from the main character, my favorite part of this game’s writing is how each route slowly but very smoothly expands upon the overarching intrigue. If you play them in a certain order, you get more and more info revealed to you that you didn’t see in other routes, gaps are filled in as you find out more about what actually happened and why, but every route also stands on its own as a full experience and none is more canon than the rest. There’s also some really heavy emotional parental abuse explored, which I found quite potent at times. The romances themselves were alright, I think Karma and Waltz were my faves.

#eff plays

9 notes · View notes

seasaltmemories · 3 years

Note

What is your opinion about Machi and Kakeru?

So sorry for the late response, I was wanting to make sure I was caught up bc I sensed we'd get more development of them, but then I forgot lmao, still considering FB seems to be in its winding down phase, I think this could be a good time to review some thoughts and lay out my hopes for bits we might be able to squeeze in

Kakeru

Honestly, the archetype he comes from of "loud comic relief that annoys quiet, straight-laced counterpart" can be very hard for me to enjoy, especially with the realistic nature of the student council, I've had my own harrowing experiences trying to wrangle together highschoolers into accomplishing something, and so a lot of his early behavior was too familiar for me to enjoy

That said, as he opened up about himself I did enjoy him much more, he pushes Yuki in good ways and can be a bit of a grounding force, and can bring out his teasing side (love that when yuki is putting Tohru in the mom-zone he argues back that mommy kinks are a thing) Also his relationship with Machi is very sweet, I love his little shows of protectiveness

Machi

I've been curious about her for the longest time, there's a lot of weight put into the way she occupies Yuki's attention, especially that imagery of her breaking down the door when Yuki got trapped in the closet, as we've gotten to know her, I again like her relationship with Kakeru and her flustered nature is very cute, I enjoyed her focus episode we got in s3, it was a really good example of Yuki's personal growth from his relationship with Tohru letting him be there for others, I feel though as if we are only know getting to know her, and I hope her arc isn't finished

Shipping

lmao not in the question itself, but looking at the fandom, I thought this might be a good time to get some of my feelings on the two most popular Yuki ships out

I know I am in the minority for believing Yuki's feelings for Tohru were romantic (like you don't blush so hard you transform when your mom calls you by your first name) But I think regardless of one's interpretation, it is obvious Yuki wants an equal relationship and considering the way he's been caught up in his own baggage, he's never been able to help Tohru in return like Kyo has

Going back to that image of Machi breaking down the door, it is hella powerful and spot on visual language, suggesting a way Machi can reach Yuki in a way Tohru couldn't and with the talks and chalk scene (which had me gasp from how smooth it was) Yuki definitely seems to be in a place where he can be a good partner

My one concern is that we haven't really seen concretely what Machi "does" for Yuki, I don't want to be cruel and act like support between two people always has to be completely balanced, and I am a general fan of the ship dynamic "character A helps out character B with trauma" but after getting the emphasis with Yuki/Tohru and all that build-up with Machi in general, I would like to see the dynamic fleshed out/strengthened a bit more

Which when we look at who has gotten Yuki to "open the lid" Kakeru definitely fits that role, not to mention Takaya likes to pair up a couple and develop them side by side, my biggest problem with them though comes down more to taste, for one, the ship dynamic of "A lovingly annoys B" is one I tend to hate lmao and tbh I just have trouble seeing Yuki attracted to men

Even taking off my shipping googles, Yuki just never seems comfortable with queerness as a concept, like he's very defensive over how the student body will feminize him and has a lot of screen time with canonically queer characters like Ayame and Hatsuharu, and while when it comes to their sexuality, he has outright disdain for the former and confused patience for the latter, it gives very big "straight guy who has had a decent level of exposure to queerness but still doesn't really Get It"

Now ppl say his mom thing with Tohru sounds similar to comphet, and I can definitely see some versions of that, but for all Takaya likes to play with queerness, her writing is still very cishet, she just doesn't have the skills to articulate all the subtleties I'd want from a narrative like that, in the hands of a more talent writer, I think it could be great, but as of canon, there just isn't enough foundation to make me interested in exploring that interpretions

That said I totally get why people would like either of them with Yuki, so most of this is just me splitting the hairs about my personal taste lmao

#seasalt talks #thanks for the ask!!#lol didn't know if you wanted all the hot takes #or Yuki ramblings but I couldn't resist #Fruits basket #kakeru manabe #machi kuragi #overall I'm tempted to check out the manga #to get more of these two

6 notes · View notes

maybecoolwords · 4 years

Text

The Flirt..

Summary: Bucky Barnes is obliviously flirting with a stranger while you, his girlfriend, are sitting a few tables away from him.

Pairing: Bucky Barnes × Reader

Word Count: 1 310.

Warnings: The use of the F word. If there are anymore warnings you think I should add, please don't hesitate to tell me.

A/N: Hello beautiful people, I've been gone for a while, writer's block sucks, but I'm back. I hope you guys enjoy this little drabble. BTW, GIF IS NOT MINE.

"Y/N , got a visual on the target yet ?"

A cup of steamy coffee on your table, on the side of a still warm chocolat cookie. In beautiful pastel colors, the mini table goes well with the aesthetic of the little french café. A breathtaking view of the infamous Eiffel Tower is giving you one of the most Paris "experience", as well as the many flower shops surrounding the beautiful coffeeshop, spreading garden-fresh scents you're absolutely in love with.

You're back on the field again, after only a few days of rest. It seems to you that bad guys just can't give you a break and probably won't any time soon either. So to say you're tired is more than just a simple understatement. Add to that the fact that you've been sitting on this same chair for the past half hour which isn't exactly cheering you up, especially since all you've been doing is watching people. Stakeout missions are the absolute worse.

