#but it tells a compelling story competently!

[brightandshinynewstories]

Everything I saw about the Fallout show told me to expect shallow nonsense. I was going to watch it, point at the blatant fanservice and references, and then never think about it again.

I feel a little bit cheated! Why is it good?!

#no it's not perfect come on now #but it tells a compelling story competently! #I liked it! #and I got the feeling that the creators really #REALLY #like fallout #and that's always good

[amberautumnfaebrooke]

i think i could design a better death arena for children than those hunger games amateurs.

the whole premise of the games is all pageantry. every year you get a crop of 24 candidates around whom the entire state media apparatus dedicates an entire year to building celebrity narratives. this candidate is the younger sibling of last year's winner - these candidates are young lovers forced to compete - he's smart - she's fast - root for them, care about them, watch them, form opinions on them, bet on them. and then they stick them all in an arena to kill each other, which is a great entertainment premise, except that they make the arenas themselves really boring and generic. ooo, they're in...a forest.

it's not even an interestingly designed forest. imagine if the game designers treated their arena like an actual video game designer treats level design. discrete zones with multiple paths between each room, creative use of lighting to guide players to points of interest, points of interest scattered across the map, discoverable resources hidden to encourage exploration. instead they just have a generic outdoors location and if you get too close to the edge they throw a random fireball at you.

the 75th games are especially bad about this. the arena is laid out radially into 12 wedges, and each hour one wedge becomes especially dangerous in a 12-hour loop. as a mechanic, this is genius. it forces everyone to keep moving, making "survival by hiding" an engaging and tense viewing experience instead of someone sitting in a tree for three days. plus, it encourages players to return to the center of the arena, where travel time between wedges is short, which creates a high-value zone for players to regularly return to and conflict over. in other words, it's a mechanic which incentives players to adopt dramatic, dynamic, exciting behaviors which are entertaining to watch (not to mention it communicates geography to the audience well). but it only incentives those behaviors if the players understand what's happening, and they go out of their way not to tell the players anything! when they figure out what's going on, the showrunners spin the arena to disorient the players, like they're intentionally trying to get them to just. randomly wander the jungle instead.

this isn't even to mention how often they create undramatic, boring deaths. they plant poison berries around the arena. they supply no fresh water and no way to get it. they roll poison clouds over sleeping victims. these happen to work out in the books themselves but you have to imagine that extremely often these just result in players dying unexciting deaths.

the cardinal sin though, of course, is that nothing is done to personalize the arena for the crop of contestants that year. if i'm designing the 75th hunger games and two of my most beloved contestants famously had to cancel their wedding because of a return to the games, i would OBVIOUSLY give them a trail of, i don't know, wild game which conveniently leads directly past a well defended wedding chapel. will they hole up there for a while? hold a mock ceremony for themselves? do or receive ironic violence here? stare wistfully and move on? any of it is better television than getting attacked by generic attack monkeys. you should have a dozen of these things on the map for every single candidate. but the game makers are more interested in doing the same thing every other game has done than in telling a compelling story.

it makes me second guess enjoying the children's murder arenas at all.

#the hunger games #game design

[ozzgin]

A nice character with a yandere split persona. The Yandere persona was born out of the abandonment of the character by a loved one, maybe mom. Did he kill her just so she could stay? Maybe. Only the Yandere persona knows, the character is oblivious, he just knows his mom left him. But he oddly feels ok about it as though the situation has been reconciled... which is weird to him.

Now he meets and falls in love with yn. She must not leave. It's f around and find out

Btw I love you ❤️❤️❤️ The Yokai series is my fave

Oooh, I’ve been thinking of a context for your idea and I somehow got stuck on a serial killer who is unaware of it most of the time. Since you mentioned abandonment and obsession, my mind wandered to some of the typical habits, such as collecting trophies. I’ve also been wanting to try my hand at writing a serial killer, so hopefully it turns out to your liking. (Sending back the love, always a pleasure to see your comments ❤)

Although let me include a little disclaimer, because I am aware many things in the sphere of true crime are problematic: this in no way glorifies or romanticizes serial killers. Just a reminder that this is a work of fiction and all behaviors displayed are for the sake of an interesting story, not to be admired in real life.

Yandere! Serial Killer x Reader

You're temporarily staying with a kind, quiet man renting out a room in the house he inherited. It's just the two of you, and a locked bedroom he claims to be vacant. Yet as night falls, you hear the whispered arguing of a voice you don't recognize. Is anyone else there?

Content/TW: female reader, mentions of murder, obsessive behavior, horror

You must break the pattern today, or the loop with repeat tomorrow

He stares at the locked drawer of the bureau. The clock ticking in the background fades into an irritating buzz, drumming against his ears at irregular intervals like a swarm of insects. Once again, he cannot remember where the key is. Yet he does not feel compelled to search for it. It cannot be anything of significance, he tells himself. Forgotten knick-knacks, perhaps. Despite the apparent lack of curiosity, he is drawn here every morning. He wakes up, carefully folds the sheets, and goes to sit in the office. Tick-tock. Tick-tock. Until, at last, the noon hour strikes, and the hallways are flooded with ghastly chimes.

Lately, however, other sounds have taken over the usual silence that envelops the house. The main door rattles faintly before opening with a creak.

“They were out of our bread rolls. I got a baguette instead.”

It’s you.

He stands up, as if startled from deep slumber, and hurries downstairs to greet you. He takes the grocery bags from your hands, flashing a smile of gratitude. Somehow, the idea of another person living here is still foreign to him. He’s gotten so used to the solitude, the quietness of the house. Time stands still when there’s no one else to remind you of it.

You glance up at the tall man, noticing his slight frown.

“Another brain fog?” You ask, worried.

“Don’t mind me. It’s a morning routine at this point”, he jokes. “More importantly, what would you like for breakfast?”

He always cooks for both of you. Initially, you were rather hesitant to go for his offer. You’d been looking for temporary accommodation and stumbled upon his advertisement. A cozy, vintage house the man had inherited from his lamentably departed mother, with one too many spare rooms. He had no need for all the space, he said in his description. You paid him a visit and were taken aback by his appearance. A massive, muscular frame that did not fit the rest of his mannerisms and features. He was soft-spoken, polite, and terribly shy. His eyes reflected the kind of gloom to be expected from anyone in his situation.

A sweet, gentle soul looking for company. On top of that, if you are to be technical, he’s a housemate difficult to compete against. Well-kept, mannered, organized, and thoughtful. He keeps to himself. You’d learned, soon after moving in, that he suffers from the occasional brain fog and memory loss. He goes for walks at odd hours to clear his mind. Enjoys reading in his office, although you’ve caught him just staring into space many times. Terribly inconvenient for the poor lad, you imagine.

The house itself is also not a bad deal by any means. Old fashioned, littered with trinkets and paintings. “My mother liked to collect many things”, he’d told you. It certainly has personality, to put it mildly. Some belongings are more bizarre than others: portraits of faceless people, with features smudged or distorted, doll heads in pompous, feathered collars hanging in clusters across the musty walls. Peculiar, but manageable.

Only at night does it become unsettling.

“Going for a walk?”

You’re curled in one of the armchairs, flipping through a magazine you found. It’s been hours since your little breakfast together and now the sun is beginning to set. The man is buttoning up his coat, standing in the doorframe and gazing at you with a smile.

“Yeah. I’m starting to detach a little. Maybe some fresh air will help.”

It’s nice, he thinks, having you here. He didn’t expect much when he ventured to rent out a room. He just wanted to hear the murmur of life again. Ever since his mother has passed…when did it happen, again? Better yet, how did it happen? Christ, he can’t remember. The last memory he has of her is not something to cherish. She was angrily shoving him out of the way, visibly annoyed by his cries and pleading. “Please don’t leave me”, he kept croaking in a pathetic tone, dragging his knees like a beggar. Then it’s all black. Black, like the cover they kept over her body at the morgue, to hide the mutilated remains. Black, like the tie he struggled to knot before her funeral. At that time, the sheets of her bed were still scattered, as if she never left. He could almost see her there, reflected onto the mirror’s surface – rather dirty as a matter of fact, he should wipe it soon – sitting melancholically on the edge of the mattress.

To think he’d be hearing footsteps again. A soothing voice. Even if it’s temporary, your presence in the house has been a blessing. Even if you must leave eventually. His lips purse involuntarily.

You hear the door close, followed by the key twisting inside the lock. You’re alone now.

With haste, you get up and sprint upstairs. You pull out a hairpin from your pocket and discreetly insert it in the cylinder. Today you find out if the spare bedroom truly is as vacant as your housemate claims.

When you first viewed the house, he mentioned that only this room will remain locked. It was his mother’s and he’d rather not look at it, he said. Let it gather dust, for all he cares.

Only at night, you’ve been hearing someone else’s voice. It didn’t happen immediately. Weeks after you’d moved in, you woke up thirsty and tiptoed on your way to the kitchen for a glass of water. On your return, you were surprised to see dim light coming from underneath the door of the forbidden bedroom. Visitors of your housemate? You hurried back into your bed, not wanting to intrude. But the following night you jolted up from the same mumbled voice. Strange that he’d invite someone over this late - twice in a row! - without saying a word to you. Even more, they were arguing like this. Curiosity got the better of you, so you snuck out and placed your cupped ear against the wall.

“No, no, no, no. I’m telling you, it’s different. She’s different from the others.” A deep, ragged voice retorted angrily.

Suddenly, there was a loud thud, a fist smashing against something, then glass shattering over exasperated, shouted curses. You ran back to your room, baffled. Who on Earth was there? You could feel your heart throbbing inside your chest.

Morning couldn’t come quick enough. You marched over to your housemate, demanding to know who this stranger was. He stared at you, wide eyed and incredulous. “There’s no one else here, dear. Just you and me.” Nonsense. You knew what you heard. You’d been wide awake! He gently placed the back of his hand against your forehead. “Could it be that you’re sick? Weather has been dreadful lately.” You scanned his face with hitched breath. Was he mocking you? Yet his features betrayed no such intent. The man seemed genuinely worried; face twisted in a caring frown.

Then what? A ghost? An intruder that fancied having a chat in a dead woman’s bedroom?

