#differently to situations depending on what it is and who they’re with/who its about

[howtofightwrite]

What is the difference between fencing and actual sword fighting, exactly? If I were to throw an olympic fencer against a master swordsperson, what would the most likely outcome of such a fight be?

The first and most obvious answer is that only one of these individuals is trained for combat.

The second answer is that only one of them uses (and trains with intent to use) a real weapon.

I’m going to assume this question revolves around an Olympic fencer dueling with a master swordsman with a live weapon and not in accordance with Olympic fencing rules. An Olympic fencer’s best chance at winning is a bout with a modern epee/saber under Olympic fencing rules and it’s also the case where (probably) no one dies or is gravely injured.

Olympic fencing is a sport. As a result of its evolution, it’s pretty much unrecognizable as even a martial form today and, in pursuit of the new requirements for winning, has divested itself of the weapon aspect. While much of the terminology remains the same, the key difference to grasp about Olympic fencers is that they’re not trained to fence around the idea that the sword in their hand is a dangerous weapon (because it isn’t.) In fact, the ultimate goal of winning in their sport (score points) is hindered by that mentality. To the Olympic fencer, it doesn’t matter if they get hit so long as they score first and have right of way when they do. If those at the top of the sport were handed a real historical epee, told to fence, and changed nothing in their approach, the end result would be a double suicide. (Which is ironic because that’s one of the reasons why the epee was restricted historically. When it came to dueling, it was a little too efficient.)

There is no caution here because there doesn’t need to be. Tactics and techniques which will cause a fencer to commit suicide against an opponent with a live blade work exceptionally well once the risk of death is off the table.

This isn’t just restricted to Olympic fencing. If you take any martial art that has transitioned to a sport and put the practitioner up against someone who kills people for a living, even if they are one of the best in their field, they will be at an inherent disadvantage. The requirements for winning according to the sport’s rules are vastly different from the requirements for winning in a life or death situation.

And that’s just the first hurdle.

The next hurdle is the weapon itself.

Duels are specifically between weapons of the same type. This rule is meant to level the playing field and ensure the duel is decided on “skill” rather than weapon advantage. Depending on their point of origin (for the purpose of this question, I’m assuming European) a master swordsman would have been familiar with and likely trained in several different sword styles, depending on era would be a master of their own school or in the employ of a noble house. If you need a comparable profession for a master duelist, think of them like lawyers. Except, the victory was decided by skill with a blade rather than a compelling argument. (We could say that skill with a blade is a compelling argument, but I digress.) One doesn’t get to be a master swordsman until after many years of study with the blade and victories under their belt. Depending on the era of history, the duel requirements of the duel could be anywhere between armored or unarmored, to first blood or to the death, and cover a variety of different swords, each with their own developed styles (and that is styles plural.)

Our Olympic fencer will be fucked by varying degrees depending on the live blade in question but, make no mistake, they’ll be pretty much fucked by any option picked. Running counter to their ubiquitous nature in popular culture, swords are not one size fits all. Outside of common principles there’s almost no training crossover. Every sword handles differently. These variations include length of the blade, length of the hilt, location of the crossguard, the weapon’s weight, the weapon’s weight distribution, the location of its balance point, whether it is primarily used with one hand or two, whether it is primarily a weapon for thrusting (the rapier) or cutting (the saber,) etc. Their grip would be off, and  probably wouldn’t be able to hold the sword properly.

The modern version of a fencing “sword” is not equivalent to any of these. Their closest stylistic match up in terms of inherited movement is the 19th century epee, but we’re still miles apart.

Then there’s the mentality issue.

The Olympic fencer hasn’t trained around the idea that death or major injury are accidental. Possible, yes, a risk, yes, but in the same way they are for any other sport. These are surprise, tragic occurrences and not part of regular bouts. For reference, in terms of the dangers of physical contact, a modern fencer faces less risk than a football player. For the master swordsman, the opposite is true. There is no variant of historical dueling which doesn’t risk death in some capacity, whether that’s a confirmed death on the dueling field itself or from an injury or infection later. Those historical circumstances where you see individuals dueling topless is (ironically) for practical reasons and not titillation. Many duelists, victorious or not, died from infection after cloth or other detritus got into their wounds. In this way, our modern Olympic fencer is less prepared than a duelist of average skill, much less a master.

Is the Olympic fencer ready to put their life and body on the line? To risk death, permanent injury, a potential blinding in one eye, in a bout that, at best, involves zero physical protection? I’m not sure. Probably not off the cuff. It requires a different mindset.

Are they ready to inflict damage on another person? Are they ready to kill another person? And even if they’re ready, are they willing to? Are they resolved to? Are they ready to risk their own life in pursuit of it?

The Olympic fencer is on the starting line with these questions.

The Master Swordsman has already answered them.

One of the difficult aspects about writing violence and characters who practice martial disciplines with intent to exercise those skills is internalizing the risks involved and ensuring their a natural part of your character’s mindset and their approach to combat.

Fiction is an illusion. Your narrative’s world is as real as you, the author, choose to make it. Characters are immortal, have infinite stamina, possess skill with every weapon, are unbeatable unless you choose otherwise. Regardless of reality, if you choose to make an Olympic fencer and a Master Swordsman fight exactly the same way with the same skill set, that’s how it is.

I’ve seen plenty of published authors treat swords as universal and modern Olympic fencing like it lends their character any real martial skills. (I mean, beyond excellent conditioning.) You can do it and get away with it if that’s what you want. Personally, I find it less interesting because it cheats the character out of their growth. Also, you don’t need to lean into that approach for “Girls Can Fight” or as a way for a female character to gain combat skills because there were female fencers who trained on the blade.

Ways for the Olympic fencer to win:

Dumb luck.

Yeah. That’s it.

The Master Swordsman should knock the blade out of their hand, take the Olympic fencer under their wing as their apprentice, and wander the world together solving crimes.

10/10.

-Michi

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#michi answers #writing reference #writing advice #writing tips #how to fight write #fencing #writing fight scenes

[theresattrpgforthat]

System Overview - LUMEN

This week has been a break from my regular recommendations to cover a few popular game systems and talk about what makes them tick. This week, we're covering the fast-paced combat-friendly LUMEN system. This is all the systems I'll be covering this week, but I hope to do some more system overviews in the future!

LUMEN is a game system originating from Spencer Campbell of GilaRPGs, for use in his game LIGHT. It has gained popularity over the past few years due to its ability to replicate fast, powerful combat, and a simple set of rules.

As a disclaimer, I haven’t played any LUMEN games yet (although I really really want to give NOVA a go). What I have seen is a consistent amount of high-quality, exciting games being released over the past few years using the LUMEN system. The SRD is only 13 pages long, and the pieces are simple enough to pick up, re-mix, and turn into something engaging, which makes LUMEN a great option for new game designers - especially since the designer really wants to see what people are making with this toolkit.

So, let’s talk about some of the pieces that make up this game.

Attributes as Approaches

LUMEN gives your characters 3 stats that define how they approach an obstacle, rather than defining a specific skill. You’ll have something for raw power, one for quickness and speed, and one for precision and details. Your characters are expected to be professionals, the best of the best. Of course they know how to fight - this a power fantasy, after all. By focusing on an approach rather than a list of skills, these stats are also flexible: if you are using your raw power, you could open a door, swing a sword, or pull someone back from a ledge.

Depending on the game you’re using, the names for your approaches may differ. In Hedge, your approaches include Might, Sleight and Bright. In LOOM, these are re-tooled into Passion, Fleetness and Serenity.