Steve's voice is what got you out of an other case of lost-gazing. His voice shows just how bored and tired he is. And you can't really blame yourselves, having woken up early after another late night can take a toll on anybody, except for Bucky who seems more energetic than you've seen him in the past few days.

"Nope, not yet." You responded to Steve's earlier question as you took a sip from your still steamy cup of coffee to hide the movement of your lips.

"Buck ?" Asks Steve again.

No answer.

"Bucky ?"

Nothing again.

You're starting to get eaten up with curiosity. It's not like Bucky to just not answer his best friend when he calls his name, especially on a mission like this one. And it's not like you could just turn around and look directly at his table because you might blow your covers if you do that.

But the suspect is nowhere to be seen - yet. So you do a quick recon of your side of the little coffeeshop before you look Bucky's wa-

Wait.

No.

Effing.

Way.

It feels like your eyes are decieving you, so you scrunch them a bit to really make sure you're not watching your boyfrind casually laugh at something someone said. And not just someone, a very very handsome man is sitting in the same table Bucky has been occupying for the past hour and talking to him like how a man would talk to his date. A charming smile very much on display, biting his bottom lip and eyes very much lost in Bucky's.

You're no Black Widow, but you do know when a person has the fuck-me-look in their eyes. And Bucky is unmindfully enjoying this.

You look back down to your cup of coffee, playing calm and collected to not draw anybody's attention to you, when you really want to strangle that oblivious boyfriend of yours.

You sigh before you pick your cup of coffee to take a sip and say:

"Guys, we have a problem."

"What is it now ?" Sam answers, obviously even more irritated at this stake-out mission from hell.

"Bucky might have turned off his ear piece and is completly lost in a french boy's eyes."

"What ?"

"He is what now ?"

It was like you just woke your two baby-sitters from an eyes-wide-open nap. Both of them expecting a little "the waitress brought me the wrong order" type of problem coming from you, since you tend to be a bit overdramatic in anything you do in life.

But it's not the case.

"Yeah, I'm literally looking at him right now, laughing at the hot dude's jokes.." It's no surprise that you're not frantic or losing your chill right now, if anything, you're cool about the whole thing. You trust Bucky, and you know how oblivious he gets at times when people flirt with him. Especially now that a hot and handsome french man is obviously swooning over Bucky's bluer-than-the-sky eyes and his beautiful smile while Bucky is probably thinking about learning french to impress his new friend.

"Wait, did you just say hot ?" Sam asks, most probably smirking.

"I just told you my boyfriend is unintentionally cheating on me right now, and all you're concerned about in me calling a dude hot ?"

"Guys, I can literally hear you right now." Bucky finally seemed to have finished his apparently more-important-than-the-mission talk and turned his ear piece back on. You look over at him to see him sitting alone, looking like a snack, back in his Winter-Soldier-but-friendlier-persona, as you like to call it.

"Guys, can we focus back on the mission, now ?" Just like always, cap's bored but still authorative voice cuts the conversation short. A conversation you'd gladly have with your boyfriend if it wasn't for Sam's meddling.

"Red Wing got a hit on one of the costumers that got in a few minutes ago. Umm, brown hair, red shirt and blue jeans." Sam announces.

"Oh my god."

"What now ?"

"That's the dude Bucky was flirting with-"

"I was not flirting with him, Y/N." Bucky's irritated voice cuts in.

"Where is he now ?" Steve asks, seemingly done with this petty argument before it even started.

"On the back alley."

"I'm moving in now." You say before you throw a ten euro bill on the table and quickly walk to the back alley of the little café, thinking: Why does there have to be a back alley involved?

"I'm right behind you." Bucky says before you feel him, indeed, walking behind you.

"Oh don't you have another hot dude to make out with this time ?" You tease him, leading him towards the kitchen door. Bucky was about to comment on your little remark, if it wasn't for the confused glares coming from the staff working in the tiny kitchen. The beautiful sight of croissants and chocolate cookies, however, is what you're mostly seeing, thinking how you'd kill for one right now.

"Nous sommes désolés mesdames et messieurs, ça ne va pas prendre longtemps." Bucky apologetically says to avoid the irritated glares everyone is sending your way, as you both pass the counters.

"I forgot you can speak French. But I definitely just got a reminder how that makes me feel." You say before reaching the back door.

"Babygirl-"

"Okay gross, we can hear you, or do you need a reminder about that too ?"

"Thank you Sam, always ruining everything." You sigh.

The door leading to the back alley is locked, typical. So you move to the side, allowing Bucky -who doesn't hesitate- to do his thing: breaking the lock.

You find your target, with a surprised look on his face when he first spots Bucky reaching for his gun. In a swift quick move you kick the dude in the stomach before he drops to the ground and lose his grip on a briefcase he's holding, before threatening him to not move. His partner in crime, or in this case, his supplier, froze in his place watching the whole thing unfold. Ugh, amateurs.

"Quick catch." You hear Sam say after he and Steve showed up.

"That was the easiest thing I've ever done." You retort to Sam's comment.

"Okay, showoff." Bucky chuckles.

"Don't you have another bad guy to flirt with ?" Sam asks, trying to pull the conversation to Bucky's earlier shananigans.

"For the last time, I was not flirting with him."

"To be honest I would've done the same thing." You say, moving towards Bucky and propping your arms on his shoulder allowing him to place his hands on your hips. All while thinking about all the champagne and chocolat fondant you'll have when you go back to your hotel room.