You fiddle with the pin until you hear the click. Finally. Surely whoever has been frequenting the place must’ve left some clues behind. You carefully open the door and peek inside. A broken mirror and some furniture covered in webs. There’s a lingering rusty smell that tickles your nostrils, and soon enough you find the source. Next to the old bed lays a cloth splattered red. On top of it, a leather folder from which scalpels and other surgical tools fell out haphazardly. Blood? Your mouth curls in disgust. You crouch to the floor to inspect the odd items and notice a jar glistening from underneath the bed. You pull it towards you and give it a rattle. Nothing heavy. You lift the jar into the light for a better look and gasp.

Fingernails.

“Oh, I forgot to put those away.”

It’s the same deep voice you’ve been hearing at night. Your stomach drops and you turn, slowly, towards the entrance. Horror is swiftly replaced by confusion once you realize it’s none other than your housemate.

“Y-you’re back from your walk?” You blurt out.

“Walk?” He inquires. “Ah, that’s what he told you.” He steps towards you and lowers himself to your level with a grin.

“Have you come to say hello?” He points towards the tall, shattered mirror. “This is (Y/N), mother. See, I told you she’s stunning. You didn’t believe me.”

He ruffles your hair with a boldness completely unfamiliar.

Nausea overwhelms you and your ears ring in panic. Whatever is happening right now is beyond your understanding.

“I’d like to go to my room now.”

“I recognize that speech all too well. You want to run away.”

Within seconds, he grabs one of the scalpels and points it towards your throat, poking your skin with its cold tip.

“Now, don’t embarrass me in front of her like that. Do you know how hard it is to convince this bitch of anything? I told her you’re not like them, (Y/N). Don’t prove me wrong.”

“Them?” You whisper, lungs devoid of air.

“Come, let’s put this with the others first.” He pockets the scalpel and lifts you up by the hand, tenderly kissing your fingers in the process. “Then we can talk.”

You follow him into the office, and he unlocks one of the desk drawers. Against your better judgment, you stretch over his shoulder and glance inside. ID cards of various women, jewelry, lipsticks. Teeth. Fingernails.

You want to cry.

He nonchalantly dumps the contents of the jar into the drawer and slams it back shut, then throws himself in the chair and pats his thigh, eyeing you. With a sob, you clumsily climb onto his lap.

“Back to our matters. What were you planning on doing?”

“I just wanted to lay in bed.”

He takes out the scalpel and draws a line across your cheek. It stings.

“Don’t lie, (Y/N). You have nothing to gain from being naughty with me.” He coos, placing a kiss over the fresh wound.

“I wanted to run away.” You confess, petrified.

“Good. Do you now understand what happens if you try to run away?”

You briefly look at the drawer and nod.

“I knew you would. You’re so smart.” He strokes your hair fondly. “Not an easy decision to make, mind you. I love you more than anything in this world. Who’d enjoy killing their one and only?”

The man ponders his next words with a hum.

“Don’t count on getting away while he’s awake, either.” He taps his temple and chuckles. “He has no idea and won’t stop you, but I can easily find you again.”

The eggs sizzle in the pan as you stare at your plate, background sounds melting into shapeless static. After a couple more minutes, the man turns off the stove and places the food on the table with a cheerful whistle.

“Eat up!” He encourages you.

You hold onto your fork with faintly trembling hands.

“This might be the last breakfast I cook for you, after all. You’re leaving tomorrow, aren’t you?” His last sentence trails off and he smiles, dejected.

“Actually, I was wondering if I could…stay here instead.”

He gazes at you in disbelief.

“Truly? I-…That’d be fantastic.” He laughs awkwardly and scratches the back of his head, a deep red blush spreading over his cheeks. “Do excuse my rudeness. To be honest with you, I’ve grown quite fond of our arrangement. I really do like having you here.”

You return the smile without responding.

“Most exciting news. I’ll get the documents from the office after we eat, so we can draft a new lease.”

“That’d be lovely”, you answer curtly.

“Say, have you by any chance stumbled upon a small key around the house? I wanted to finally unlock the drawer upstairs, but I can’t remember where I could’ve left it.”

The knot in your stomach tightens.

“Not at all.”

“Don’t sweat it. I’m sure it’s nothing important, anyways. Old memorabilia, most likely.”

#yandere #yandere x reader #yandere x darling #yandere x you #yandere fic #yandere imagines #yandere imagine #yandere scenarios #yandere male #yandere killer #yandere male x reader #yandere oc #yandere oc x reader #yandere serial killer #yandere original character #horror #split personality #tw yandere

[ystrike1]

Kitsh Wedding - By Saha (7/10)

It's a double trap. It's hard to watch our protagonist bumble into trap after trap. Death. Art. Money. Obsession. Bland characters. It's hard to find a compelling story about wealthy people and their problems, but this isn't awful.

Itae and Raehwa are both rich people, but Raehwa doesn't know that. She goes in blind. She thinks she's hiring a mercenary to protect her. She needs a fake marriage to do that, because her father is too controlling.

Raehwa's live is kinda tragic. Her father owns a construction company in Korea, which means she's richer than God. She's the only daughter too...which means she's extra spoiled.

Too bad her father is a yandere.

Her father really, really, really loved her mother. Her mother was a famous beauty and a famous painter. Her father had to compete with dozens of rich men to have her, and he enjoyed it.

He had plans for his prize.

Her famous artist mother disappeared from the public eye right after her wedding.

Later in life her mother attempted to get back into professional painting. Before the show she was found dead, hanging from a rope.

Raehwa was found under her hanging body.

Raehwa genuinely doesn't know what happened, but she has to find out. She runs away and hires a mercenary to find the whole truth.

You see, Raehwa realized that her father didn't really love her. She thought he did. When she was a child she felt like the luckiest girl in the world, but then her father saw her paint one day.

Just like her mother.

She looked into his eyes, and she saw a horrible monster.

Why did her happy mother kill herself?

She has to find out.

Itae agrees to help, but she doesn't notice all of the red flags until it's way too late. He's not fazed by her money or the fake marriage.

He seems too into it.

He tells her she has failed.

She doesn't know it, but she's in her father's hands right now. There's a tracker in her phone. Multiple hired spies follow her around. Nobody is actually on her side.

Father dearest calls Raehwa, and he tells her to come home.

Itae brutally beats up the spies, and he tells Raehwa she must come with him. She has to trust him, or she will lose. She wasn't in the lead from the start.

He brings her to a palace. An apartment block that he owns. He seems to have even more cash than her??? So why did he accept a dangerous job and an arranged marriage??

He also seems to know things about her....

Things she doesn’t tell people.

She stops hiding at part time jobs. The jig is up. Father was always watching. She is now completely reliant on her new husband for privacy.

I have to admit it. It is interesting that Raehwa looks and acts like a girlboss, when she isn't.

She's way more naive than she looks, which is a nice change of pace.

But.

Raehwa says she's not scared of Itae.

Why?

Well, living at home was way more frightening.

She won't give up.

She'll uncover the truth, and she will use what she can get to find it.

Itae will be an effective weapon against her father.

#yandere #male yandere #yandere male #yandere boy #recommendations #recs #rec #recommended #webtoon #kitsh wedding

[scintillyyy]

I love your Stephanie Brown post. It verbalized this feeling I've had about her character for awhile but didn't quite know how to phrase.

Just wanted to thank you for that!

ah thank you <3

yea to me, the super frustrating thing is that dixon's sexism gives her flaws that i find super narratively compelling and interesting and 3-dimensional and overall strong in a way that other writers somewhat miss the mark for me (i actually have a lot of criticisms about bg2009 and how bqm wrote her--overall i find it a very surface level girl power story veneered over pretty standard 2009 era sexism wrt the dynamics between women that has not aged super well and doesn't do much for actually giving steph interesting depth as a character & i find it's weakened by the fact that it is a doylist apology for the absolutely horrific way editorial treated steph prior to her death (which. she does deserve an apology and to be treated better), but also by doing that it makes almost every other character such as babs seem unreasonable and bad for their very understandable watsonian response to being wary of steph for many valid reasons and also makes it hard to actually give steph any flaws that aren't just quirky or clumsy--she's not perfect because she's adorkable). dixon steph has so many problems, being written by dixon, but she's truly my favorite flavor of steph because despite how horrid dixon is, you can absolutely tell how much he truly cared about her as a character. like. i bet if you asked him, he would have nothing but positive things to say about her personality and other characteristics. in fact, i believe a lot of the letters to the editor that talked about her back in the early robin issues had a lot of super positive things to say about her! like he created her! she's his blorbo! he wants to put her through the struggles!

like so many of her struggles when he's writing her is so much due to his sexism (she's never quite as competent as tim, and shouldn't be because she's The Girlfriend--compare to characters like babs and dinah and helena that were women but also written as extremely competent and good at what they do) and also because he wanted to put her through the wars, give her adversity to overcome! like steph is treated horribly a lot. by everyone. but it's partially because he wants her to perservere through it because he likes her and wants her to succeed. like a couple of very common threads through dixon's storytelling for her are the following:

tim is condescending (because that's how boys and girls are. see also: every 90s tv show that had a beleaguered sensible man with a nagging, over the top, ridiculous woman who does silly things that the man Puts Up With) -> steph gets mad -> tim thinks to himself that he shouldn't be so hard on her and usually apologizes -> well, actually tim was probably right because steph did get into trouble but steph making constant mistakes isn't actually narratively seen as "hey, maybe she should stop if she's making mistakes" because dixon wants her to continue.

or

more experienced vigilante (male or female--tim gets a lot of flack, but honestly, almost every single vigilante in batbooks at the time seemed to think steph wasn't quite good enough--batman, dick had his reservations about her, barbara didn't really necessarily want to train her, *cass* straight up told her she shouldn't be doing this, dinah didn't want to be her mentor, etc) tells steph not to screw up -> steph screws up -> steph has to get bailed out by more experienced vigilante -> steph keeps trying despite this

like so many of her diary entries that steph writes involve some flavor of "i've been told not to do this, but i have to, it's something i need to do despite all the naysayers". and it's sexist! because chuck wouldn't necessarily write the 'screw up and overconfident which usually leads to needing to be bailed out but keeps trying anyways' kind of a narrative for a male lead character (male characters get the 'i'm super competent but insecure/humble about it and when i make mistakes i'm able to figure out how to fix them by myself' narrative). but at the same time, it's what he truly believed for her--that she deserved to keep going despite any naysayers. if he truly believed that steph shouldn't be a vigilante or thought poorly of her, she would have been written out and/or he would have written her as making a mistake so bad she wouldn't have continued her activities as spoiler and finally agreed with everyone that she's not cut out for this. but he didn't. dixon writes her as not as competent as her peers because he has a worldview where girls are lesser and not capable of being as good as the boys. but he writes her with dogged determination to keep trying despite this because dixon truly thinks she deserves to keep going despite any mistakes he writes her making and that her perseverance should be rewarded.