This way of building a character is very good for players who may not want to juggle a number of different values in their head, and keeps the table focused on what the battle looks like more than anything else. It also makes a statement on what kinds of actions your characters don’t need to bother rolling for. No perception checks, minimal social obstacles, and don’t bother doing a memory check in this system. In LUMEN, you’re here to kick ass.

Dice Pools & Staggered Success

The number attached to your selected approach determines how many dice you roll to do an action. The highest number rolled is the only result you need to focus on.

Similar to Blades in the Dark and Powered by the Apocalypse, LUMEN uses a series of staggered successes. However, unlike the previous two games, success is a little more likely - 2/3 of the time, you’ll succeed. On a 1-2, the action failed with a consequence. On a 3-4, the action succeeds with a complication. On a 5-6, the action succeeds, no problems in sight. The difference in probability compared to Blades is one decision that indicates how powerful your characters are; they’re less likely to fail on any given roll.

To add a layer of complexity, you can include specific scenarios that determine how many dice you roll. For example, in Apocalypse Frame, there is a difference between rolling while inside or outside of your mech. When outside of your mech, a character subtracts 1 dice from their dice pool, and when attacking with your mech, you use a number attached to your Armament, rather than your Attributes. There are also character class abilities that may give you extra dice, such as the Ancient Technique ability attached to the Ancient class in Deathless. These abilities will only give you extra dice in very specific situations.

Character Classes

One thing is common among all three of the systems that I’ve talked about this week and that’s pre-packaged character abilities. LUMEN doesn’t use playbooks though, possibly because the characters are so lightweight that they wouldn’t take up that much space on a piece of paper.

Your class will come with special moves, abilities or gear that sets you apart, and will likely also define your play style. In Black Hole Era, for example, you are spaceships with system arrays and weapon bays. A Warlord ship has powerful long-range particle beams, while an Inquisitor ship has the ability to teleport or turn invisible.

That being said, you don’t have to use character classes with this system. In Wild Duelist, the game presents the character options as either a static stat build, from which you choose a few different options, or a character life path, in which you roll randomly to determine your heritage, weapons, approach scores and special powers.

Your character powers will usually come with a few important pieces of information: how they affect the field of play, what their range is, and how much it will cost you to use them. You do not roll to use your powers: you are powerful characters, and when you choose to do something cool, it works. In some games, your powers can be get more powerful as your character advances, or have tags added to increase range or damage dealt. Because LUMEN is meant to replicate combat-heavy video games, it also is designed to replicate the ability to customize your character to match the combat style that you prefer.

Room to Add Complexity

The LUMEN system is quick and only has a few core pieces, but there’s plenty of room to add more complexity in order to incorporate factions, long campaigns, and special details.

In Emblems of Their Dying Breaths, characters dig into dungeons that are procedurally-generated using a deck of playing cards. .brawl centres its combat on a map, using miniatures to help your players strategize as they fight in a cyberpunk arena. Clean-Up Crew diversifies the resources needed to pay for special powers, making enemy drops more interesting - and more necessary, if you’re going to find the specific resource you need.

The original designer is also updating and re-designing LUMEN, with the plans to release a LUMEN 2.0 SRD that does away with dice, health, and a few other pieces. You can check out some of his design thoughts on his YouTube channel, and take a peek at how this new version of LUMEN will play out in his game DUSK.

Meanwhile, let’s talk about some more games in the LUMEN series that I have yet to highlight on this blog.

Brawl City is a Street-Fighter game, still in development.

Dust is a game about surviving in a post-apocalyptic world, inspired by works such as The Book of Eli, and 9.

Photon is a two-player game about fighting a Singularity trying to consume the world.

paktbound is inspired by Dishonored and shackles your characters to a Stranger who sends them on heists in a rotten world.

If you want to check out more LUMEN games, there's a compiled list of games kept by Spencer Campbell, as well as a LUMEN collection that I'm adding games to as I find them.

Do you have any favourite LUMEN games? What kind of video game do you think would work well for this system? Share them in the comments and tags!

#tabletop games #indie ttrpgs #system overview #game recommendations #LUMEN #mint speaks

[nobodyfamousposts]

Why Scarlet Lady Is Better Than Canon: Lila Rossi

I had mentioned before at length regarding my distaste, dislike, and dissatisfaction with the character of Lila Rossi in Miraculous Ladybug canon. A character so horrible, so poorly written, and so two dimensional that I did not think it was possible to make any iteration of her I wouldn’t dislike.

And yet it seems @zoe-oneesama has come through for me yet again in Scarlet Lady by taking what was quite possibly one of my biggest issues and most despised characters within canon and with only a few changes, turning her into something enjoyable. Dare I even say…likable.

More than that, even. It says something when my least favorite character in Miraculous Ladybug canon can somehow become one of my top favorite characters in a different variation of it. 

It’s because Zoe shows an understanding of the characters and what makes them engaging, and other than SL Adrien, it shows the most in the form of SL Lila.

See, Canon Lila Rossi is a selfish, manipulative, egotistical, petty, and self-centered liar.

Scarlet Lady Lila Rossi, on the other hand, is a selfish, manipulative, egotistical, petty, and self-centered liar.

Now I’m sure all of you are looking at those two sentences and noting that they’re the same thing. And you are right. That’s the point! Because the difference between the two versions isn’t who Lila is but rather in how the narrative and writing treat her and what Lila ends up doing because of it. And it’s why Scarlet Lady is superior in its handling of Lila.

Lila in Scarlet Lady is not a good person. Nor does she become a good person. She admits that she lies for fun and just to see how far she can take it. She’s fully on board with continuing her lies and trying to fool her mom and the school to get away with staying out of school for a year. This is all in lines with regular Canon Lila and shows that they are still the same person, it’s just the events and situation and narrative that differentiate them. It’s in how the Scarlet Lady story handles Lila and her character.

For the sake of convenience, I'm going to be using Scarlet Lady to refer to the comic itself and Scar to refer to Chloe's hero identity specifically.

Let’s review and compare Lila in Scarlet Lady to canon:

1. Lila in Scarlet Lady is NOT a plot device. 

She doesn’t need to be. It’s clear that the plot is and has been moving forward on its own without her. Even if Lila were to have been removed from Scarlet Lady altogether, it’s pretty evident from everything else that’s been happening that we would still be getting to some plots and story points without too much difference or delay.

Scarlet Lady has a natural progression. The story and characters aren’t so rooted in the status quo that sudden additional character like Lila or Felix are necessary to throw in just to move things along. And Lila isn’t simply forgotten about when she’s not needed to do so. She doesn’t vanish without an explanation only to return also without explanation just to be able to force the plot to move.

Events within a story can be dependent on the characters, but the plot itself should not be dependent on what feels like a third party to show up and force things to happen when they should already be happening. That speaks of bad writing.

Canon Lila existed for the purpose of getting the Grimoire into Marinette’s hands so she could be the one to take it to Fu and learn about the Guardian and Miraculous secrets, as well as to be a future helper to Hawk Moth. Up until that point, the plot had done nothing with Fu and had done nothing to move things forward in learning about the Miraculous or why Hawk Moth would want the specific two. And after Volpina, the episodes that feature Lila are the ones that display more plot progression or involve Hawk Moth having layers to his plans. Lila only appears when she’s to be used to further a plot, then disappears until needed again.

In Scarlet Lady, by the time Lila appears, it’s already clear to Adrien, Plagg, and Fu that Scar is a horrible person and that she had no business being a hero. It’s also clear that Adrien is handling the hero work on his own and needs help. This is part of what causes Adrien to know that Lila is a liar and call her out on his own because in addition to Lila stealing his book, he already knows Scar well enough to know Lila’s story of Scar saving her would never happen. Lila isn’t the reason they find this out, nor is she the reason that the book is discovered and gets to the Guardian because Plagg chooses for himself to take Adrien to Fu. And afterwards, Lila’s appearances are more natural. Plot progression happens with and without her. Her appearances involve her interacting with her classmates like a person. They don’t have to have a plot-relevant purpose.