"Wait, what do you mean?" Bucky asks, genuinely curious about what you meant, with his typical "jealous" frown etched on his face.

"I'm just saying, if a handsome guy just randomly approaches me I would definitely start flirting with him and laugh at everything he says just for the hell of it, without thinking about my boyfriend who is conveniently sitting just a few tables-"

"Okay , fine I get it." Bucky finally gives up. "And I am still adamant on the fact that I was not flirting with him."

#bucky x reader #bucky barnes #bucky x you #bucky x y/n #bucky fic #avengers #steve rogers #sam wilson #fluff #female!reader #winter solider x y/n #winter solider fanfiction #fanfic

52 notes · View notes

sineala · 4 years

Text

Civil War: Script Book

I finally read something and have a proper review for all of you! In case you're curious about the contents of the Civil War script book, I have some thoughts on it here as well as some excerpts of the bits that are probably most exciting and/or useful to 616 Steve/Tony fandom.

On the face of it, Civil War: Script Book is exactly what it sounds like -- a book collecting the final drafts of the scripts of the main Civil War comic book series. Issues one to seven. Yep. All of them. "But Sine," you might ask, "why would I want that when I have already read Civil War?" Well, there are a few reasons. One is that you might just be the kind of person who finds it interested to read comic scripts and compare them to the published material, to see what kind of directions and detail the artist is given, and so on. The other reason is that it is interesting from a fannish perspective -- there is a lot of behind-the-scenes commentary, as well as Mark Millar's original pitch for the series and his first draft for Civil War #1.

The book is laid out in a way that is about as visually exciting as you could hope for a collection of scripts to be. The script itself is on the verso pages. Occasional significant lines are highlighted in yellow, with red arrows drawn to the recto pages where they've reproduced the art that goes with those lines. The recto pages also contain commentary from Mark Millar (the author of Civil War) and Tom Brevoort (the editor at Marvel who, relevantly, was responsible for overseeing the entire Civil War event).

And there's a lot in the commentary that fandom might enjoy knowing about. Disclaimer: the commentary is not new; it was all culled from various promotional interviews, but this is the first time it has been collected in one place in this form. And, okay, to be fair, some of the commentary is Millar rhapsodizing about how much he enjoys splash pages with large numbers of superheroes on them, and also how much he likes fight scenes, but there's more than that. For example, we learn -- although you might already have heard this -- that in the very beginning stages of planning, they thought Steve would be pro-Registration, but ultimately decided against it because they didn't think Steve would be in favor of arresting his friends.

(And as another authorial-intent tidbit that may be of interest to a few of you, Brevoort says that Millar -- who is also the author of the original two Ultimates miniseries, as I'm sure you know -- says that, in his mind, if Civil War had happened in the Ultimate universe, Ults Steve would absolutely have been pro-Registration.)

(One more note on authorial intent: Millar says Steve would not have brought the shield down in the final fight.)

It's also interesting seeing both Brevoort's and Millar's opinion on issues that have since become controversial in fandom meta -- the smaller question of what the SHRA actually does, and the big big question, of course, of which side anyone is on. Which side the event is on. Whether it was intentionally slanted in any way.

There has been talk in fannish meta that it's hard to evaluate CW as an event because we aren't given a clear definition in canon of what restrictions the SHRA would actually impose on superhumans -- for example, everyone with powers is forced to register, but are they actually forced to work for SHIELD? Well, in case you were wondering, both Brevoort and Millar seem pretty clear that this is not the case. This is what Brevoort has to say:

The SHRA isn't an organization, it's a federal law. It requires anybody possessing superhuman abilities to register themselves and those abilities with duly appointed agents of the government. Additionally, if an individual intends to use those super-normal abilities as an independent peace officer, they must qualify on a training evaluation, be licensed and submit to some level of oversight in terms of their activities.

I hope that's helpful to someone in fandom, the next time you want to know what the SHRA does. So the answer looks like, yeah, SHIELD has to know about you even if you're the guy whose power is that you can barf up anything you can imagine (I am still not sure why this is the deus-ex-machina ending that Secret Empire went for but that's the subject of another post), but you don't have to join the Initiative unless you actually want to be a superhero.

And then there's the question of the balance of the event. While fandom as a whole generally seemed to perceive Tony as having been on the wrong side, Brevoort says he thinks that they came off as pretty equal in the main series, but that a lot of the tie-ins may have been slanted in favor of anti-Reg because he wanted to let the writers of the tie-ins "tell the truth as they saw it," and that furthermore a lot of the anti-Reg-favoring issues came out early in the event and helped solidify the opinion. He does say that if he were to do it again he would have rearranged the order of some of the tie-ins and asked some of the writers "to perhaps rein in their depictions of Tony a little bit."

So there. That's the word from Marvel, on both of those topics. On to the rest of this book!

The original pitch by Millar, plotting out the whole event, is also an interesting read, in terms of what changed and what stayed the same. They were originally throwing around a lot of ideas with the Hulk, which as far as I can tell mostly got recycled into Planet Hulk/World War Hulk slightly later on. The inciting event (the Stamford incident in the final version, obviously) hadn't been completely settled on, and they knew they'd have to kill someone (so as to make the event have an impact), but they weren't sure who; later on, they obviously decided on Goliath. What's more, it's clear from reading the rest of the commentary that Millar and Brevoort consider Goliath's death the turning point of the narrative, where the stakes are really raised. I find that interesting; in the parts of fandom I hang out with, the big turning points that come up in conversation tend to be pretty much (a) the EMP and (b) the final fight.