like consider the arc where steph finds out tim's identity. dixon makes steph seem unreasonable for daring to change her mind and realize that yea, she does want to know the boy under the mask she's dating after all (because dixon thinks that girls are fickle and change their minds and boys shouldn't have to put up with that kind of nonsense behavior, not because this is a super valid thing to want) -> he has her go beat up an innocent boy named tito and stalk him in the hospital (because dixon is a sexist who things girls are just like this) -> tim does rightfully get mad about this and leaves in a huff -> batman tells steph tim's identity and she gets what she wanted?? -> tim is mad at her and batman until JLL when this is all swept under the rug and they go back to happily dating again + at this point everyone is open to training her/finally giving her a chance (until murderer/fugitive when she gets locked out again--which also leads into the era where dixon is no longer writing her--and after this is when we really get a lot of the really iconic unfair treatment towards her because at this point didio wanted her gone). and it creates this absolute interesting dissonance where you can see the overt sexism in dixon's writing and it's infuriating. and at the same time dixon also rewards her for the sexist way he writes her and she does generally get what she wants because dixon wants to give her the reward for her perseverance.

hell, consider the pregnancy storyline which is beyond overtly sexist and conservative but is probably the part where steph is most treated the best/in the right. tim and her mom are shown as in the wrong compared to her "correct" decision to keep the baby and they have to come around to support her. not just that, but for her to be given a teen pregnancy storyline in the 90s and not be shown as a Bad Girl for getting pregnant as a teen? dixon hates women and yet to him steph is a good girl who makes a mistake (something something he'll judge others, but when it comes to his daughter that's a different case. exceptions apply.) and she gets an ultimately supportive good boy boyfriend who helps her go to birthing class despite the fact that i'm sure dixon looks down on unwed teen mothers a lot.

it's just. i want to study it under a microscope. there's so much to unpack there.

#anyways apologies for the super long answer #i am just fascinated by dixon's treatment of her #it's sexism! but he does it because he wants to give her something to overcome! but it's definitely sexist! #scintilly ask tag #annah-kitathryne

[voidaspects]

A rambling defense of Makuta Spiriah('s design)!

Here’s a very long winded post about a bionicle side character that I suddenly have a lot to say about

I had no strong opinions of this like an hour ago and I suddenly have a massive rant to go on!

Okay, so, Makuta Spiriah, the 2008 bionicle combo model, is regarded as one of the ugliest combo models made for the series, from what I can see. It’s hard to deny that his model is pretty ugly and unremarkable, when you first see it. The colours clash, the construction is weird, and there’s a weird extra not-matoran guy included randomly? I won’t lie, I didn’t have a very good opinion of him either.

However

As of now, this past hour, I have built this figure, and felt compelled to make a defense of his design, because we’ve been far too harsh.

So, makuta spiriah is a pretty obscure character in the wider bionicle storyline, and would probably have just been a footnote in the story, were it not for the “Federation of Fear” story serial, in which he was a prominent member of the team. I probably wouldn’t have had an interest in building him, were it not for me wanting to collect every member. With all of the component sets for spiriah collected, my team is now completed (pic at the end). And I was immediately struck by how much better he looked in person? Like, don’t get me wrong, he’s still weird and janky, and his colour scheme is somewhat hard to adjust to, and all of the things you’d expect on initial glance (botar this is not) but I fully expected him to be ugly as hell, and instead he’s a pretty competent and cohesive model?

I think there’s a few reasons for this, but the biggest one in my opinion is actually the reason I felt the need to make this post, because it’s one of the main things I see people talking about with this model:

I am completely, intensely certain that the other model on his back is intended to be part of his construction, and it seems to just be accepted as a given that it isn’t for some reason?

So, the reason I feel so intensely about this is that pretty much every time this model is mentioned, without fail, there’s sort of a fun fact about how “Spiriah is canon, but the matoran-esque thing on him is non-canon”

This doesn’t seem to have a direct source, so much as it’s a conclusion drawn due to how this second model is perceived. Specifically, the conclusion is drawn from: “there appears to be a weird, slapped together matoran character on his back, to showcase the matoran fusion function from 2008” + “No such character exists in the story” = “this part of the model isn’t canon”

And see, this logic treats the interpretation that this is a separate character as a given. Like… it doesn’t seem to be questioned. And with this mindset, yeah, when you put the models beside each other as individual things, they both look awful:

You’re left with what seemingly appears to be a weirdly shaped antroz and some extra dude made from scraps. But in all honesty, I think this is just accepted as a fact due to spiriah already being accepted as an ugly model. I instead want to propose this as my first piece of evidence that this is not how this is intended to be seen. But my evidence doesn’t stop there.

For instance, another thing worth mentioning is the fact that there is not a single official depiction of the spiriah model that shows the two seperated, from what I can see. They are never once shown on their own in any capacity.

The one single exception to this is this part of the instructions, which tell you to construct the entirety of this second model as it’s own thing, before inserting it onto spiriah. However, this leads us to an additional point, being that this step is in the middle of spiriah’s construction, before you’ve even attached his arms. If this was intended to be a seperate model, why would it be attached during his body construction?

My final piece of evidence I want to propose, relates to the notion of this second model being “an extra little thing you make from the scraps.” I think this idea is popular because of just how barebones it looks on it’s own. Like a weird afterthought. People rationalize this idea with the explanation that this was just to show the matoran fusion function that was being heavily advertised in 2008. They just wanted to insert the-matoran-on-his-back function and threw this extra thing together, right?

Except, having built this figure now… I don’t think you guys realize just how many extra pieces are left. Like, no, this wasn’t a bottom of the barrel little extra thing. They had three mask option and kept the head bare. There was so much to work with.

(Also, fun fact, the matoran-thing has asymmetrical weapon pieces, but both of the chosen weapons have a second version available that wasn’t used, meaning it was a conscious choice for some reason. I don’t have a point to make with that, I just think it’s kinda weird and worth mentioning lmao)

Anyway, my point is, I strongly believe there is NOT some weird non canon extra guy with spiriah. Spiriah is, instead, a model that integrated a full matoran build into it’s construction as an actual design element. It uses the motif of the matoran fusion function, but the matoran instead fills out his figure, bulking him up to look more cohesive and complex.

Now, whether this is intended to be just an abstract way to construct his design, or he’s actually intended to look like he has a person melded into him or something, overtly, I’ll leave up to you. The makuta are weird and mutated enough that it honestly could very well be the latter, though it’d be an awfully weird thing to go unmentioned. But who knows, maybe some poor matoran got shadow-absorbed nidihki and krehka style. Or something. Your call!

Anyway, I’ll finish off this weirdly specific rant by just saying that I think this really changed the way I look at some of these models. I think the vast amount of criticism I’ve seen of Spiriah is reflective of the fact that on a glance, he looks super unappealing, to the point that no one really wants to build him, and therefore people maintain these opinions without ever seeing him in person? Not to sound like I know better or anything, I would never have built him if it weren’t for my love of the Federation of Fear story, and up until this moment I firmly believed Spiriah was one of the worst models of the line. Jarringly coloured, weirdly proportioned. I’d have no reason to believe otherwise, had I not done this.

I just think that’s neat, and I also think it’s neat that I suddenly had so much to say immediately after building him. I still don’t think he’s anything special, granted. He could absolutely be improved. But as he is? He’s still pretty dang cool! Cooler than I think any of us have given him credit for! And I think that makes me appreciate him more!

So shout out to the biggest failure in bionicle history. At least someone thinks something about you is a success!

(Lariska model created by Gerou100 (unofficial fanon contest winning model) (it’s canon in my heart))

#bionicle #lego bionicle #toy collection #bionicle collection #bionicle lore #bionicle 2008 #makuta #federation of fear #bionicle federation of fear #bionicle makuta #spiriah #makuta spiriah #brutaka #bionicle brutaka

[vinelark]

do you have any good reverse robins fic to rec?

oh hell yeah!

Reverse Robins: Joker Junior series by miyaji_08 i rec’d the second fic in this series over here for the timkon of it all, but the series—two parts, both complete—is also one of my absolute favorite reverse robins stories. it goes the joker junior!tim route, so heads up for A Lot of tim-centric trauma, but gives tim (and everyone else) so much healing, too. it also gets creative with the robin of it all, as in, the call sign for batman’s partner is different from the jump because dick wasn’t around to originate “robin” for it, which i always think is a fun extra detail. the batfam characters are great and the young justice crew is also great, so read for top-tier hurt and comfort and great characters and satisfying plot and tim and damian competing to see who is the most Tired big brother of the bunch.

blood of the covenant by envysparkler robins are angsty in any order, but man does this hit the angst sweet spot, which in turn makes the soft parts feel even softer. i genuinely can’t decide what my favorite dynamic is in this AU, between damian & tim (damian wracked with guilt, tim hurting and still wanting an older brother even if he’d never admit it) and tim & jason (no spoilers but chapter 4 especially lights my brain up like a supernova) and tim & dick (i think about the part where dick grayson [tiny, cheerful] uses tim [undead, annoyed] as a jungle gym like once a week).

Wing Beats in Reverse by firefright a longfic where jason gets kidnapped by the mysterious red hood, who turns out to be jason’s not-so-dead predecessor. the jason pov here is great, and i was so compelled by how this AU explored his place in the bat family, and how it managed the emotional fallout from the kidnapping. tim is also so interesting in this—it does something i love in a reverse robins concept, which is make tim’s motivations (and lazarus pit effects) less about anger/hurt/revenge and more about ice cold logic, about being the villain so the bats don’t have to/whether they want him to or not. plus some league of assassins trauma as a cherry on top. also, kon gets to show up for a bit. (as a fair warning—and spoilers ahead—the fic has a somewhat hopeful ending for tim, but doesn’t reach full reconciliation in the scope of the plot.)

i woke up so worried that the angels let go by circees a short but potent batkids age reversal au that’s also a grisha au, starring duke as the coveted sun summoner that damian is trying to deliver to safety without mentally adopting a new brother (damian fails on the second part). even with my limited memory of grisha lore i could tell a lot of thought was put into this au, and i have a feeling it would be even better if you are able to catch all the details. i also love that even in a fantasy world where some of the bat family have magical abilities, duke is still extra special—a great analogy to being a metahuman among the bats.