Narratively, there are three reasons to put in a scene.

Plot

Expansion/information/character focus

Entertainment

In canon, all of Lila's scenes are plot-focused and plot-driving.

In Scarlet Lady, they vary. Some are plot (like Lila's anti-Scar attitude getting more focus and validity over time). But more of Lila's scenes are focus in on her character and entertainment. This builds Lila as a person and makes her enjoyable to watch.

Lila is not a plot device as the plot doesn’t NEED her to progress. But that’s not to say that Lila doesn’t matter…

2. Lila has a role that nobody else in the story could cover.

As I’ve stated before, Canon Lila is pretty much another Chloe and there was nothing she was used for that Chloe couldn’t have or wouldn’t have been able to do. As a rival/foil to Marinette, as another love interest for Adrien, and even as a helper to Hawk Moth—by the time Lila started any of these roles, Chloe was already there and fully capable of filling them.

In Scarlet Lady, due to Scar being the hero Lila is butting heads with and being outted earlier on, SL Lila ends up not filling those same “roles”. She’s not a rival to Scar or Marinette, just a hater/critic of the former and a friend to the latter. She was called out by Adrien so she is shown to have no further interest in trying to pursue him. And as of yet, there has been nothing of Lila helping Hawk Moth.

Instead, Lila’s scenes show her engaging with the other classmates. More of the results of her being revealed as a liar. Her being a queen of sass and snark. And most importantly, her going head to head with Chloe and Scarlet Lady in verbal lashings that prove her silver tongue is no duller for people knowing of it.

In fact, she’s a part of people starting to realize that Scar is in fact horrible and her popularity starts to break down. 

Yes, yes, we do have both Adrien and Marinette who realize how horrible Scarlet Lady is and hate her, but other than some snarky comments at her expense, they don’t do much about it. Mostly because they can’t. Especially early on, it’s clear that they’re forced to keep Scar around because as useless as she is otherwise, she is the only one who can purify the akuma and undo the damage. And as Fu has told them, Scar is still too popular with the city that trying to take the earrings from her would result in more problems. The two of them have to focus on dealing with the akumas more than trying to deal with Scar. Plus let’s be real: even as snarky as they both can get, they’re just too nice.

Others are also similarly of no help. Alya is still completely wrapped in Scar’s facade of a hero to see how selfish and unheroic she is. Most of the other classmates also go along with this narrative. But even the ones who DO know like Alix and Nino aren’t that active. They know but they don’t do anything with that knowledge.

Lila has no such barriers. She’s not a hero. She doesn’t know how “necessary” Scar is in akuma battles. And she doesn’t have to worry about not upsetting Scar since the “hero” already hates her. And thanks to Marinette and the other classmates with their “we still care about you for you” bit, she now has no reason to put up a mask…or a filter.

This makes Lila in prime position to try to push more against Scarlet Lady’s popularity and talk at length about how horrible she actually is. Something she is MORE than happy to do.

Lila is essentially the first main civilian hater of Scarlet Lady.

And with that in mind…

3. Lila’s actions are reasonable. Perhaps not intelligent, but they are reasonable.

She commits a number of the same acts as canon in Volpina. Stealing Adrien’s book, buying a necklace to be a fake Miraculous, trying to claim herself as the hero’s best friend for attention, and trying to claim she is a hero herself to get Adrien’s attention.

SL Lila is not a master manipulator or an up and coming villain. We are not expected to view her as a real threat to anything except Chloe’s ego.

Sure, she wants to speedrun the popularity and attention and maybe a nice rich blond boytoy to be her arm candy, but it’s clear in the very first comic she appears in that Lila has NO IDEA what sort of people she’s interacting with or telling lies about, and so has no way to prepare for what happens. First in that Adrien is so DONE with everything that he calls her out himself from the get go. Second in that Scarlet Lady appears to “save” Adrien from Lila’s lies when it was no longer necessary, proclaims aloud to the multitude of bystanders that Lila is a fraud, and then dumps her in a fountain for good measure and further insults her to boot. And at the end of it all, Scar doesn’t apologize for her actions, doubles down, and only further insults Lila. And as if all of that wasn’t bad enough, still being wet AND being on top of the Eiffel Tower results in her getting sick.

As such, Lila’s hatred of the Ladybug Hero in this version of events feels more understandable and based on a legitimate grievance. Several even. Scar’s actions go well beyond canon’s version. We clearly see how hurt and humiliated Lila is. Plus we have all of Scar’s previous antics to look back on and…well, we already came into this with more reason to hate Scarlet Lady than Lila, and Lila simply jumped on the bandwagon that was already there.

It also makes more sense then that Lila never even pretends to forgive Scar. Scar never apologized. She caused emotional and physical harm to Lila. And unlike Ladybug, Scar never tried to make an offer of friendship so Lila isn’t losing out on any opportunities out of spite. Heck, Scar’s treatment of Alya shows us that there is nothing to be gained from even pretending to be a fan of Scar. So Lila’s hatred of Scar is understandable and her refusal to be friends with Scar makes perfect sense.

When she hides away at her home, there’s a valid reason behind it due to her being sick. Her “plan” to fool her mom and the school in order to avoid going back also makes sense given the fallout she knows she would have to face if she did. (At least more sense than it made in canon for her to disappear for months just because Ladybug outted her to one guy who clearly seemed to be on her side more and neither of them did anything to inform anyone else of the truth.)

And when she returns to the school and the classmates, it isn’t out of nowhere. Once she was no longer sick, she was planning to continue some ruse. We clearly see how despondent Lila was over her situation and the feeling that she’s on her own and no one would side with her over Scar. This was deep. It shows real fears and feelings on Lila’s part. And it’s telling that it was the assurance from Marinette and support from her classmates that convinced her to rejoin the class. It doesn’t look like she would have had the willingness or perhaps the courage to do so if Marinette hadn’t reassured Lila that they had her back and had taken steps to try and help her, even when she wasn’t there and as of yet had done nothing to warrant it.

Here we see a Lila who is vulnerable and real. Who is clearly impacted by events on a deeper and more personal and meaningful level—or at least better than “GRR! Superhero revealed I was lying about her to a boy I like! I shall join the terrorist attacking the city and potentially destroy the WORLD for revenge!”

In this way, Lila is portrayed more like a normal girl. Since the narrative isn’t trying to play her off like she’s supposed to be some master manipulator the way canon does, Lila for all intents and purposes IS a normal teenage girl. A normal teenage girl who was humiliated and injured by someone with more power and social status than she can fight back against. She’s less of an archetype and more of a person with her own thoughts and feelings and ultimately choices which—even if we don’t like or agree with, we can at least see and understand.

Her actions are reasonable. Not just in that we as the audience can empathize with them but that they make sense. For Lila’s character, for her personality, and for someone in her position.

4. No plot armor.

SL Lila’s plans don’t just seamlessly work out. If anything, they go very wrong very quickly. Even before Scar calls her out, Adrien already made it clear that he knows she’s a liar. This effectively ruins her plan to try and get his interest and not just in the “Adrien being nice but not in to her” way. Furthermore, as she’s revealed as a liar in front of the entire class, we clearly see some of her classmates (Alya) continue to take issue with her later on. And even the ones who don’t have such issues are at least fully aware of Lila’s personality and don’t allow her to fool or manipulate them.