The other thing that's really weird is that... Steve doesn't die. What happens in the original pitch is that there's an evil senator with technology to depower all the superheroes, and Steve basically takes one for the team and stops the final fight by destroying the technology and in the process, losing the serum. There is then some discussion about who should be Cap after that -- whether it should be Bucky or Clint, for example. But skinny Steve basically heads off into the sunset at the end as Registration takes hold, and they plan to keep him deserumed for a year or two until the movie comes out, for that sweet sweet MCU synergy.

Is there anything in the pitch I would have loved to have seen? Hell, yeah. Check this out:

The whole situation is getting nuts and there's a clear war now going on between the super heroes, both equally convinced that they're doing the right thing. It all builds up to a big climax at the end of the fourth issue as Tony wakes up in bed to find Cap sitting on his chest and warning him to call off the dogs. He has to release these super-people from prison or Cap will have to take action. This is a last moment of sanity before all hell breaks loose in issue five and, since Tony believes with all his heart that they need licenses, he tells Cap to go [fuck] himself. Thus, the war is on and both sides are playing for keeps.

Would I pay CASH MONEYS for an emotionally-fraught conversation between Steve and Tony that takes place in Tony's bed with Steve sitting on Tony's chest? Boy howdy! I sure would!

So, you know, I'm sad that that didn't make it into the final draft. The rest of the pitch is pretty meh other than that.

The final bit of content exclusive to this book -- other than the pitch -- is the original draft of the script for Civil War #1 and, well, it would have been... slightly different. First off, there's no Stamford incident. There is an inciting event in which the New Warriors are in a fight for the purposes of reality TV and it gets out of control -- so that part is the same -- but it takes place in Bellport, Long Island, and the sole victim is Happy Hogan, who gets shot in the head and dies.

Naturally, you can see how this would bring Tony on board to the pro-Registration side. Also ardently pro-Registration in this draft is Simon Williams (yes, Wonder Man), who is running for political office and is leveraging this to boost his popularity. Being as Wonder Man isn't particularly popular, I have to say I'm glad that they took that out.

The big-impact scene of Steve's confrontation on the helicarrier -- you know, the one where he jumps out the window and rides a fighter jet down? -- is still there, but in this draft, Fury is still running SHIELD, though Hill is present. The commentary indicates that the role was switched to Hill for the final version because they felt that Fury would be too pro-superhero and specifically too pro-Cap to fill the position. I understand why they did this, but I think the first-draft showdown has a lot more impact coming from people who have been comrades as long as Nick and Steve have in 616:

CAPT AMERICA: I AM NOT RATTING OUT MY FRIENDS! FURY: Fingers on your triggers, boys. Any sudden moves and I want the captain tasered. CAPT AMERICA: Damn you to hell for this, Nick. FURY: Damn you for for making me do it.

See? So much more emotional!

The issue wraps up essentially the same way as the published version, with Tony in a Cabinet meeting with the president, explicitly endorsing Registration -- so, yeah, the main themes are mostly there, but a lot of the details are different.

Overall, I have to say that if you're interested in the details of the Civil War event, and you like behind-the-scenes information and extras, this book is worth a purchase, but not necessarily to the point where you should go hunting it down. I think I got mine for $5, which seems reasonable, and I have definitely gotten $5 worth of Civil War informational value out of it.

#posts i actually wrote #marvel #marvel 616 #stevetony

38 notes · View notes

mego42 · 4 years

Text

1x07 Discussion Questions

My b! My b! I usually try to do these when the episode is fresh but instead I went to sleep, I am at peace with my priorities, tbh. As always, many thanks to @pynkhues for her time and energy putting these together and shout out to @foxmagpie for the assist.

1. What was your favourite scene of the episode? Tell us why!

Lot of contenders, tbh. I really love the scene with Mary Pat when she puts together the (extremely transparent) bullshit that is the whole secret shopper scheme (I mean come on y’all, did you even try????), I love Ruby and Stan’s date (high five to Stan for coming through with my parks & rec reference, it’s nice to know there is one (1) man I can count on). The Annie and Greg bit is REALLY SWEET LEAVE ME ALONE. The god tier brio content, specifically The Grab Heard Round The World My Living Room and the Give Me A Name bit. Some classic Rio nonsense (do you think if we asked him to point to an egg he’d point to an apple?) Tyler and his “reeeeeeally fill out the surveys?” was, obvs, the best moment on the entire show. Anyway, one of those for sure.

2. Was there any scene that missed the mark for you? And if so, how?

The Boomer setting up Annie stuff always falls flat to me and idk exactly why? Like, individual pieces of it are great, Mae does EXCELLENT work post police station and when getting arrested in the first place but ultimately I find it fairly forgettable in the grand scheme of things.

3. Let’s talk about the secret shopper scheme! What do you think were the strengths of it? The flaws? Do you think it had longterm potential? Or was it always going to crash and burn?

I said this during the rewatch but I straight up blocked out the fact that all of the shoppers are hitting the same store on the same day (waving around upwards of $5k in cash???? no less???????) because my brain cannot comprehend how three women we’re supposed to believe are reasonably intelligent didn’t realize this was the stupidest, most transparently obvious, most short-sighted scheme in the entire world.

I struggled with the sustainability of it a bit when I thought they were spreading their efforts around (they roped in A Lot of people, there are only so many Costcos in the Detroit metro area and waving around that much cash and then returning it all, again for cash, is uh, already p memorable) but I could deal with it when I thought they were spreading it around. Short-sighted, immediate solutions are a cornerstone of Beth’s brand, after all, but all of them at the same store at the same day???? Too much. I cannot.