The 90s Are Back! by RedWritingHood saving the two silly ones for last to lighten the mood! in this one, red hood!tim gets de-aged to sixteen and meets all his new siblings. it’s like .01% angst and 99.99% shenanigans, and pretty much all the dialogue is super quotable but Dick holds out his hands like he's calming a bunch of wild animals. "Okay, I know everyone's real upsetti spaghetti right now, but I think we all just need to calm down." might take the cake.

Clowns Don’t Kill People by mademoisellePlume very short, very silly reverse robins brother shenanigans, in which tiny dick grayson isn’t scared of recovering joker junior!tim because dick, having been raised in the circus, doesn’t associate clowns with evil yet. the fic is fun (and a great palate cleanser if you need a break from the angst above), and the author’s note at the end made me fully laugh out loud.

#reverse robins #fic rec #batfam #when tim as the undead robin is done well it's so 🤌🤌🤌 #once again i reserve the right to add more later because i def forgot some

[physalian]

What No One Tells You About Writing #7 —The Editing Edition

Today’s list is all about the post-draft process, as I slog through another round of it.

Part 6

Part 5

Part 4

1. No one cares about your book baby as much as you do

Trying to say this as objectively as possible, but it remains an ugly truth. Your WIP might very well be the most important project on your mind for months. Unless you have a significant other totally and completely invested in your writing journey, no one else will have the same priorities you do concerning your beta readers and editors. They all have their own lives and jobs to think about.

Whether it’s your editors not approaching your book with the same level of emotion as you do, or not working on your timetable as quickly as you’d want them to, your book’s biggest cheerleader will remain you, the author, and no one else. Doesn’t mean your book is bad, niche, or boring, it’s just not as special to anyone else as it is to you.

2. Your editors will have their arbitrary hills to die on

I have said this in other ways before, but editors aren’t robots (or at least they shouldn’t be), and we all have our own reasons for not liking books, and those reasons probably aren’t reflective of you as an author. You can have an editor with moral objections to some of your themes and characters, but who is still quite competent at critiquing pacing and flow.

Or one who just fundamentally dislikes a side character or a romantic subplot, while agreeing that it is well-written. Or one who does not agree with how a scene should be told, what elements it should include, what they deem offensive, etc. This is why it’s important to have as many eyes on it as you can for a full spectrum of opinions. One editor might hate a scene that five others love. You can’t please everyone.

3. This is where you will hate your own narrative the most

The amount of times you will read over the same lines of dialogue, the same jokes, the same introspective pining, the same gushy romantic scene, can be incredibly frustrating and demoralizing. You’ll second-guess yourself constantly. You’ll wonder if it really is that funny or that romantic or that compelling. You’ll convince yourself that it’s dumb or pedantic or pretentious and consider deleting entire scenes and characters.

When you’re neck-deep in cleaning up crutch words and fixing syntax and arguing with yourself over the placement of a period or a comma or whether or not to use “said” or a different verb, there’s not much fun to be had. Go slow, step away from the project when it gets too much, and come back with fresh eyes later. You do your book baby no favors editing with an attitude.

4. Your favorite elements will end up on the cutting room floor

This is why I think it's important to archive your deleted scenes. Some characters, important lines of dialogue, or themes and motifs get axed as a byproduct of deleting the scenes that contain them. You can either shuffle those beats around to other areas of your book, or save them for a later WIP, or a sequel.

Sometimes your book isn't what you thought it would be, and that doesn't make it any lesser for what it is.

5. However long you think it’s going to take, guess again

As mentioned above, no one works on your time table. Beta readers can be very hard to find as the definition of what beta reading looks like isn’t very set in stone. How I beta read is very different from the work delivered by some that I hire as we all have different elements that we focus on.

Some try to edit your book into a story they want to read, overriding your voice as an author. Some only give line-edit feedback where you’re looking for more big picture notes, or vice versa. Some give less feedback than you think the narrative warrants.

Some skip entire scenes and leave you unknowing if there was just nothing special to say about them. Some will miss important edits that later editors slap with valid criticisms. Some just quit, and you have to start over. Some will give you vague feedback, or contradictory feedback, or feedback that just isn’t helpful and you have to do your best with what’s been given to you.

Editing is a very long and tedious process and vetting editors can get mighty difficult when we all have our own stipulations for what we think a quality edit means. It costs a pretty penny, too, if you’re like me with WIPs that consistently top 100k words.

—

In the end, editing remains vital to any story, original or fanfic or otherwise, if you want it to be as successful as it can be. I don’t think there is a perfect, flawless narrative out there, even by the greats. You’ve already dedicated so much of your time and effort into your work, do it justice by giving it the TLC it deserves.

#editing #book edit #writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #what no one tells you about writing

[yourqueenb]

As a continuation of this ask that I responded to, all the things I mentioned are just parts of the overall issue I have with Blades…. which is that, in the grand scheme of things, I feel like MC is simply a plot device for the other characters rather than a fully developed character who has a fully developed and satisfying arc herself. It’s clear that Nia’s is the story the writers really wanted to tell considering how intertwined her characterization/development and the overall world building are. They basically even admitted as much.

So my question is why not just make her the MC if that’s really what you wanted on the not so down low? They still could’ve incorporated the skill mechanic. Why create a whole player character just to have us running to solve everyone else’s problems/support them while acting like everything that happens to us exists inside of a vacuum in the meantime? So far, all we’ve really been doing in this book is reporting where the group needs to go, telling them what to do, having heart to hearts with them when they need help moving to the next stage of their development, and then being spoonfed information through the lore tablets, which are apparently more for the players’ benefit than MC’s since they barely affect how we respond in game anyway. I’m fine with being the leader or the glue that holds everyone together, but to me it’s unsatisfying that that’s all we are as the main character.

We somehow become more competent due to the skill mechanic but no less clueless at the same time. We have all this terrible shit happen to us, but are only offered a few lines’ description of how that’s affected us. And then the rest of the attention goes to setting up the light vs. shadow conflict and our friends, who get to have personal and compelling conflicts of their own. I mean I feel like MC is more of an emotional support animal to them than an actual person with dreams, feelings, and a (minimal) background. Imo the only character who’s getting shafted almost as much as us is Imtura.

And all of this might make it sound like I hate Blades, but it’s quite the contrary actually. It’s still one of my favorite series and has a lot of fun moments and lovable characters. But I think at this point, its flaws have become too large for me to ignore. So that’s still affecting my enjoyment a bit and probably the reason why I’m so upset with how certain things are being handled. Of course I’m aware that Blades isn’t the only book that has some of these issues though. I think it’s just a little more disappointing because I expected more

#choices bolas #choices blades #blades of light and shadow #choices stories you play #playchoices #and again it’s not lost on me that a lot of my opinion is probably colored by being on Mal’s romance route alone #from what I’ve seen of Tyril’s route he at least seems to care a bit more #he even shows concern for MCs who have a purely platonic relationship with him #I’m not sure about Nia and Imtura #but even still I feel like MC isn’t being given nearly enough from the writers regardless of who you’re romancing #also I’m still not sure I’ve really explained my thoughts clearly #I feel like I just typed a lot and then decided to post bc I don’t have the capacity to try to organize this any further #so it just never would’ve gotten posted if I waited for that 🤦🏽‍♀️ #but either way I hope it’s semi coherent and doesn’t just sound like a lot of whining and rambling 💀😭 #choices #choices app

[jbaileyfansite]

Interview with Jonathan Bailey and Matt Bomer from GQ Hype

Filled with cozy, Hemingwayesque signifiers of midcentury masculinity (think: taxidermy and artfully-tattered boxing gloves), the restaurant seemed perfect for a breezy, late-autumn hang in the West Village.

But there’s one problem: Matt Bomer and Jonathan Bailey have burgers on their minds. And while this place boasts a surplus of dead animals nailed to the wall, it somehow only serves snacks and salads in the afternoon. And as Bomer points out, Corner Bistro—a pub that, in his opinion, serves some of the best burgers in town—is just a six-minute walk away.

The British-born Bailey—who, in his black sweater, floppy beanie and overstuffed backpack, looks more like a backpacker who just rolled out of his hostel rather than one of the streaming era’s top heartthrobs—waxes rhapsodic about In-N-Out, the California burger institution, which he recently tried for the first time.

He asks the suave, Old Hollywood-handsome Bomer, who spends most of his time in L.A. with his husband and three teenage sons, where In-N-Out falls on his personal burger index. “Our boys are really good judges of burgers,” Bomer says, and for them, In-N-Out is up there—but so is the burger at Corner Bistro. And how can we send Bailey—the Viscount of Bridgerton himself—back to London without tasting New York’s best?

Our location, midway between Stonewall Inn and Julius, two of New York’s most historic gay bars, is apt. The project we’re here to talk about—the epic new Showtime series Fellow Travelers, in which the pair star—tips its hat to the legendary 1969 riots that happened in Stonewall, but goes even further, telling the story of gay liberation in the second half of the twentieth century.

Part epic love story, part political thriller, Fellow Travelers begins in 1950s Washington, D.C., with an illicit affair between the strapping Hawkins “Hawk” Fuller (Bomer), a State Department official savvy to the ways of power, and the earnest, energetic Timothy “Tim” Laughlin (Bailey), the kind of wide-eyed idealist who goes to D.C. wanting to change the world. When they first meet, Tim is a conservative Catholic boy; his passionate, intensely erotic affair with Hawk both liberates him and throws him off his path.

Through the decades-spanning run of their relationship, the series takes us from the Lavender Scare of the 1950s—when a McCarthy-era policy that institutionalized homophobia expelled many “sexual deviants” from government, resulting at one point in a suicide a day—to the AIDS crisis of the 1980s.

The series is based on the Thomas Mallon novel of the same name. But where Mallon’s book generally focuses on the 1950s and the explosive romance between Hawk and Tim, the series expands the Fellow Travelers universe to reach through the decades and cover the Vietnam War protests of the '60s and the White Night riots of 1979.