Sure, she still tries to manipulate her mom and the school to avoid having to go back, but that doesn’t last that long. And in Lila’s defense at that period of time, she was legitimately sick as a result of her dip in the fountain.

So it’s pretty clear that Lila lacks the plot armor that she had in canon. But it’s not just that Lila experiences losses, it’s also in the ways she succeeds. And unlike Canon Lila, SL Lila is not reliant on the plot to accomplish anything or make things work in her favor.

Some classmates still consider her friends. She’s still welcomed back—even with a bit more trepidation than before. She gets some epic zingers on Chloe and Scar. She got to have another interview with Alya just to be able to go on at length about how horrible Scar is. She manages to get on live TV just to heckle Scar. And over time, more and more people are seeing the problems with Scar.

Lila still gets some victories. Certainly not as many and not as big as what she gets in canon, but at least they don’t feel so forced. And they’re entertaining to see.

Which delves a bit more into an additional point I wanted to make…

5. There are consequences and responses to Lila and her lies.

With Canon Lila, everyone is in this weird sort of limbo where they automatically believe Lila JUST ENOUGH to not question her but at the same time NOT ENOUGH to actually follow through with some of her lies. In Chameleon, Lila claims to have and then magically be cured of Tinnitus and Bustier believes her just enough to rearrange the seats for her at her will but not enough to require some doctor’s note or confirmation of either the presence or recovery from the medical issue—even in the event the former could be overlooked, the latter could NOT and any school or teacher worth their salt would require SOME proof to discontinue an accommodation for someone with a disability because that would be a liability. In Ladybug, Lila claimed Marinette pushed her down stairs and the adults believed her just enough to admonish Marinette but not enough to get Lila actual medical attention, which is a liability and gross negligence. In Ono-chan, Nino believes Lila’s lies about needing Adrien to help tutor her just enough to give her an opening to go to his place but not enough to follow through, check up on her afterwards, or reasonably consider that maybe the supermodel with the super strict father might not be the best person to tutor her and he should ask for help from Max or Sabrina instead?

Each and every time, Lila is believed in the exact way she wants to the exact extent that would most benefit her with minimal effort on her part when it shouldn’t work that way. Even if we disregard how stupidly obvious many of her lies are, there is something wrong when they believe her enough to trust what she says over anyone else telling them otherwise but not enough to follow through on what that belief should then involve. They believe her when she says someone pushed her down the stairs but not enough to get her medical attention? Make sure she has no broken bones or internal bleeding? This has the issue of ruining the suspension of disbelief and making it look like the problem isn’t Lila being amazingly smart and evil so much as it is everyone around Lila being infuriatingly stupid and negligent.

Scarlet Lady nixes that problem in one episode by having Lila be revealed as a liar immediately, but furthermore follows up on it and the fallout of those lies. Nothing big or major or life-ruining—it’s middle school, after all. But the impact is still there.

Even episodes later, we see effects of Lila’s earlier lies. Chloe of course keeps referencing them in their encounters and yeah, it is reason for no one to really take Lila’s word against Scar’s—at least at first. Alya and Adrien both give her some pretty evil looking stares, showing that even five episodes later they both still very much remember what she did and do not approve of her getting free jewelry. Alya in particular stands out. She is shown to bear such a grudge against Lila for lying on her blog that she holds no sympathy for her being sick. And in the second intermission, she looks physically pained when she has to ask Lila for an interview on why she hates Scar. Something she had apparently sworn she would never do again after being fooled the first time. And something Lila looks completely overjoyed to do. There are people who are angry with Lila. They have every reason and every right to be. But it doesn’t have to mean the end of the world for her. It just means that there needs to be something.

The classmates don’t have to be made out to be stupid to make Lila work. They are canonically very kind and forgiving people. But canon makes them come off that way more because the lack of continuity seems to erase the lessons of previous episodes or somehow make them forget that certain people are horrible.

Zoe fixes this and a lot of problems in canon by having not just the classmates but EVERYONE in Paris remember and respond to things that have happened previously, even if just in little ways. Given how little room Zoe has to work with, this is HUGE. Simply adding comments here and there puts the scenes from canon in a new light and makes the classmates feel more fleshed out and like…dare I say it: PEOPLE.

The difference from Canon has a lot to do with how everyone else reacts to Lila, which makes these other characters and Lila appear more real and like fleshed out people rather than caricatures who only exist and move as the plot requires. They don’t have to bash Lila or try to light her on fire for it to be clear that Lila isn’t a good person and that there are consequences to her actions.

This is all leading up to the real possibility of…

6. Character arc?

It says something that contrary to most expectations, Lila is not what one would consider to be redeemed in Scarlet Lady. Lila is not a good person here just because she rejoins the class and becomes their friend and Zoe at no point tries to pretend that she is.

Marinette and other classmates made the choice to reach out and try to befriend Lila, but unlike most other arcs in other stories, this doesn’t result in Lila being redeemed. And she in no way got Lila to admit she was wrong and try to be a good person. 

Lila is not necessarily forgiven or absolved of what she did. Nor is anything Lila did magically erased. All Marinette did and all she had to do was encourage Lila to not run away now that the truth was out. She helped convince her to return to the class with everyone fully knowing what she’s done and the type of person that she is and move forward with that. She informs Lila that despite her lies, there are people in the class who genuinely care about her and are worried about her. 

Hell, it’s not even all up to Marinette. We see Alix sending messages to Lila encouraging her to join the class for Marinette’s birthday party. Sabrina fully admitted to inviting Lila to that party. Same with Rose, who has also been expressed to be worried about Lila. There are members of the class who are shown to care about her and who were noted to have made an effort to help Lila even after what had happened. Because they consider her a friend despite what she did, and that’s what friends do. All they asked was that Lila stop with the lies, stop with running away, and give people a chance.

And the result is the more mellow but passive aggressive Lila Rossi we see in Scarlet Lady. Not a Lila who is a good person or who is redeemed. This is a Lila who is at least honest with everyone about the sort of person that she is. She’s not pretending like she was in canon. She’s not being fake. She’s not putting on a mask of niceness anymore. This is a Lila who is fully acknowledged by everyone to have been a liar, to still be very selfish, and in some ways...a bad influence.

With a few episodes left, perhaps there is more we’ll see of Lila’s development and who she’ll become. Maybe we’ll get to see her take the steps to become better. To be a good friend, a good person, and maybe even a better hero than Scar. I don’t know for sure just yet what Zoe has planned for a character like Lila, but I do know what I see here:

A good start.

#ml analysis #scarlet lady #scarlet lady is better than canon #lila rossi #lila salt #for zoe #merry christmas

[joys-of-everyday]

On the fifty shades of morally grey

So quick thoughts on how MXTX writes morally grey.

Sorry, I mean, excessively long meta post on how MXTX writes morally grey. Light spoilers for all three books.

A gazillion caveats to begin with. Firstly, I don’t want to argue about whether character x is morally good, bad, grey, pink or whatever. In my books, arguing about whether someone is or is not morally grey is like arguing whether a colour is green, blue, teal, or turquoise – we’re arguing definitions. To add to that, I’m not saying that concepts like ‘this person is overall good’ doesn’t exist, but I would posit that a morally unquestionable person does not exist. Secondly, I also don’t want to pass moral judgements on any of the characters. That’s for a different post. I strictly want to focus on the storytelling techniques that make the reader think ‘hang on a second, are they good or bad?’. Thirdly, this whole post is mainly based on How Arcane Writes MORAL AMBIGUITY (9 Methods, 4 Rules) - YouTube. Great video, great channel (no knowledge of Arcane required). Would recommend if you are interested in story writing techniques!