4. The girls spent their money in very different ways! Ruby on romancing Stan, Annie on clothes for her son, and Beth on jewellery for herself. What do you think this tells us about them and their arcs? Particularly coming off the back of Ruby’s conflict with Stan, Ben’s issues at school with clothes, and Beth leaving Rio her pearls?

Love these connects. The show’s got a pretty clearly defined and consistent visual/character motifs (this may or may not be the word I’m looking for, shut up) when it comes to depicting the girls priorities and motivations. You also see it reflected and reinforced with their repeated coping mechanisms throughout the show. Whenever bad stuff happens, Ruby goes home to Stan, Annie crawls into bed with Ben and we usually close with Beth either alone (ouch david) or connecting with Rio in some way (exhibit a: the aforementioned pearls).

In all of the instances it comes back to the heart of their priorities:

Stan is Ruby’s number one, (which isn’t to say her kids aren’t a part of that, I think Stan is both himself in this sense while also representing her whole Hill family unit—TV is all about visual shorthand kids—but also it serves to illustrate that Ruby has something Beth and Annie do not: a true partner).

Ben is at the root of everything Annie does, she makes choices based on not only his. well-being, but how he sees her and he has the most influence over how she sees herself and what actions she takes as a result of that.

Beth, on the other hand, is at a contrasting point. She’s done the devoted partner and mother thing (lowkey implied by the little bits and pieces we get of her and Annie’s childhoods to some degree more or less for her entire life) and is now putting herself first, her needs, her wants. Which isn’t to say she doesn’t give a fuck about her family, she waits until she’s got a fat stack of cash and they’re taken care of before splurging on a thing, but as a symbol I think the necklace pretty clearly illuminates that for whatever Beth tells herself, she’s building an empire for herself, bc she wants it, needing it is secondary.

5. Eddie’s arrest is arguably what sets us on a collision course with the finale! Do you think Eddie was loyal to Rio until the end? How much do you think he told Turner? And what sort of loyalty do you think Rio inspires in his boys? And why doesn’t it translate with the girls?

OF COURSE EDDIE WAS LOYAL TO THE END HE HAS CLEARLY DEMONSTRATED HE HAS SOME KIND OF CODE OF HONOR HOW DARE YOU SLANDER MY BOY LIKE THAT.

Tbh idk how to answer the loyalty question without more information from canon because the gang and how they operate, how they all came together, etc is pretty well shrouded in not-central-narrative-focus, though I think it’s been implied somewhat heavily that what’s going on with the girls is not standard operating procedure.

My personal headcanon for Eddie is tied up in my personal backstory for Rio and Mick that I started for my (lmao first) Mick POV fic. I gave Rio and Mick a friends since we were kids backstory and decided Eddie was a kid in their neighborhood, slightly younger then them, and always looked up to them/followed them around/thought they were cool. He ultimately got involved in crime because they did and they looked out for him and brought him up with them (which, you know, makes how it all turns out that much more tragic). Obvs, this is all just me and my tendency to imprint on random side characters and give them backstories. Let me live.

6. This episode introduces us to Mary Pat, who’s probably one of this show’s most complicated antagonists! What do you think of her generally? And could you have predicted her arc with Boomer and Turner?

I love her and I’m done lying to myself about it.

LISTEN, first off, Allison Tolman is great. Her line delivery is fantastic, she has a knack for subtly adding SO MUCH to every scene she’s in and uses her face and inflection and pauses exquisitely. Top notch comedic timing. Truly a gem.

Second, on a character level, the lady is in a bad spot and the girls basically gift-wrapped the circumstances and handed them to her like here is a present!!!!!!!!!!!! What was a struggling girl to do besides accept what was offered to her??????!!!!!!???

7. This episode features a very pivotal scene in terms of the Beth, Ruby and Annie dynamic. What starts as tension between Annie and Beth quickly pivots when Ruby criticises Beth and Annie leaps to her sister’s defence. What do you think this tells us about the dynamic between the girls as pairs and as a trio?

I am so!!!! curious!!!!!!! about the backstory that exists in the writers’ heads for Ruby and Annie (all three of them, really, but the bff and little sister having an independent friendship is of particular interest to me bc it isn’t something you, or I guess I, run into a lot) and how much of it was defined at this point vs how much it’s evolved/fluctuated as the show goes on. This fight pretty clearly illuminated that when it really comes down to it, it’s Beth and Annie vs Ruby which a) breaks my heart and b) isn’t totally a dynamic I think the show ultimately stuck with? Or maybe intentionally fluctuates? Idk this is a half-baked thought. Ask again later.

8. Greg is the one who kisses Annie! Who do you think left who in that relationship, and/or what were the biggest issues in that relationship?

I feel like there’s pretty much no way Annie wasn’t the one that called things off with Greg. Not just because of how it plays out this time but because he’s got a kind of persistent yet also go with the flow attitude that makes me think he would absorb a lot in the name of making it work whereas Annie seems to have a pretty established history of cutting her losses and bailing when she hits her limit. Based on how fond they are of each other and how much affection they clearly still hold, I tend to assume they just grew apart as they grew up which makes it almost more complicated and tragic because it leaves all of the good stuff and just mixes it with the knowledge that it wasn’t enough.