“It's been taught that LGBTQIA+ history begins at Stonewall,” says Jelani Alladin, the actor who plays queer Black journalist Marcus Hooks in the series. “It’s a kind of false narrative. Queer people have been around taking a stand for themselves since the beginning of time.”

It feels like a disservice to call a series so sexy and so compelling as educational. But Fellow Travelers does serve as an important history lesson for younger generations who may not fully understand the battles fought before their time. “It was a really dark period in American history that obviously we're not taught in school,” says executive producer Robbie Rogers, who prior to his work in film and TV was the soccer player who became the first openly gay man to compete in a North American professional sports league. “We're not taught LGBT history.”

When the first episode of the series came out in late October, a viral clip showcasing Bailey and Bomer in a particularly kinky sex scene had Gay Twitter shuddering with excitement. In the scene, Bailey’s Tim uses his power as a sub to persuade Bomer’s Hawk to take him to an important D.C. party. “I’m your boy, right?” he tells Hawk. “Your boy wants to go to the party.” In surely one of this year’s hottest scenes on film or TV, we see Bailey hungrily suck on Bomer’s toes and gamely attempt to put his foot in his mouth. Earlier in the series, Hawk gives Tim the name “Skippy” after thoroughly dominating him in bed, a gesture of affection as much as of ownership.

Sex is a powerful, world-shifting force in Fellow Travelers, but it’s also a Trojan horse. While the early episodes bristle with erotic energy, every exchange between Bomer and Bailey is about power as much as it is about sex. And the further you go into Travelers, the more you realize what’s really at stake when these two hit the sack.

“Even in the ‘50s, they had joy,” Travelers creator and writer Ron Nyswaner, the Oscar-nominated screenwriter of Philadelphia, says. “You might be struggling, but that doesn't mean every moment of your life you're a victim of oppression. Behind closed doors they had a life—it's just that at any moment, the police could come through those doors and ruin that life.”

That unapologetic approach to queer desire is still pretty revolutionary in a big-budget prestige series on a major network. Gone are the days when gay characters were allowed to exist onscreen as long as they adhered to respectability politics. In Fellow Travelers, the queer characters are allowed passionate, unapologetically freaky pleasures.

“There's no shame attached to that,” Bailey says. “And I do think Matt's character detonates something in Tim. It's a gift to meet someone [who does the] radical act of helping you feel less shame and understand that intimacy that can be explored in so many different ways.”

Religion is a big theme in Fellow Travelers. Hawk is bound by covenant to his wife; Tim struggles with Catholic guilt. And like many queer people, Bomer and Bailey themselves have both had to negotiate religion within their queer identities.

“It took me a long time to dismantle it and to question what I was being told,” Bailey says. “Religion is interesting because it’s the voice of the shame but also [a source of] relief. There was this person that I could speak to—and I definitely did have that full conversation with a higher power. But the contradiction is brutal. To really lean into that as a gay kid who's not born into a gay family, you see both sides of what religion can provide, which is scathing judgment—as I felt it looking back—but also a real space for catharsis and nourishment.”

Bomer says he has an individualized approach to religion: “It's something that I've found for myself over years and years of exploration. It's just highly personal that way.” Bomer is proud to have raised his kids in a truly intersectional environment. “They go to an Episcopal school, but they're in school with Muslim kids, with Jewish kids,” he says. “We gave them that experience and then let them find their own way from there.”

On the way to Corner Bistro, Bomer gives Bailey a capsule tour of gay West Village. “That’s an iconic lesbian bar,” he says, pointing out Cubbyhole on West 12th street. Later, he asks if we’ve ever been to Fire Island. “You can have any experience you want there,” Bomer tells me, when I confess my anxiety around Speedos. “It's not just one thing.”

These streets bring up certain memories for Bomer. He tells us about coming up as an actor in New York in the early 2000s, at one point living in “a renovated crackhouse in Brooklyn.” Later, he worked two jobs to afford a one-bedroom apartment he split with a fellow aspiring actor—none other than Lee Pace, the famous, and famously tall (6′ 5″, if you don’t know), actor and Internet Boyfriend who Bomer has known since high school. “I’ll tell you how long I've known Lee Pace,” he says. “I’ve known him since he was shorter than me, when he was 14 and I was 15.”

As gay men are wont to do, trust that the group veered off-topic to talk about vocally-prodigious divas. Bomer has just seen the Broadway production of David Byrne’s Here Lies Love, which tells the story of the rise and fall of Imelda Marcos, the wife of the Philippine dictator Ferdinand Marcos. And when he finds out that I grew up in the Philippines, he tells me how much he loves Lea Salonga, the Tony-winning Filipino Broadway star who appears in the production.

We ask Bailey if he’s familiar with her. “Do I know Lea Salonga?” he asks. “She was Fantine!” he retorts, referring to her role in Les Misérables in Concert: The 25th Anniversary.

From there, we fall into a Filipino diva rabbit hole, talking about former Pussycat Doll Nicole Scherzinger (currently appearing in a well-received West End production of Sunset Boulevard that Bomer tells Bailey they must catch together), Mutya Buena of the Sugababes (an iconic U.K. girl group that Bailey and I separately saw live recently), and Darren Criss (who Bomer directed on The Assassination of Gianni Versace: American Crime Story—technically a straight male, but one who earns diva status for his formidable vocals and the dance he did in a red speedo on Versace).

As we near the pub, a thirty-something woman walking hand in hand with her man does a hilariously convincing impression of the Distracted Boyfriend meme at the sight of Neal Caffrey and Anthony Bridgerton casually strolling through West 4th Street.

“Her neck!” Bailey says, audibly concerned.

In Corner Bistro, with sandwiches and coffees in hand (Bailey decides on a classic burger and a grilled chicken sandwich), we settle down in a cozy booth and talk about the points in their careers where Fellow Travelers found the actors, the hard-won representation Hollywood’s queer community has been fighting for for decades, and the LGBTQ+ talents of color they’d like to support on their own projects.

Bomer, of course, has been famous since the early 2010s, when he became a star on the series White Collar, and along with Neil Patrick Harris, proved that openly gay actors could become leading men. Since then, he’s conquered Broadway (The Boys in the Band), won a slew of awards (Golden Globe and Critic's Choice trophies for The Normal Heart) and become a producer and director.

In the past, Bomer has discussed the way doors closed on him even as he was being celebrated for being an out gay actor. When asked about that now, he says, “I choose just to never look back in anger about anything. Ultimately, my career is a lot richer because I decided to be open with who I am.”

“It’s a wave of progress that Matt's been surfing and is at the front of,” says Bailey. “And it's been a real honor to be able to get on my boogie board next to him.”

Before he became a global star mid-pandemic playing the grumpy, furry-chested Anthony Bridgerton on the Netflix juggernaut Bridgerton, Bailey was an award-winning actor in both the West End and British television. Huge fame didn’t find Bailey until his early 30s, so when it did, he had a clear idea of what he wanted to accomplish with his platform.

“I feel the responsibility immeasurably,” Bailey says. “I get it when people are saying you create a chair and bring people [to the table].” He talks about the connection between the civil rights movement and the queer liberation. “The Black queens are the ones who really started to fight,” he says. “It's amazing to feel politically activated. And if there's any project to do that, it's going to be Fellow Travelers. It will change the way I see myself in and the world I live in.”

The intersectionality makes the story Travelers is trying to tell even richer—most of all in Alladin’s scene-stealing portrayal of the conflicted Marcus Hooks, a pioneering Black journalist who pushes against segregation as he grapples with his own sexuality. “When I look at older men today, I'm like, You guys have endured so much,” Aladdin says. “From the Second World War all the way through to the AIDS crisis, it was nonstop life crisis after life crisis. To have been able to survive through all that, there needs to be a real, solid weight on the feet of [these characters].”

Part of the pleasure of watching Fellow Travelers is picking up on the cinematic references hidden in each scene. Hawk and Tim’s first interactions evoke the forbidden affair in David Lean’s 1945 classic Brief Encounter. When Hawk’s family settles in suburbia, the show evokes the Technicolor repression of the great Douglas Sirk melodramas. When Hawk and Tim run through the beaches of Fire Island in the ‘70s, that iconic image of Burt Lancaster and Deborah Kerr kissing on the beach in From Here to Eternity may flicker in your mind. And in some ways, the series plays like a gayer, hornier The Way We Were—an epic love story tossed on the tides of political change. (In this version, of course, the Barbra Streisand character is an eager foot-licking sub and Redford’s Hubbell Gardiner is a daddy with a pit fetish.) Fellow Travelers allows us to imagine an alternate timeline where queer love has always gotten as much screen time as cinema’s great heterosexual romances, giving other kinds of stories the chance at celluloid immortality too.

In the book, Hawk is described as being more handsome than Gregory Peck. But seeing Bomer in period-appropriate clothing, the Old Hollywood leading man I thought of was Montgomery Clift, the talented and ultimately tragic gay actor who starred in classics like Red River and A Place in the Sun. For a time in the mid 2010s, Bomer was attached to star in a Montgomery Clift biopic for HBO, to be directed by the great gay director Ira Sachs. “Ira is a genius,” Bomer says. “[But] I think that ship may have sailed.”

Still, when I press him about doing it in the future, he lights up. “You know, I’m [now] the same age Monty was when he passed away,” Bomer says. “I always thought it'd be really interesting to do a play about the last night of his life, when he's watching one of his old movies on TV. And he had this man who lived with him and took care of him for the last chapter of his life.There's an interesting play in there somewhere…. Maybe Liz Taylor swings by.”

What’s changed since the mid 2010s is that a lot of Hollywood’s current gatekeepers are queer people who were fighting from the bottom a decade ago. “It's the people, the gatekeepers who are now going, ‘We are going to make this [queer] story,’” Bailey says. “This narrative that gay people have to be closeted in order [for a project] to be commercial and in order for things to be interesting to people—it's been dismantled. But it's slow because it's not just straight people who think that—I think everyone believed that in the system of Hollywood.”

Nyswaner, who has been working in Hollywood since the early ‘80s, has seen that shift up close. “When I grew up in the ‘60s and early ‘70s, I never heard the word ‘homosexual’ spoken aloud,” he says. “There was no conversation that I ever had with anybody about homosexuality. It was not just bad, it was the unspeakable thing—that's how terrified people were of us.”