1) The information gap and the poor narrator

Best example is Shen Jiu from SVSSS. We barely know anything about Shen Jiu. Almost everything we know is from SQQ’s notoriously unreliable perspective, so we’re left to fill in the gaps ourselves. Depending on exactly how those gaps are filled, you can get two completely different people. E.g. Did he have designs of NYY, or was he just ridiculously misunderstood? Who knows! We’re never told. Even if we were told, we should doubt it because it’s SQQ telling us.

2) 4D characterisation

Schnee’s video goes into this in more details, but this is where you build two narratives on top of one another. Best example is Jin Guangyao from MDZS. Is he an underdog who did what he could out of his situation and tried his best to be a better person working for the good of the common people? Or is he a selfish, manipulative, ambitious snake who at every stage pretends to be good in order to win the favour of those around him? The point is that both narratives make sense in the story. There are moments that lean more one way or another, but you can never quite pin him down completely.

3) Moments of weakness

Best example is Xie Lian from TGCF. On the whole, XL is a wonderful human being who you 100% want to root for. Except… there was that one time he made a mistake. He let his hurt and pain overcome him; he became hurtful himself. The point here is to add in just a few ‘moments’ which fundamentally impacts how the rest of the world perceives them from that point forwards. They are forever trying to redeem themselves, forever weighed down by what is a tiny proportion of their life. The underlying question is ‘is a moment of weakness a moral failure?’

Another good example is Qi Rong from TGCF. On the whole, he’s a piece of s***. But then there are moments when he’s a genuinely good father to Guzi, and that’s confusing.

4) Well-intentioned idiot

Trying to do the right thing and absolutely failing. Best example is Wei Wuxian from MDZS. His intentions are always good. There are extremely few moments where he is selfish or overly cruel. He is always fighting for justice, always self-sacrificing, always kind. And yet the outcome of his actions is pretty bad. The underlying question is ‘should you judge a person based on their intent, or on the consequences of their actions?’

(btw the name of the method is from schnee’s video. No shade on WWX. He is very smart… well, unless it comes to LWJ’s feelings.)

5) Excuses

Yes, they’re bad. But we feel sorry for them! Almost everyone fits into this boat, because doesn’t MXTX love trauma dumping? As one example, let’s look at Jiang Cheng from MDZS. JC’s behaviour towards WWX is pretty bad on its own. But given the context of his childhood being compared to him, of having his self-esteem brutally crushed by both parents? Knowing how much he’s done and sacrificed for him, how much he truly cared for him as family? It hits different.

A small point: ‘excuses aren’t enough’ we say a lot (and I agree, to an extent). But compare, for example, Jin Guangshan vs Xue Yang. JGS seems to be a power-hungry asshole for absolutely no reason. On the other hand, put XY in different circumstances and we feel like he might have been a better person. Just as food for thought, there was a Japanese monk Honen (1133-1212) who said: ‘The good person can reach the Pure Land, so of course the evil person can as well’. The point being that the people who struggle with anger and hate because of their circumstances are most in need of salvation.

6) World building and presenting hard questions

What is acceptable sacrifice in war?

Is it okay to make a super dangerous weapon for the sake of deterrence?

How much personal responsibility does someone hold for a lifetime of circumstances pushing them towards a morally questionable path?

What are the responsibilities of a leader – to do what is right, or to do what is best for their people?

The world of MDZS is imperfect. It’s full of horrors and disasters, as well as a mob of outsiders all trying to impart their opinions despite knowing little about the situation. An imperfect world presents unanswerable questions. We see the characters struggle with these questions, come to decisions, and make mistakes, all naturally arising within the complex world that’s been presented. 

TGCF does this most explicitly. We literally have Kemo and Pei Xiu arguing about the ethics of war and XL concluding that it’s a Hard Question. In fact, every backstory of every Heavenly Official presents a new Hard Question. I don’t know if I like this method over the more subtle style of MDZS, but I have Thoughts about the storytelling styles of both (long story short, I love them both for different reasons).

7) Worlds are colliding

A slightly complicated method that takes a huge amount of set up. To summarise, set up two arcs that we the reader both feel invested in. Then set up a point where the ‘good’ outcome of one is the ‘bad’ outcome of another. For MDZS, we have 1) JC and WWX’s brotherhood arc. 2) WWX standing up for justice arc. They’re both merrily developing all the way through the conflict with the Wens… right until the moment WWX has to make a choice: stand up for justice and leave JC behind, or to fulfil his promises to JC and turn a blind eye to the injustices against the Wens. The decision is a lose-lose scenario because of the way these arcs have been set up.

8) Spectrums, Spectrums, we love Spectrums

Gongyi Xiao is a cinnamon roll. As is Wen Ning and Quan Yizhen. Meanwhile, the Old Palace Master? Literally no redeeming qualities. Wen Chao? Absolute scum. Then there’s everyone lying somewhere in between. We like Lan Wangji more than JC (I think that seems to be the case for most people?) but we certainly like JC more than JGS. Having a spectrum of morality is important because it gives us reference points to contrast and compare. It also emphasises the moral greyness of everything, because sure, Mu Qing isn’t a noodle like Shi Qingxuan, but is he worse than White No Face?

9) Spectrums aren’t enough – adding depth

Almost all of WWX’s moral ambiguity comes from the fact he has hard decisions to make. And for each of these decisions, the outcome is murky. He developed a new technique to fight against the Wens, but at what cost later down the line? He defended the Wens and gave them a few years of life, but was it worth it?

Compare with JGY. JGY does a lot of good. He also does a lot of bad. The magnitude of both lists is ridiculous. Sure, you wouldn’t usually find someone who’s killed most of their family members in any way likable, but how often do you come across someone who literally ended a war?

So one way of creating moral ambiguity is to make each decision difficult, but another way to go about it is to just… make them do loads of things. Like loads of things. Good things, bad things, all the in between things. Judging each thing is not that hard, but then trying to judge the overall person based on it is extremely difficult.

10) Pulling from the real world

Often, moral questions in fiction is hard because (surprise, surprise) moral questions are just hard full stop. Idk enough Chinese history and culture to accurately pin down all of MXTX’s references, but things like stupid misunderstands leading to conflict, poverty and inequality, less than ideal family situations, the horrors of war… these are all things that happen irl. No matter how fantastical the setting, grounding moral conflicts in reality makes us feel more emotional and invested.

Anyway, I hope that was an enjoyable rundown! This is an imperfect list, so comments, criticisms, suggestions greatly appreciated!

#i cannot get over how good mdzs is #a moment of appreciation here #mxtx #mxtx meta #svsss #mdzs #tgcf #svsss meta #mdzs meta #tgcf meta

[jimmy-dipthong]

How I feel about formal speech in Japanese, as a halfie 🇦🇺🇯🇵

How much are one’s values and philosophy forced to be tied to the language you speak? Having grown up in Australia, I live in a culture where there’s no hierarchy-based formality built into the language. Our service workers never call us “sir” or “ma’am” (in fact it feels very off-putting whenever you get a usamerican waiter who does). Calling out to a perfect stranger on the street is done with a “hey, mate” or “hey, excuse me!”. Our speech patterns don’t change too much depending on our familiarity with whoever we’re talking to - and we certainly don’t have separate verb conjugations depending on formality.

Contrast this with Japanese which has several different speech registers depending on familiarity and hierarchy of the person you’re talking to.

Red: Keigo. Used by service staff. Used by low ranking staff to high ranking bosses in workplace situations.

Orange: Formal speech (sentence ending ます, です, ません, etc). Used by younger people when speaking to older people. Used by almost everyone when speaking to a stranger off the street.