9. What did you think of Ruby’s sauce story? And what do you think it meant as a turning point for her arc?

I HATE THIS STORY SO MUCH USED BAND AIDS ARE GROSS ENOUGH ON THEIR OWN WITHOUT MIXING IN FOOD SERVICE AND MONTHS, MONTHS, OF MARINATION. I REFUSE TO TALK ABOUT IT. GET OUT OF MY HOUSE.

10. Knowing that Beth, Ruby and Annie’s system of paying Mary Pat off doesn’t work, do you think there was a way they could’ve handled her on their own that would’ve worked? Or do you think Rio’s intimidation (and potential murder) tactic was the only way out?

Idk maybe I’m just cynical, but I take trust no bitch to heart, they pretty well screwed themselves into a corner by being idiots.

#rewatching this ep taught me a lot about my feelings on the secret shopper scheme #gg rewatch #gg 1x07 #gg related #shut up meg

9 notes · View notes

bisexual-horror-fan · 4 years

Note

What is it about Freddy that you like? I know you just wrote a whole story on him so just curious why he’s your favorite to write for. Wasn’t sure if it had anything to do with the actor haha. (Hope this doesn’t come off as a hate comment, I’m just genuinely asking. You’re a phenomenal writer too)

Thank you for asking this and thank you! I am so glad you like my writing! This doesn’t come off as hate AT ALL!

So um I hope you know that you asked for this essay.

I do love Robert Englund. Like. A LOT.

He is literally one of my favorite actors ever, my friend Tina and I have movie nights all the time and we will legit sometimes be like “This movie is trash...But Robert Englund is in it.” So we watch it and usually have a good ass time. (I also went to a panel with him and Heather Lanenkamp years ago for the Nightmare On Elm St 25th anniversary and oh my GOD it was amazing, I could listen to that man talk forever, so many interesting stories!)

But about Freddy himself, I like a lot. I love, love, love the glove, like literally iconic, so different from any other slasher weapon, I mean it was literally made for his character! I adore how talkative he is, I love how much of an insufferable ASSHOLE he is! He is a total bastard and he is so fucking unapologetic about it too! AND I LOVE THAT! I think the overall look is a great one, he is so visually distinct ya know?

Most importantly, fucked up as it is, I love people who are passionate about what they do, I love how messed up he is, he has such a damn good time killing he is smiling and laughing and cracking jokes the whole time, like that is wild. He doesn’t take himself too seriously, the POWER SET! There is so much he can do with it! Like we have SEEN the creativity and it is amazing.

And obviously the big one...

sigh

Listen if I wasn’t supposed to get horny for Freddy Krueger than Robert Englund shouldn’t have played him LIKE THAT! Like the swagger? The confidence? The voice? NOT TO MENTION SOME OF THE SHIT HE SAYS?! He puts those ideas in my head STG. NEED I GO ON?!

To sum up I love the burnt bastard for many, many reasons but what I told you are the greatest hits.

THANKS AGAIN FOR ASKING THIS! (I will take any excuse to scream about my mans.)

#BHF asks #BHF speaks #BHF opinion #freddy krueger #I love this mans so much #legit thank you for asking this #THIRST

18 notes · View notes

jbuffyangel · 4 years

Text

The Good and the Bad: Arrow 8x09 Review (Green Arrow & the Canaries)

Arrow did another backdoor pilot for the spin-off even though 7x16 felt like one,

but it’s clear from this episode things have been… retooled.

Not always for the better. I liked Green Arrow and The Canaries more than I disliked it, but I’m an easy sell. If Olicity’s progeny are available via my television then I’m watching. Period. End of discussion.

There’s good content for the writers to mine, but there’s definitely some kinks to work out.

Doing things a little different with this review. Yes, I can change.

It didn’t feel like a fully fleshed out episode and I have a feeling we’ll be repeating this pilot in some form if Green Arrow and The Canaries is greenlit, so for now we’ll just hit the highlights – the good and the bad.

Let’s dig in…

What I Loved

This is the first episode immediately after Crisis, so we don’t entirely know how the present day is impacted, but the future certainly is bright. Mia and William have grown up in an almost paradise. Star City is the safest city in the country. There’s been no crime for almost twenty years and it’s all thanks to the city’s hero – Oliver Queen.

Source: feilcityqueen

It’s nice to see Oliver being honored years later by the ungrateful twats of Star City. They are slightly less ungrateful in my eyes. However, it’s even more wonderful to see that Oliver’s children grew up safe, protected, and maybe even a little pampered. It’s everything he wanted for them.

The big stick with this carrot of course is Oliver not being able to raise William and Mia.

Mia Smoak is the princess we were promised and she is ready to ascend the throne. I loved everything about her character.

Source: kathmcnamara

The alternate timeline/universe (?) has softened Mia. There’s no anger. No dark and twisty past. No hatred of vigilantes. No resentment over lies and betrayals.

Mia knows her father was a hero, but she hasn’t grown up hiding out in a cabin with Felicity. Instead she grew up with William in the Queen Mansion (where she currently resides). On the surface, Mia’s life has been pretty friggin perfect, even if she’s a little adrift. That said, the Grand Canyon sized hole in her life is that her dad is gone.

Source: oliverxfelicity

Mia blissfully wakes

Source: kathmcnamara

and is proposed to by… JJ DIGGLE!

Source: kathmcnamara

We have a scantily clad naked Diggle boy and he’s already dropping down on one knee. This show is my crack.

This also means JJ Diggle isn’t evil! Plot twist!! Dun dun DUNNN!!!

Source: kathmcnamara

Mia says yes after a brief hesitation and the DIGGLE BROTHER LOVE TRIANGLE HAS COMMENCED. I know I’m the only person who wants this love triangle, but I don’t care.