And while he agrees that, in some ways, it feels like the LGBTQ+ community is once again losing ground on some rights, Nyswaner refuses to accept that there hasn’t been change. “Sometimes I hear people say, ‘Well, we haven't gotten anywhere.’ And I'm here to say, ‘Oh, yes, we have.’ Because actually you can turn on the television and find gay characters.”

Fellow Travelers is the culmination of a dream for a number of the men involved in the series.

“When I met Ron, he was talking about how he thinks about this as his lifelong legacy project,” Bailey says. “And I just said to him, ‘Whoever ends up going on this journey with you, I think it'll be the same [for them] probably.’”

“In some ways, Fellow Travelers is a span of my life,” Ron Nyswaner says. “I was an infant in the McCarthy era. And then I came out of the closet in 1978 and just danced and did cocaine and had multiple sexual partners—we didn't know what was coming, which was the AIDS crisis.” Nyswaner was nominated for a Best Original Screenplay Oscar in 1993 for Philadelphia, the landmark drama about an AIDS patient who sues his employers for AIDS discrimination. In a way, the historical span of Fellow Travelers gives the battles fought in Philadelphia their context.

Rogers remembers being a closeted soccer player in the late 2000s, watching Tom Ford’s A Single Man and hoping one day to be able to find love and take control of his own narrative. And Bailey recalls, post-Bridgerton, realizing that he could suddenly write his own destiny and vowing to seek out “a sweeping gay love story.”

Bomer, meanwhile, says—laughing, but seemingly dead serious—that it’s his goal to play a queer character from every decade of the 20th century. “A queer Decalogue,” he says, referencing the Krzysztof Kieślowski classic.

Bomer’s next project might just help him do that. He’s currently producing a Steven Soderbergh film on Lawrence v. Texas, the case that overturned the sodomy laws in Texas in 2003 but started in the 90s.

There are many more stories to tell. And as our interview winds down, Bomer and Bailey start spitballing dream projects.

We talk about All of Us Strangers director Andrew Haigh, who’s revered for his portraits of gay intimacy. “Andrew Haigh has been a special filmmaker for years,” Bailey says. “I think [his film] Weekend informed actually how I approached the sex scenes in [Fellow Travelers].”

“I’d love to play Jessica Fletcher's queer grandson who moves back to Cabot Cove,” Bomer says, referencing Angela Lansbury’s iconic role in Murder, She Wrote. “He's inherited her house and he finds an old journal in her library, and it's a case she never saw and he takes up her mantle.”

And moments before the restaurant speakers suddenly start blaring George Michael’s “Freedom ’90,” Bailey comes in with a killer pitch: “I’m obsessed with the Sacred Band of Thebes, an army of 300 gay lovers in [ancient] Greece. They partnered in pairs, this gay army, and they overthrew a Spartan army… I want to do that as a comedy.”

“Oh hell yes!” Bomer says.

“Just get all the queer actors together,” Bailey says, laughing.

“Lee Pace, everyone,” Bomer says.

“Where would we film it?” Bailey asks.

“Mykonos?” Bomer suggests.

“Flaming Saddles, down the road,” Bailey counters with a chuckle, referring to a gay bar in midtown.

“Oil us up and let’s go!” Bomer says.

Source

#fellow travelers #jonathan bailey #matt bomer #jelani alladin #ron nyswaner #interviews #interviews:2023 #GQ hype interview 2023 #NEW!

[hashiedraws]

Hey folks, it’s been a while. You may know me for my Choices fan arts, or as one of the artists in @itlivesproject . Im the one that worked on the m!mcs and Linky’s undies, and was also the one responsible for Matthias infamous red brief 😂 (if you had seen it, then good for you 😘)

As you all know, after ILW ended, a lot of members moved on to work on many new and different projects, including me. And so after two months of dedication and hard work, I am happy to tell you guys about the release of my short BL 18+ visual novel called:

TAG TEAM TENNIS 🎾

What is Tag Team Tennis about?

At Hartbridge University, tennis reigns supreme. Unfortunately for Ace Ackerman, that world of popularity is not his. He may love tennis, but he accepted years ago that he would never be good enough to compete against the other players.

That is, until the legendary Dennis Tenney took him under his wing. Now, after a year of rigorous training, Ace and Dennis must compete together in the Tag Team Tennis tournament, one of the biggest competitions in Hartbridge.

Help the Dare Doubles to defeat their opponents, gain the respect of the other university students, and maybe even find a little love along the way.

Features:

- Over 21000 words.

- 4 unique Endings.

- 5 gorgeous CGs (15 if included variants) done by yours truly.

Credits:

I can’t say thank you enough to mod win for helping me with the editing to make the story as compelling as possible. And thanks to mod shionch for answering all of my coding questions and helping me with the Android port. The game wouldn’t be where it at today without you guys.

Disclaimer:

This game contains explicit male nudity and is intended for mature audience (18+). Player discretion is advised.

#bl game #visual novel #indie games #tag team tennis #t3 #hashie

[lurkingshan]

Wedding Plan and the Evolution of MAME

I have a bit of a love/hate thing going on with MAME, one of the most notorious writers in the bl genre. Her shows have traditionally been a mixed bag of incredible chemistry, high heat, dubious consent, and pushy semes transgressing every boundary laid out for them, all of it built atop a foundation of heteronormativity and homophobic tropes. In the early years of bl, her shows were one of the only places you could go to see mature depictions of intimacy in relationships, but they also necessitated dodging through a landmine of problematic content. So my long standing policy has been to never watch her shows live and instead binge them when they’re done so that I can go in with some idea of what to expect. As someone who liked Love By Chance and TharnType for what they did well despite their problematic aspects, and actually kinda loved Love in the Air, I figured I would watch Wedding Plan at some point, but it wasn’t that high on my priority list. 

So imagine my surprise when people I trusted started telling me: hey wait, this is actually really good? Like, not good for MAME, but genuinely, legitimately a quality show. @bengiyo wrote a great post on the queer read of the story that was very intriguing indeed. @ginnymoonbeam wrote about seeing an authentic representation of her own experiences in the show. When I asked for others to weigh in, @negrowhat, @slayerkitty, @thegalwhorants, @nieves-de-sugui, @he-is-lightning-in-a-bottle, and @magpie24601 all said they were enjoying it to various degrees and that it felt different from MAME’s previous works. So this weekend, I sat down to watch it, and as soon as I finished, I pinged @waitmyturtles, who had previously said she did not intend to watch any additional MAME shows, to tell her she had to add it to her project tracking the evolution of Thai bl. 

Because y’all, this show! This show is stunning, in more ways than one. The people and settings are gorgeous (shoutout to that McDonald’s money), the characters are compelling and sympathetic even when they behave in frustrating ways, the romance is properly swoony, the friendships are deep and touching, the family relationships are complex, and the ending is triumphant. I enjoyed it immensely, and I was taken aback by how genuinely rooted in queer experience and celebratory of queer love it felt. It was kind of a revelation, and I felt compelled to get down some thoughts about it. I’m going to break this down by narrative themes and characters so that I can dig into some of the tropes at play and what makes their deployment feel different here than it has in MAME’s previous shows.

The Core Premise

When I say this story feels authentically queer, this premise is the foundation of that. A lavender marriage is something that can only occur between queer characters. Right away, we are kicking MAME’s typical use of heteronormative tropes right out the door, because Lom already has a wife. Yiwa is his stand-in for the female partner his parents and society expect him to have, so Nuea cannot and will not fulfill that role. Instead, Lom’s pursuit of Nuea is explicitly about his desire to break away from those constraints and pursue the authentic queer life he has never been allowed to live, even if he has to do it undercover of this facade. Lom is gay, and he is pursuing a relationship with a gay man, and there is no coding here to make a heterosexual audience feel like what he wants with Nuea is the same as what he’d have with a woman. The difference, and the way one fulfills Lom while the other doesn’t, is the point.

Nuea

At first glance, our POV character, Nuea, feels like a stock MAME uke character. He is cute, he is a romantic, he is emotionally reactive, and he has a massive crush on Lom pretty much from jump. But pretty quickly, we start to notice some important differences between Nuea and those who came before him, starting with his competence and confidence. Nuea is the ace at his company and excellent at his work, and he’s financially comfortable. He is an out and confident gay man with a strong community of coworkers, friends, and family who will support him through anything and close ranks to protect him when needed. He does not share the standard characteristic of typical MAME ukes: uncertainty about who he is and/or low self-esteem. There’s simply not a whiff of that anywhere on Nuea. He knows who he is, and he knows what he wants. And as the story unfolds and Nuea gets deeper entangled with Lom, we recognize another crucial aspect of him: he is experienced, both emotionally and sexually. Nuea has been in relationships before, he knows how to say no, he knows how to draw a boundary, and he knows when he is deciding to cross one. In short, Nuea has something crucial that a lot of MAME ukes are lacking: power and agency. 

We see this throughout his relationship with Lom, as Nuea begins their flirtation eyes wide open about his own feelings and the fire he’s playing with, and alternately pulls back and pushes forward as his conscience wars with his desires. Nuea wants Lom. Their attraction is extremely mutual. No one is wearing anyone down or inspiring a sexuality crisis in this dynamic. Instead, Nuea’s struggle is rooted in his own morality and desire to be a good person, because he thinks Lom is taken, and he wants him anyway. Which is why we see him waffling so much and sending Lom all kinds of mixed signals, pushing him away with one hand while grabbing him back with the other, drawing boundaries only to step right back over them at the next opportunity. And when he finally crosses a boundary that he can’t rationalize (sex with Lom), he retreats back home to try to get his head together. It’s not an accident that despite Lom being in the active pursuer role, we see Nuea make a conscious decision to move forward and even be the one to initiate a relationship progression at several crucial points in the story. Nuea is making his own decisions here, and he has his own power over Lom that he exercises consistently. He’s warring with himself, not with Lom.

Lom

Lom is also, on the surface, a fairly standard MAME seme character. He wants Nuea, and he’s comfortable being pushy about it. He pursues Nuea fairly relentlessly, showing up in front of him even when he’s told not to, and leverages his role as Nuea’s client to see him as often as possible. He obsessively pines for Nuea in a way that also feels familiar. But for me, there is something that makes Lom stand out and feel markedly different from his predecessors in his romantic pursuit: sincerity and frank honesty. 