Green: Semi-formal speech (sentence ending っす, しないです, etc). Used by people around the same age when speaking to someone they have only recently met, or to work acquaintances and similar.

Blue: Casual speech (sentence ending naked adjectives and nouns, だ, plain form verbs). Used by everyone to their own family. Used between good friends, even if one is a fair amount older. Used by bosses to their employees, teachers to their students.

(Please note this is graph was made by a me, a non-native japanese speaker, and is not backed up by any research. It’s based purely on vibes and its primary purpose is to assist in the explanation of my feelings about being australian-japanese. Also note that in reality there are not hard lines between each of these registers or strict definitions. If this were more accurate it would be more like a gradient)

I don’t want to be seen as rude, so when I’m in Japan I make an effort to speak in a formal register in certain situations (e.g. speaking to service workers, strangers on the street). I’m ok with the far left side of the graph. However, the purple dotted section is the part I have the hardest time with: people around my age who I am not (yet) friends with. As an Australian, I immediately want to speak in a casual register with anyone who has friend-potential — in my culture it’s polite and respectful to treat people like a friend from the start. Unfortunately, this has the reverse meaning in Japanese culture - it’s polite to keep people at arm’s length until you know they’re comfortable being closer with you. To use casual speech with an acquaintance carries an undertone of imposing a friendship on them that they may not want.

Culture and language are intimately linked, but is it possible to speak a language while being informed by a different cultural worldview? Is it possible to speak Japanese with both feet firmly planted in Australian culture? Does doing such a thing transform it into a different language altogether?

It’s certainly possible to speak English with my feet in Australian culture, and I would say that Australian English is a different dialect (with respect to formality registers) when compared to British English or US English. In fact I think US English is more similar to Japanese than it is to Australian English, if we’re just looking at formality.

A lot of what makes this a hard question is how homogenous Japan is, and how people in the Japanese diaspora (e.g. me and my family) don’t have a meaningfully different culture from mainland Japan, unlike other diasporas like Italian Americans. Since basically everyone who speaks Japanese is culturally and ethnically Japanese, the question of separating some of the cultural aspects from the language becomes almost unthinkable, and I would like to shake this unthinkable foundation of thought a bit.

Also, language is a collaborative thing. If I’m the only one speaking single-formality-register Japanese, I’m not speaking a new dialect, I’m just speaking normal Japanese in a weird way. It would take multiple people to understand the nuance of what I mean (not rude, just casual) for my single-register manner of speech to go from speaking normal Japanese rudely to speaking Australian Japanese normally. If I was to somehow assemble a bunch of Japanese-Australians raised in Australia, who learned Japanese with their family as their only input source (casual register only), would we be speak Japanese or some kind of new thing - Australian Japanese?

I wanna speak how I would normally speak in English, when I’m speaking in Japanese. But to do so carries subtext that I’m not trying to convey. If I want to speak without loading my speech with additional subtext I have to conform to the norms. But to do that would be to temporarily cast aside my cultural values on egalitarianism and respect!

So what’s more important - being true to myself and culture when speaking Japanese, or conveying the meaning I intend? Is it the responsibility of Japanese people to understand that people of different cultural backgrounds will speak their language, or is it my responsibility to conform to the way the language is spoken?

#opinion #langblr #japanese #japanese language #linguistics #language #learning japanese #日本語 #jimmy blogthong

[anthurak]

So with Hazbin Hotel finally releasing in just a couple more months, I thought I’d talk about what might be the biggest underlying question a lot of us have:

How much, if any, crossover will there by with Helluva Boss?

Now to start with, despite Blitzo and Moxxie having originated conceptually as side-characters/villains in Hazbin, I think we should NOT be expecting any kind of major or even minor appearances of I.M.P. in Hazbin Hotel. And frankly, I think that’s a GOOD thing. These two shows really should be allowed to stand on their own without relying on any kind of crossover/cameo appeal. Not to mention that these two casts of characters don’t really have much reason to cross over, given that they occupy pretty different circles. Like just the fact almost all of Hazbin’s cast (human Sinners) are confined to the Pride Ring of Hell while Helluva’s cast are often traveling between the various rings and even going to Earth kind of limits the potential points of interaction. All in all, despite how much many of us might hope for it, I think we should be expecting appearances from the I.M.P. crew in Hazbin Hotel. Though barring one, VERY SPECIFIC possible scenario I’ll dive into later.

Instead, the potential crossover between these two shows that I’m actually very curious about comes not from Helluva’s main characters, but rather from some of the supporting cast.

Specifically, I’m very curious if we’ll get cameos from the other Sins.

Because whereas Blitzo, Moxxie, Millie or even Stolas run in entirely different societal circles than either Charlie or the Sinners she’s trying to help, with the Sins it’s an entirely different situation.

Not only are the other Kings of Sin we’ve met the fellow rulers of Hell alongside Lucifer, we’ve also gotten implications that they do see each other more or less as family. Which by extension, could very well mean they are family to Charlie as well. Basically, Ozzie, Bee, Mammon and the rest could absolutely be presented as Charlie’s aunts, uncles or cousins, depending on whether Lucifer is an ‘older brother’ or outright ‘father’ to the group as a whole.

Which all taken together means that the Sins actually have all the reason to make an appearance or two in Hazbin. Like we know from the trailers that we’re going to have a flashback to Charlie’s childhood of her spending time with her father. Imagine how cool it would be if said flashback included a couple cameos from the other Sins?

Obviously I don’t think we should expect Asmodeus, Beelzebub or any of the rest to be any kind of major recurring presence in Hazbin Hotel, especially when we consider that the vast majority of the action of Hazbin is going to be locked to the Pride ring. But it does feel very natural or even outright necessary to the narrative that they make an occasional appearance. Particularly when we consider that it’s pretty much inevitable that Hazbin dives into the backstory of Lucifer, Lilith and the creation of Hell as a whole, at which point it would be pretty weird if the other sins DIDN’T show up in some major capacity, especially if they are indeed fallen angels like Lucifer.

And of course I think we can all agree that it would be pretty awesome just to see any of the Sins show up in an episode of Hazbin, even if whatever they’re doing is largely unrelated to the events of Helluva Boss. Like imagine an episode or arc where Charlie and Vaggie have a big argument, and Charlie ends up getting advice from ‘Uncle Ozzie’? Like even if you haven’t seen Helluva Boss, the idea of Charlie getting relationship advice from the King and Embodiment of LUST is hilariously surreal on its own, but the fact that it would almost certainly be actually GOOD advice just makes it funnier. While those who have seen Helluva can appreciate, among other things, the parallels between Charlie’s relationship with Vaggie and Asmodeus’s relationship with Fizzerolli.

Now with that all being said, as I alluded to earlier there is ONE specific scenario where I can see the I.M.P. crew making AN appearance in Hazbin Hotel:

Given the fact that Blitzo and Moxxie did originate as Hazbin side-characters, I do think it wouldn’t be surprising if we got an episode of the show meant to pay tribute to this fact. Basically have an episode where Blitzo, Moxxie, Millie and Loona show up as one-off pseudo-villains as an episode-long ‘in-joke’ referencing the origins of Helluva Boss and giving the team a chance to give an idea as to what Blitzo’s and Moxxie’s original roll in Hazbin would have been.

Say, Charlie and co. are dealing with a sinner who is particularly fixated/obsessed with ‘unfinished business’/grudge from their life with Charlie trying to get them to let go of that grudge by convincing them there just isn’t anything they can do about it from Hell. Cue perhaps Angel Dust ‘helpfully’ mentioning that he’s heard of some people who do exactly that, or perhaps simply a rather familiar jingle can suddenly be heard over a nearby TV, and we’re off to the races.