JJ is the “good” brother and Connor isn’t “evil” but he seems like a colossal screw up with questionable facial hair.

But also maybe I like the facial hair?

It’s clear he has an adversarial relationship with Mia, but so many romances have been born from loathing. Enemies to lovers is a classic trope. I’m all in.

Of course, we’re supposed to expect Connor in Mia’s bed since the Season 7 flash forwards more than hinted at a brewing romance between the two,

but instead it is JJ. A plot twist the Olicity fandom called ages ago.

John Jr. is new and improved though. There isn’t much to dislike about this version of him. He’s kind, sweet, sexy, attentive and pulling out expensive jewelry in the first five minutes. What’s not to love? There’s a smol and tol aesthetic happening too. Everyone knows that’s my shipping jam.

Things immediately get rocky though (pun intended). First, JJ gives Mia the Queen family engagement ring.

Source: arrowdaily

Mia makes a point of saying it was her mother’s which gives me the feels.

I never had the same issues with Moira’s engagement ring others did, but even I can recognize there’s some bad juju in it

Next, Mia gets her memories back (more on THAT later) and officially remembers her fiancé was a psychopathic killer who ran one of her friends through with the pointy end of a sword. It’s a little difficult to kiss JJ after that visual.

Things don’t get much easier after Mia accuses JJ of being the mastermind behind Bianca Bertinelli’s kidnapping. (Yes, she’s Helena’s daughter). He’s not the kidnapper. All his secrecy revolves around the honeymoon JJ is planning. It does lead to a truly hilarious moment between the two characters.

JJ: Jumping to conclusions is I’m cheating on you not that I’m a kidnapper. For the record, I’m neither.

It’s a heavy moment, but I died. It’s going to be a little hard to pick out cake now.

The scene itself is heartbreaking. Charlie and Kat acted their asses off in it too. JJ thinks Mia doesn’t want to marry him. She hesitated before accepting his proposal (Yes, he noticed that Mia. So did I). JJ believes Mia is commitment phobic. It’s not wildly unlike how Oliver’s story began. Thank God there’s no cheating with siblings though.

Mia is merely struggling with the idea that her fiancé was a cold blooded killer in another world. She just needs some time to… adjust. She’s also a little commitment phobic. After stopping the real bad guys, Mia reassures JJ, but she doesn’t tell him the truth about who she is.

Mia: I couldn't imagine spending my life with anyone else."

I see your not-so-subtle wink at SmoakNHawke writers. I AM SO HERE FOR THIS.

The truly awesome moment with JJ’s character is when he gets his memories back too. I was not expecting this and was genuinely surprised. Charlie Barnett is a PHENOMENAL actor. He played that scene perfectly.

Giving JJ his memories back is a stroke of genius because now he's a more complicated villain (I hope). He gets to struggle with his love for Mia and his loony tune desire to take over the city.

Katherine McNamara also does a fantastic job of blending the two versions of Mia after she gets her memories back.

Source: supercanaries

She’s reeling from the suffering and loss, but Mia is still our bad ass princess who takes no crap.

Source: oh-my-hades

She is still every bit the hero Oliver and Felicity raised her to be.

Source: feilcityqueen

She’s just a little more pragmatic. Her communication skills are much improved. One of the best moments of the episode is when she gets to show up L*urel with her “new” experience.

Source: supercanaries

Mia telling L*urel where to stick it was a long time coming. We had to wait twenty five minutes for it to happen, but it was GLORIOUS when it did.

Source: arrowversedaily

William is a perfect cupcake, excited to be Mia’s man of honor, but bummed his boyfriend cheated on him. We hate Kevin.

Source: arrowdaily

He encourages Mia to join Smoak Tech, but she’s not sold on joining Mama’s company. William running Felicity’s company fills me with a deep and abiding joy.

William Clayton-Harris-Smoak-Queen is perfection from start to finish.

Source: oliverxfelicity

The chemistry between Ben and Kat is so natural. William’s good natured teasing about their “family heirloom” exuded warmth and love.

Source: feilcityqueen

I adore how comfortable the two characters are now. Erasing William and Mia’s separation is the best thing to come out of Oliver’s Crisis retcon.

ZOE IS ALIVE because I said she would be and I like to get my way.

Source: oliverxfelicity

Din*h owns a bar (Thea’s old club) and lives in the apartment upstairs (Thea and Olicity’s old loft).

Source: canarynetwork

She woke up in the future after Oliver’s funeral and discovered she doesn’t exist in 2040. I’m only mildly curious about this. The bigger shock is Din*h is tolerable. She’s compassionate towards Mia and often serves as the peace maker between her and L*urel. She feels like an older and wiser Din*h Dr*ke. More like Season 5 Din*h, but not so angry.

Also, hello that voice? She can be like Lorne on Angel and randomly break out into show tunes. Juliana did a beautiful job.

E2 Oliver cheated on L*urel with Sara too. There is no universe where L*urel & Oliver end up together. Nobody hates L*uriver more than these writers.

What I Hated

L*urel. I hated everything about L*urel.

At first, I thought I was being too sensitive, but after a certain point it was clear she is just an asshole. L*urel being unbearable in Arrow pilots is a tradition apparently.

It starts with how Mia gets her memories back. There were some spoilers out on this, but I wasn’t entirely sure how it would play out onscreen and yeah… total dick move.

Source: supercanaries

L*urel destroys Mia’s life by forcing unbelievably painful memories on her without discussing it with her first. And for what? So, Mia can help L*urel find her kidnapped friend.