From the start, Lom is genuine in his interest in Nuea and sincere about how much he likes and admires him. He tells him in a very straightforward manner that he likes him and wants to spend time with him. He tells him he knows he doesn’t have the right, but he wants to kiss him and be near him anyway. He tells him exactly what he intends to do to stay close to him, and then he does it. He tells him honestly that he loves Yiwa, but not in the way Nuea thinks, and that he is not marrying her because he’s being forced. “But Shan,” I hear you yelling, “he did not tell him the most important truth!” And you’re right, he didn’t, at least not until he was forced to do so. Which brings me to the other thing that makes Lom so compelling: the constraints of the closet and his loyalty to Yiwa. 

Lom, unlike Nuea, does not have a supportive family or the freedom to live as an out gay man. What he does have is a best friend whom he loves deeply and completely, to the extent that he would sacrifice his own life and chance at happiness to protect hers. He has no choice but to hold some things back, because to lay it all bare would expose not only him, but her. The decision to tell a boy he likes the truth about the nature of their relationship is not just about him; anyone knowing is also a risk to Yiwa and the life she is building with Marine. And he takes his duty to protect that very seriously. On top of that, Lom has been in the closet since he was a teenager. We know that Lom and Yiwa connected over their queerness and their mothers’ bigotry when they were only 15 and 13, respectively. They grew up Knowing. That self-protective mindset is not something you can easily shake off, and not something you risk for any given person you develop a crush on. He is trying to walk a line in his pursuit of Nuea to snatch whatever happiness he can without blowing up his entire life. 

And to Lom’s credit, the moment he realizes how serious he is about Nuea, he goes after him (with Yiwa and Marine’s support), dutifully pays his penance and earns the respect of Nuea’s family, and finally unburdens himself, looking at Nuea with complete and total honesty and saying to him “This is who I am, this is my situation, can you deal with it? Do you still want me?” And by the way he sobs when Nuea says “YES” and asks to be part of his arrangement with Yiwa and Marine, he never expected for someone like Nuea to accept him and all the complications of his life. He was absolutely overcome by gratitude and relief, and you could see the burdens he’s been living under start to lighten. 

Yiwa and Marine

I don’t have anyone to compare Yiwa and Marine to, because to my recollection, they are the first significant female characters in any MAME story. And significant is an understatement. Yiwa is the engine that drives this entire story. The lavender marriage is her idea, because it’s the only way she can think to give herself the freedom to be with Marine under her mother’s watchful eye. She is the one who goes to her best friend and begs him to do this for her, because she trusts him absolutely and the devotion between them is complete enough that she knows he will sacrifice in such a monumental way for her. She is the one who encourages Lom to pursue his own happiness with Nuea within the constraints of their arrangement, hoping that he will find his own Marine that can hang in for this half life they’ve constructed to meet the tenets of filial piety. She is the one who ultimately decides to come clean when she sees how the lie is hurting Nuea. And she is the one who makes the final decision to prioritize her love over her obligations to her parents, and in doing so frees them all. 

The fact that a character like Yiwa exists in the bl genre at all, let alone in a MAME show, is mind-blowing to me. A female character with this much depth and narrative importance, who is not just here to play a cheerleader to men but instead to be a fully realized character with her own narrative? A female character who matters? In my Thai bl?? 

And Marine gets to matter, too. Marine, whose experience of coming into this relationship and accepting the limitations of the life Yiwa can offer her is treated with the utmost seriousness. Marine, who we see in joy and in struggle, who is kind and compassionate with Lom, who offers solace and guidance to Nuea, and who ultimately crumbles under the weight of Yiwa’s mother’s cruelty and reaches her breaking point. As minor as her role is, she feels like a real person, not a generic side character. The relationship between her and Yiwa is developed enough to make us feel invested in their happiness, to understand the choices they make, and to ultimately feel joy at them breaking free and living a more authentic life, even if it comes at the expense of Yiwa’s family bonds.

The Ending

Which brings me to the way this show ended its story, and how glorious it was. Yiwa and Marine run away to live on their own, freeing Lom from their agreement in the process. Yiwa takes full blame for the broken engagement, a parting gift to Lom that saves face for his parents and gives him cover to publicly dodge any further expectations for marriage to a woman. Lom’s mother, who is just as bigoted but not quite as stubborn and short-sighted as Yiwa’s mother, understands exactly what has happened, and reaches out to her son to assure him that she will no longer try to force the issue, and to ask him plainly not to run away from his family like Yiwa did. It’s not the support and love of Nuea’s family, but a kind of resigned acceptance that she offers. She knows who Nuea is to her son and she knows if she tries to intervene any further she will lose him for good. It was reminiscent for me of the dynamics between Shiro and his parents in Kinou nani tabeta—it still hurts, but it's a detente everyone can live with.

And Lom and Nuea? Have the freedom to love each other more openly. To flirt in a restaurant and hold hands in public. To live together and call themselves partners to the people who matter. We end on a message from Nuea about the beauty and joy of queer love, the simple nature of two people deciding to marry regardless of their gender, and a promise that someday soon he and Lom will be the ones to make that commitment. Just, perfection, and an earned resolution so rooted in a genuine queer experience. It’s not something I could have imagined seeing in a Thai bl even a few short years ago, and I am stunned that MAME is the one who delivered it. Her storytelling is clearly evolving with the culture around her, and I will be going into her future works with an open mind.

#wedding plan #wedding plan the series #thai bl #thai gl #shan shouts into the void

[dw-flagler]

the thing about lisa is that she's like good at socializing. This is a problem, because it would be so much funnier if she was like even more misanthropic than taylor. Canonical lisa is just like competent at doing most things. But the idea of a lisa that always fumbles it at the 5 yard line because she doesn't speak to people would be so funny. like her power gives her the ultimate method to make someone break down on a silver platter and she like stutters and fucks up the whole thing, crashing and burning. that would be really funny. not even remotely as compelling or interesting for the sake of the story worm sets out to tell but funny.

#obviously lisa isn't a failgirl #she's the ultimate successgirl in every way but one (it's just a shame that one thing is the thing she cares about the most in the world) #that should be a fanfic. social anxiety tattletale #worm #wormposting #lisa wilbourn

[ghostinthegallery]

Yup, finally time to talk about Trazyn...

I put it off because hey, everyone else deserves some love and attention...but Trazyn deserves more, sorry he is just built different.

It will probably shock no one that Trazyn is my favorite 40k character. He's what got me into Warhammer in the first place. I imagine I'm not the only one who went through the "oh, funny meme steal guy lol" to "guess I'll read Infinite and the Divine" to "can't be invited to parties because I refuse to think about anything that's not Necrons or my new plastic crack addiction" pipeline.

But why is this weird sexy space kleptomaniac so compelling? The answer might surprise you!

(it won't for a while but bear with me there's a twist coming)

Why do we all like Trazyn? First of all, he's easy to grasp. Indiana Jones meets the Collector in 40k. One sentence and you know what he's about. That's invaluable for pitching a character. And then you watch him and he's clever, he's hyper-competent, he's funny. In the grimdark future, this guy makes you laugh! He screws with everyone. And yeah, he's easy to meme, but that's just part of his charm.

He fits into nearly any 40k story too. Space Marines? Aeldar? Chaos? Tau? Trazyn wants an artifact and he's messing with *insert main characters here* to get it. Or maybe *insert main characters here* need something and he's the only one who has it. Doesn't really matter what or why, the second Trazyn shows up he can play off anyone. As an uneasy ally, an opponent in a negotiation, or in a fight. He has an incredible dry wit that makes him super entertaining (especially in a setting where characters can be a bit...serious).

And Trazyn ultimately has pretty sympathetic motives. He wants to preserve, to collect, and tell stories through his museum. Museums are cool! Culture is neat! Sure he's a bit...unethical, but he's far from the worst dude in 40k so he's very easy to root for, even if he's a side character or antagonist.

So yeah, witty, devious, immortal museum curator. Perfect character, right?

Well...here's that twist.

Trazyn is actually (in my opinion) really, really hard to write for as a protagonist of his own story.

See most commercial fiction is structured around a character who wants something, but something else gets in their way. Frodo wants to take the ring to Mordor but all of middle earth plus some evil wizards, orcs, giant spiders, etc. are in the way. The issue with Trazyn (on paper) is that he doesn't truly want anything. Sure there are specific artifacts and people he wants for his collection, but that's surface level. Hunting down random cool space stuff is not a change from his day to day, so focusing a whole story around that might be fun for a while, but it wouldn't stick with you. Because any deep, emotional desires he has are fulfilled. He has power, he has purpose, he has his own planet that shapes itself to his will.

Trazyn is used to being in control. Of Solemnace, of his expeditions, of his negotiations. If plan A goes south he has twelve other options, and a few back up plans, and probably an ork warband attached to his belt if he needs it. Oh, and he's immortal. And can't be hurt. Which again, is hella fun, but how do you have suspense or stakes with all of that? How do you write an interesting story for the guy that has everything?

Enter Orikan.

Orikan is one of the only things that introduces chaos into Trazyn's existence. Orikan can break into Trazyn's house, break his stuff, and get away with it. When Orikan is around, the things Trazyn loves are in danger. Orikan shattered relics from their people's history and Trazyn failed to save them. He tried to catch one piece and it shattered because his hand was metal. The thing that usually makes him untouchable contributed to his loss. That is heartbreaking to read. Sure he can fight elves and dinosaurs and steal the most incredible things, but Trazyn can be made vulnerable in the right circumstances.

The thing he wants throughout Infinite and the Divine is not the McGuffin Mysterios. It's revenge. But because Orikan is his equal and opposite, he can't get it easily. There's an obstacle. Which means we have a story on our hands.

There's another scene that I find really striking from that book: Trazyn and his human assistant on Serenade. This old man who Trazyn kinda...mind controlled into service, but also provided him and his family with the best education, medical care, career opportunities etc. Trazyn didn't have to do that, but he is the type of greedy where if something is "his" he takes care of it. That includes (for better or worse) that human man and his family. Blips on the radar to an immortal being, but those are Trazyn's blips so they get the best a blip can ask for (aside from free will but shhhhhh.)