Again, more or less doing an homage to what Blitzo and Moxxie likely would have originally been doing as Hazbin side-characters.

#hazbin hotel #helluva boss #hazbin hotel theory #hazbin-helluva crossover #charlie morningstar #hazbin lucifer #hazbin lilith #helluva sins #helluva asmodeus #helluva beelzebub #helluva mammon #helluva blitzo #hazbin hotel rambling

[luffyvace]

Obanai x chubby gn reader!!

This won third place in the poll so here you go<3 enjoy kny/obanai stans!! I actually like obanai very much he’s one of my favs from kny i just don’t talk abt him often

also just for the record let’s say this is a au where obanai and mitsuri are close friends :)

In this you’ll be a hashira as well

I don’t think Obanai is one to judge

especially when he wears bandages since people do

if anything he’s worrying about his looks

so in this case it’s not that he dislikes it, it’s just that he saw through your physical appearance and went for personality

and if you have a crappy one?

well then he doesn’t know what draws him to you but somethin’ does!

he tolerates no disrespect from anyone.

like we all know how sharp tongued he is- 😜

and just because he’s one of the “weaker” hashira’s doesn’t mean he’s not one!

he is DEFINITELY above average and CAN do damage

so somebody would be a FOOL to see you with him and decide to screw around and find out

as well as you!!

your strong too!

and they’d better have respect for you!

getting one tapped by two hashiras don’t sound very fun to me..

🤷‍♀️

but yeah if someone is like drunk off they’re end and tries to insult or harass you?!

obanai steps in before you can even do something yourself

depending on the level of what they said or did,

he either flames them so bad they can’t recover

or straight up punches them

maybe even beating them up

who’s going to stop him? The police? 😂

he calls it self defense

tbh it was like, that person was harassing you????

🤨

bro thought he was gon let that slide

this why you can’t pull up on everybody 🤦‍♀️

anyway if your feeling sad bc of what someone says

obanai gets you a gift to make you feel better

He’s really thoughtful and pays attention/remembers everything you tell him you like

which makes perfect gifts for situations like these

ngl this is like idk the year 1500?? IDK BUT ITS THE TAISHO ERA SO THIS WAS A WHILE AGO

which means beauty standards were 📈📈

but for obanai? You ARE his beauty standard 😍😍

everyone should strive to look like our majestic (name)!!

as far as the hashira’s opinions☝️

they don’t mind at all and are completely nonjudgmental

gyomei can’t see so when y’all described how you look it doesn’t necessarily make a difference 😅 although, again he doesn’t mind :)

mitsuri is literally the love hashira she adores you just as much as obanai does <3

shinobu is more mature than to make fun of someone over they’re appearance

now tokito will either

1) be rude at first (the hashira’s have to set him straight)

2) won’t care

3) likes you from jump so he doesn’t mind

sanemi would never judge a women like that (if you know what he did for mitsuri and shinobu and they’re uniforms yk what I mean)

Giyuu is completely unfazed

Rengoku loves you all the same

now uzui…….bc of his standards and 3 wives….it can either go one of two ways

1) him and obanai are now mortal enemies and he keeps you away from him

2) he thinks your THICC and FINE 💖 (dis one better fr)

Ngl it’s even worse if a demon insults you

bc now he gets to KILL them

He goin all out too

who are they to talk anyway demons be the most horrendous looking BEASTS-

fluff time~ 💕💗💖♥︎♡

obanai loves to cuddle!

he’s shy but once you get sometime into the relationship he likes gentle and intimate affections such as cuddling, hugging & hand holding

he holds you in his arms before falling asleep

and he makes sure you sleep first

If you have a nightmare he’s on it!

he’s got water, blankets, comfort food…what else you need??

on it! 🏃💨

That’s literally him

he’s always prioritizing your comfort and happiness in your relationship ★

Get this to the obanai stans, tumblr!! Go go go!!

;3 - Brook

#anime #anime and manga #luffyvace #anime headcanons #fluff headcanons #fluff #kny headcanons #kny x reader #kny #kimetsu no yaiba #demon slayer #kny x gender neutral reader #kny x you #kny x g/n reader #x gn reader #gn reader #chubby reader #x chubby reader #x plus size reader #plus size reader #kny x chubby reader #obanai x reader #kny obanai #obanai iguro #demon slayer obanai #obanai x you #iguro obanai #demon slayer iguro #iguro x reader #kny iguro

[pansy-picnics]

Sorry but your recent artwork has me thinking about parent Varigo and I have to dump my thoughts somewhere. I feel like, if they actually had a kid it would be really emotional for them but in different ways. Varian finds out he’s pregnant and is a little scared at first, but he actually adjusts to the idea pretty fast and is excited about it, because he’s in a good place now and has a good support system. He doesn’t have to worry about his family judging him, he knows they’ll still see him for who he is. Hugo on the other hand is terrified. But not because he doesn’t wanna be a dad, he’s pretty excited about that, he’s just really scared that Varian is going to get sick from the pregnancy, or that the whole experience is gonna be too much for him. He feels like this is just another thing he’s “putting Varian through” because he’s still not quite over the guilt of his betrayal years ago, and now it’s coming back to haunt him. They work it out of course and Hugo realizes that it’s gonna be okay and that he also can depend on Varian’s family for support because they’re his family too. Now I’m emotional. Anyway I love your art <3

AUGHHHH YEAH YEAH THIS IS SO REAL!!!!! i love plots like that fr, their characters are so fun to explore😭😭😭 Honestly? i think in the right circumstances hugo could be a deadbeat dad. like he could just straight up leave bc he’s paranoid varian or the kid would get hurt or he’d put them in danger or something. he’s the kind of guy who’s always Running! like i could think of scenarios where he’d run away on their wedding day too. those are both horrible extremes SORRY FOR THE ANGST I JUST THINK IT’S NEAT.

i think hugo’s always WANTED a family but its something she’s always viewed as unachievable, mostly bc of the shitty living situation hes been in for most of his life. she could barely survive on her own and she’d never want to drag someone else into that yk? and she’s still scared of that commitment even after she moves into the castle, bc what if she DID have a kid and then something happened and she couldn’t take care of them anymore, or she ends up on the streets again….and what if she just ends up abandoning them? what if she’s no better than the parents she never even knew? it’s like, obviously she wouldn’t do any of those things or be in those situations but she has….a Lot of anxiety around it for sure. but i also think that she tries to adopt literally every orphan she and varian see. she LOVES kids as much as she pretends she doesn’t and its very obvious….she just hasn’t really had the privilege to be able to think about it until now.