Even the newspaper article L*urel drops about the Green Arrow failing the city doesn’t excuse the way she gave Mia her memories back. I understand she is trying to convince Mia to be a superhero, but I feel a more effective approach would have been to sit down, grab a cup of coffee, offer the pros and cons of getting her memories back and then let MIA DECIDE.

Source: supercanaries

L*urel didn’t need to grab her from behind at her graduation/engagement party. It had the uncomfortable vibe of mind rape and no amount of “girl power” makes that okay.

Oh hey - if J'onn J'onzz from Superg*rl is going around and zapping people’s minds without clearing it with them first -

What was with L*urel insulting Mia every two seconds? UGH. Where is that damn bird baton?

There’s a fine line between snark and nasty. L*urel was just nasty.

L*urel decides Mia is a lazy, self absorbed, idiot because she’s not immediately jumping at the chance to be the Green Arrow. She literally blew this kid’s life apart, gives her no time to process, and immediately begins insulting her because she’s not following all of L*urel’s commands.

On what planet does L*urel have any authority over Mia's life?

They have a warm and fuzzy heart to heart about choosing to be a hero to smooth over L*urel’s wildly unpleasant personality, but it’s ludicrous. L*urel didn’t even rate a goodbye from Oliver. I find her suddenly being an expert on what Oliver would want for his daughter pretty tough to swallow.

This conversation should’ve been with William. PERIOD.

Source: oliverxfelicity

It’s insane L*urel is judging anyone about anything because SHE IS A MURDERER. But sure, being a socialite is the real crime. Thank goodness L*urel is here to stop all the shopping.

The show was desperate glaze over Bl*ck Sir*n’s history with bizarre explanations.

L*urel: I wasted a lot of time pretending to be something I wasn’t because it was easier.”

So, Bl*ck Sir*n was pretending to be a murderer because it was easier?

That’s not a thing. You don’t pretend to a murderer. You just are one.

Bl*ck Sir*n wasn’t like Oliver Queen. She killed good and innocent people. We’re just supposed to accept she was always a good person simply because she says so? Sorry sweetheart, the evidence does not exist. I would send your ass to prison for a good 25 to life, but the network didn’t ask for my opinion about your participation in the new show. THEY SHOULD HAVE.

Then there’s the way they casually avoid things Bl*ck Sir*n has done.

Din*h: I can let go of the people I lost and mistakes that I made.

Din*h lost her boyfriend because L*urel murdered him. They ate French fries and drank milkshakes in a ten second scene and now we’re supposed to believe they’re best friends. Umm… no. If you want to make this friendship believable don’t pretend their history doesn’t exist. Most of your viewing audience is coming from Arrow. We remember that L*urel killed Dinah’s boyfriend.

L*urel: D you’re up. You ready?

Din*h: Never not.

Ugh. Cringe. Arrow was effortlessly bad ass because Stephen Amell made Oliver Queen look effortlessly bad ass.

The action was show, not tell, and that includes the dialogue. There is no making L*urel and Din*h cool, so just-

And POSE. It’s like mannequins in a Macy’s window. YIKES.

Source: canarynetwork

They force this “Ra Ra Girl Power” nonsense with clunky lines and empty camaraderie while at the same time; L*urel eviscerates Mia’s life choices by insulting her all hour. If you want to bolster “female relationships” on this network then start with the women treating each other with respect.

There was a criminal lack of William, Zoe and Connor. TERRIBLE DECISION.

Hopefully, this changes dramatically if the show goes to series. This is what I meant by “retooled.” It is clear two different concepts are being slapped together. The one we saw in 7x16 and whatever KC pitched to the network. The biggest flaw in this backdoor pilot is how disjointed it feels.

It’s like there are two shows. Mia has her life with William, Zoe, JJ and Connor and the other show is Din*h and L*urel. It’s similar to Oliver and L*urel/Tommy/Thea versus Diggle/Felicity in the beginning of Arrow, but it feels really unnecessary to make that mistake again. I do not feel Green Arrow and The Canaries is Marc Guggenheim and Beth Schwartz’s vision for what they wanted the spin-off to be and it is GLARINGLY obvious.

No mention of Felicity or Diggle. Yes, I understand why. We have to watch the Arrow series finale to find out what happens to our beloved characters. Mia and William never mentioning Felicity and JJ and Connor never mentioning Diggle & Lyla is WEIRD. Particularly since it was Mia’s graduation and her engagement party with JJ.

Stray Thoughts

I vote for this to be Mia’s next tattoo. Source: amunetblack

Well… that’s new information Din*h. Source: shawgroves

Why is L*urel calling Din*h “D?” When did that start?

Rene is running for a third term. Do we need to be concerned about a utilitarianism regime happening?

I will never believe Din*h can do “Felicity stuff.” Where the hell is William?

“Oh frack you.” FINALLY.

The adversarial relationship between Mia and L*urel is a wise choice given how KC and Katherine McNamara interact online with each other. Or don’t as the case may be.

What is happening with L*urel's boots? Are there bombs attached to them or something?

The lipsticks on L*urel and Din*h are not good. There's a lot of eye makeup happening too. Let's tone it down makeup department.

This is my face whenever I see L*urel too. Source: supercanaries

You killed her fiancée L*urel. Pay your fucking tab.

Female Big Bad. Could be awesome. Just have to wait and see.

I'm really glad William and Mia are rich again. I missed billionaire money. It's fun.

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me. 8x09 gifs credited.

If you’d like to support the blog, please buy me a cup of tea!

41 notes · View notes