But that doesn't mean Trazyn can prevent the inevitable. His assistant gets old without him even noticing. The man has reached the end of his life, and that is something Trazyn can't control. And he's emotional about it. Not like devastated (it's just a human after all, basically his hamster just died) but it throws him for a loop.

Oh hey, speaking of how Trazyn takes care of things that he considers his...

Trazyn never really gets close to killing Orikan. He says he wants to. He acts like it. That's the story we set up. Trazyn shoots him in the face. But does he try to permanently kill Orikan? Does he ever act with any true cruelty?

He does once. When Orikan was weak and vulnerable, Trazyn crushed Orikan's skull with his foot, and that's so out of character it's our clearest indication as a reader that something is wrong. That's when we realize the song has Trazyn ensnared because normally he would not do that. He wouldn't treat his greatest enemy and rival that way which is... certainly interesting.

And then of course there's that scene at the end. When Orikan is burned and afraid and unable to defend himself, Trazyn doesn't even try to hurt him. He is gentle, careful, he makes sure Orikan isn't permanently damaged. After everything they've done to each other over 10,000 years (and that's just the events of the book, their rivalry is older), it doesn't even occur to Trazyn to harm Orikan in that moment.

That to me is the real secret that makes Trazyn more than a meme character. That greed that makes him care for things, cultures, places, and people. Those moments where he isn't in control. The combination of the two that means something is at stake. He has a deep love for the universe despite this being such a nihilistic setting. That love drives him to do ridiculous things, but that's the core (I think) of why we love watching him cavort around the galaxy so much.

#trazyn the infinite #ghost does character rambles #necrons #orikan the diviner #this got so long guys #cant stop wont stop

[elionwriter]

MIRACULOUS LADYBUG: AWAKENING

SPOILER REVIEW

Since my last post on Miraculous Ladybug was so vitriolic, I feel like now I have to give my two cents on the film. In my opinion? It was great! It reminded me why I like the concept of the story to begin with. I think sincerely that the movie did a by far better job at telling this story in under two hours than the series did in over 5 seasons.

It's not perfect, mind you, but it is a really good time! The animation is gorgeous, the action sequences were amazing, the story is straightforward and it doesn't make you feel like everyone except for Marinette is an idiot. It does help boost enjoyability not having Thomas Austruc mansplaining at every chance what a perfect society looks like, what the ideal man and woman act like, and what a perfect and healthy romance appears like.

Marinette is lovely! Her characterization is so on point. This time round, you can truly believe that she is a normal girl, with a normal life, just down on her luck. And her character arch is linear and fairly well structured. I really liked that they showed that her failings and clumsiness mostly boil down to uncertainty and self-doubt. It's not the Ladybug powers granting her agily and resilience, the mask just help bring what was already there to surface (something I did not always see in the series especially in the earlier seasons). Adrien/Chat Noir is one of the two characters that most benefits from the adaptation, IMO. He is ever kind and caring but he's not a door mat or a prize to be won. The scene in which he lashes out on his father, calling him out on his neglect: that was just beautiful to witness. And Gabriel Agreste! Oh, Gabriel! Finally, finally this character makes sense and acts like you would expect and hope he would. Surprise, surprise, he actually makes a compelling villain when written right and manages to look competent and threatening. As for everyone else...everyone else mostly disappear in the background and act as their tv counterparts (except for Cloe in the end *cough* *cough*).

While it's a big jarring every time they start singing, the songs 'Better Together' and 'Courage in me' are really catchy and nice. Heck, even the rendition of the main theme 'You are Ladybug' is fun and enjoyable.

The romance is obviously the main aspect of the story and I think it plays out really nicely here! While there obviously isn't much time to fully delve into the love square and you are left a bit wondering why Marinette is so hung up on Adrien when her relationship with Chat Noir absolutely steals the show by being romantic, heartfelt and wholesome, I still enjoyed it. Emphasis on Ladynoir stealing the show, especially when the two spar on the roof, duet in a scene that reminded me of the Moulin Rouge and face the final threat.

The side story of Marinette feeling slightly embarrassed by her dad was unnecessary, but whatever, I guess.

Plag isn't especially great here, but Tikki, oh my gosh, Tikki is a SAVAGE! 🤩 Ten seconds after meeting Marinette and is already about to kick the girl's ass!

Anyway, that is to say, I had a great time watching this, and I hope you all do to.

#miraculous movie #miraculous awakening #miraculous ladybug #ml ladybug #ladybug and chat noir #chat noir #cat noir #marinette dupain cheng #adrien agreste #gabriel agreste #nino lahiffe #alya cesaire

[coquelicoq]

hmmm for the shipping meme! matonato and hankim or yoohankim?

[ID: A graph with the x-axis labeled "makes sense" on the left and "doesn't make sense" on the right and the y-axis labeled "compels me" at the top and "doesn't compel me" at the bottom. points labeled MN for matonato, HK for hankim, and YHK for yoohankim have been situated on the grid: MN in the top left (makes sense, compels me), HK at the top and to the right of MN (makes some sense, compels me), and two points labeled YHK, one slightly above and to the left of the center (makes some sense, compels me some) and one in the bottom right (doesn't make sense, doesn't compel me). /end ID]

wow this threw me off because for some reason i assumed that makes sense would be on the right instead of the left! so hopefully i made all the necessary corrections to what i originally wrote lol.

matonato: makes sense, compels me. probably obnoxiously obvious to everyone at this point. do they get a happy ending? i mean it's very fun to think about and i love me a good actually-together-matonato concept, but probably the most compelling thing about them is the star-crossed aspect. it's not will they won't they, it's why they why not they. why do they want this and why can they never have it? it's, how can i make this about natori's self-hatred? it's, who is matoba if he quits the exorcist business? (EXTREMELY JUICY AND COMPELLING QUESTION 2 B ASKING.) it's, what changes in their individual priorities and self-conception would be necessary before they could get together? asking myself these questions and understanding why they in their current forms can't be in a relationship helps me to better articulate who exactly they are and what motivates them and gives me avenues for thinking about possible character development. but like i said i do really love thinking about matonato endgame, and even though i know it's never going to be canon (which it doesn't need to be, obviously! we are in our sandbox making our own dreams come true), i'm reading the homura arc like girl why did you do that. where are you going with this??? fellas is it gay to stalk your homoerotic rival's enemies and the answer is a resounding YES. they are a good ship because thinking about each of them in the context of the other expands my understanding and appreciation of their individual characters, but also because it would be sexy for them to mash their mouths together. both are very important elements of shipping 2 me.

hankim: i want to say this is one of the most compelling relationships in orv but they are all compelling, it's actually insane. however hankim is definitely tied for first (with twenty other relationships). her love for him is the beating heart of the story. like the entire plot hinges around her loving him so much she would [redacted], but also the central themes are exemplified by how she feels about him and what she does about it. and he trusts her in a way he can't really trust anyone else, because she knows enough about the world that he can be open with her about things he can't tell others, and because he trusts her to be competent and able to achieve his objectives. mostly to me though their relationship Is About her love for him because of how badly he needs it and how little he can understand it, and how central it is to his entire character that he needs but cannot understand receiving that kind of love. i have not yet succeeded in imagining any kind of compelling sexual relationship for them, except the somewhat indirect one where he gives her permission to make a kim-dokja-looking avatar with which to fuck yoo joonghyuk while kim dokja is elsewhere minding his own business, but that's fine, they don't need to be having sex to have a compelling relationship, obviously. so yeah it's compelling af and it does make sense, but i'm taking some sense points off because the kdj-to-hsy direction is pretty standard shipping material while the opposite direction is like the entire point of the book. it's a lil unbalanced.

yoohankim: this ship fascinates me because i definitely never would have come up with it myself. hankim? see above. yookim? see below. but yoohan - DESPITE THE WHOLE DEAL AROUND WHO YOO JOONGHYUK IS AND HOW HE GOT THAT WAY - are just like. Only Here For Kim Dokja. any relationship they have with each other is a proxy for a relationship with kim dokja, mediated by their feelings for kim dokja, and put through the sieve of who the other person is to kim dokja. i think they have a very psychosexual thing going on where they're having a lot of sex with each other but mostly in order to feel close to kim dokja, who is not involved lol. which is its own kind of compelling, certainly. i guess you could say yoohankim is the ONLY way that yoohan makes any sort of sense to me whatsoever, so in that regard yoohankim is squarely in the northwest quadrant. but at the same time i feel like if kim dokja is actually present, their relationship with each other is more like in-laws than anything else. it's indirect. they don't have divorced energy…they don't even have metamour energy. i don't know. they're like this is my sister's mailman and i have no idea what he's doing at my nephew's piano recital, which is insane to me because they should have (nonsexual) parent-child energy if nothing else. so i also have to put yoohankim in the southeast quadrant. so far this is where most yoohankim fic i have read falls, but probably i just haven't yet found the one that would unlock it for me.

to close the loop i gotta talk about yookim (joongdok). the most enjoyable thing about it to me personally is that yoo joonghyuk so clearly wants kim dokja to hold him down and it's very fun to see kim dokja have to shift his entire paradigm to make that make sense. i mean, i think all of kimcom wants to hold kim dokja down (most of them nonsexually imo), but yoo joonghyuk is the one guy who's like "if you would just stop trying to kill yourself for two seconds then i could let you out of these handcuffs so you could have your way with me. you bastard." they make me crazy because they work together SO well and trust each other SO implicitly while also being like, wow this idiot has terrible priorities and so i have to manipulate him into furthering my agenda (keeping him safe) instead of his agenda (keeping me safe). they're also that evergreen combo of guy with low self-worth who's oblivious to other people's love for him/guy who loves so hard but never uses his words about it that makes me wanna read about them getting together 100 different times. in a slightly different sense than with matonato, thinking about them as a twosome better elucidates aspects of their own individual personalities and worldviews, which makes for a compelling shipping experience.

#it's funny after i wrote the matonato part i was like wait. am i actually saying matonato DOESN'T make sense to me? #and i decided that no it does. it makes sense to me that their current iterations can never be together. but in a way where i'm #still shipping them #it makes sense that they don't make sense. and 'here's how [ship] can still win' is a backbone of the shipping economy #natsume's book of friends #orv #natsume yuujinchou #horrible exorcists #natsuyuu meta #shipping #asks #not anon #thank youuuu for asking <3333 v fun to think about!