varian…i think he goes either way, he doesn’t really plan to have kids but he’ll kinda learn to adjust to whatever, he’s also just a very family oriented guy so he’s definitely not opposed to that kind of role. in my head they usually adopt bc i think varian like, Hates anything related to the human body at all so even disregarding the gender dysphoria pregnancy is SO gross to him. idk why i just think he’s silly like that. hell make bombs and poisonous chemicals but he remembers people have organs and he wants to throw up. i’m not opposed to the idea of them having biological kids at all though…especially considering all the art i’ve already drawn for it’s us against the world LOL. personally i think even if he weren’t opposed to the idea he’d be miserable the entire time, and not even like in a serious way necessarily he’s just REALLY mad that he can’t work in the lab anymore. he’s pissed about EVERYTHING, actually. he’s bored and he’s tired and he can’t work and he feels like shit and he doesn’t really have any other hobbies either. his whole life and routine has been completely fucked over for nine months and SURE he loves the kid and he’s excited but like why does it need to be in there that long. why can’t it just come from the stork or something. 🙄/j

i think he might pick a few fights with hugo bc of it, just because he’s so overwhelmed and emotional and doesn’t know how to handle it, but hugo’s really understanding; also they’ll honestly take any kind of treatment from him because they’re like, “Yeah i probably deserved that”. which varian does NOT like btw and always gets on his ass later to stick up for himself more while also in tears apologizing for yelling at him

idk i just think them as parents would be Sooo silly. neither of them have any clue what they’re doing. dude if those two had a baby? Dude can you imagine? varian’s sooo fucking sheltered i think he’s only interacted with like, 2 babies in his entire life. quirin stays with them for tje first few weeks bc varian literally just has NO clue what he’s doing and is crying to him all the time. and hugo like, has an idea of what to do but he’s also SUPER paranoid. they’re both just staring at the kid while they sleep not so much out of adoration but because they’re just terrified they’ll stop breathing at any moment. you cant convince me that either of them know how to change a diaper. They’re gonna bring out like full lab gear. like the gag where the dads will pull out full hazmat suits for the diaper change. That’s them idc

ruddiger is also SO protective of their kids from the moment they’re born, like he jumps up into the crib and snuggles up with them and they always IMMEDIATELY stop crying. olivia is the opposite. she’s kinda like a toddler who just got a new sibling she didn’t want. shes pissed that she isn’t getting hugo’s full attention and keeps being a brat about it. hugo’s just trying to calm down his baby and olivias glaring at him while she’s about to push a glass off the table

yeah idk i. have a lot of thoughts abt them too they’re so beloved to me

#tangled the series #rapunzels tangled adventure #vat7k #varian and the seven kingdoms #varian and the 7 kingdoms #varigo #tts headcanons #varian #vat7k hugo #pansy rambling again #ask #tangled ask #hugo rottewange

[unseenbox]

So, because I think it’s interesting to talk about things like this, I’m gonna talk about the differences in Crowley and Aziraphale’s relationship between the book and various adaptations. I do not mean different in a negative way, so much as I think it’s fascinating to talk about what varies between them in different mediums and how their relationship has developed in them.

First off, there’s the radio play. In this one, they come across as though they fucked in the Garden of Eden and have been basically married ever since. This is the most Married Couple of the Old Married Couples. They’re the most in sync with each other, the most sure of themselves, the most familiar.

Then we have the show. In this one, they are 100% romantic but unresolvedly so. They have all the romantic tropes in the books and some they’ve invented themselves. Star-crossed lovers, us against the world, enemies to lovers, the whole nine yards. This is the only one that is explicitly canon and the only one where their love story *is* the story, to the point that the show has a defined romance narrative in its structure (their break ups! their need to protect each other at all costs!).

Then, of course, there is the book. The book is the most open to interpretation of the lot, depending on how you read their lines or what you read between them. Anything from ‘the Arrangement is their marriage’ to ‘they’re just friends, no romance at all’ works completely. I personally favor an interpretation where they’re ‘co-workers who complain about their boss during smoke breaks’ up until the events of the book, which functions as their get-together arc. The first time Crowley asks Aziraphale out for lunch, it’s to try to work together to stop the apocalypse, and the second time at the end, he doesn’t give any excuses at all, he just asks Aziraphale out. But like I said, this one is the most open to what the reader sees or wants to see.

I think the contrast between the book’s openness to interpretation and the tv show’s overt romance arc sometimes causes a lot of friction, but ultimately, I think the core of the characters are the same, and it’s just the situations they find themselves in that have changed. The show versions of the characters aren’t exactly the same as they are in the book, but they don’t have to be, because all adaptations change to fit their medium, and the show has positioned their romance at the center of it. Likewise, the show doing something different doesn’t mean that book headcanons are all invalidated and no longer apply, because the book centers its story around Adam Young and the kids, so there’s more room for Aziraphale and Crowley to be read however the reader likes. And then there’s the radio play, right down the middle, where Crowley and Aziraphale feel as though they’re together but aren’t the center stage of the narrative, so they have no romance arc to speak of.

#good omens #book omens #radio omens #tv omens #meta

[maxwellatoms]

I don’t know why more people aren’t watching this show, but it’s worth a peek.

This particular episode touches heavily on storyboards and animatics, and while these guys are all talking about feature films, just about everything they’re talking about applies to animation (half of any given superhero film is animation anyway).

Animatics are such an incredible tool that I’m shocked that they aren’t an industry requirement. We literally weren’t allowed to have animatics on Billy & Mandy due to “budgetary restraints”, and since I’d never utilized them before I didn’t realize what I was missing. Now, I basically board right into animatic. If I have a line of dialog for a character, I’ll just temp it in. That way I’m both writing and directing (essentially) at the same time. As I go, I know more-or-less how much time everything is taking, what’s working, and what drags. If I hit ten minutes and I’m still not into Act 3, I know I need to cut something to make room. I can make a version of my movie or show for (essentially) free and share it as a blueprint for others to follow or give feedback on. Why would you NOT do that?

There’s some good stuff in here too about the insane pacing of Television production, the amount of stuff you somehow have to hold in your brain when you’re dealing with all of these moving pieces, and the importance of having a plan for everything. As the director, you’re the only one who is really capable of keeping track of the project from the microscopic to macroscopic scale. Everything from overall tone to the tweak you want to make to line 236 is your responsibility.

I’m not a huge fan of Snyder’s body of work, but Zack Snyder films are Zack Snyder films. His stamp is all over them. The Russos come from a much more Disnified, collaborative background. And lest that sound too noble, the collaboration is all directed toward making a product engineered to be enjoyable. In a very real way, it’s The Auteur vs. The Machine. Listening to this episode, you can tell that no one ever say Zack Snyder down in a room with a bunch of lawyers and research executives to talk about whether or not he was accidentally delivering fascist messages or how many girls aged 8-12 were into Steppenwolf. Whereas that would be Day One at Disney, and every day after would involve some other checks-and-balances meeting, a number of high-level sign-offs, and the upkeep of an intricate company-wide roadmap.

Snyder and the Russos both found themselves making superhero movies for two very different companies in two different very ways. The ways those movies were produced are as much a result of the studio culture as it is the personalities and desires of the directors. As much as Jellystone has reminded me how much I love deep collaboration, methods of production are often not my choice. Depending on the studio, I’ve occasionally felt either overwhelmed by too much “support” or left alone in the woods to die. Neither situation is exactly ideal, but both present their own unique challenges and opportunities. The Machine is efficient, gets things done, and will protect you -- as long as you’re in its good graces. The Auteur is laid bare -- flaws and obsessions on display for anyone to see. Neither Snyder or the Russos go too deep into the studio culture at either studio (oh to be a fly on the wall when the pizza is gone), but is one really superior to the other? Learning to work within the confines of a studio’s culture is a whole different layer on the onion, and I wish they talked about it here.

It’s cool to see that from the simplest cartoon short to the summer blockbuster, the struggles in the entertainment industry are all the same. The pay’s way better on the blockbuster side, though. In case you’re trying to choose.

#animation #animatics #directing #pizza film school

[kustas]

Sorry for the incoming long rant.

I just rediscovered your blog, and I always enjoyed your thoughts on WHA and wanted to rant a little bit. I found a post of yours talking about how WHA is getting less nuanced and I feel the same way. I feel like in an effort to make every character feel like a person, the manga treats everyone’s issues as if they’re on the same level. I’m not sure if that entirely makes sense, but it feels like the manga is trying to make you sympathize with everyone to some extent, even though that doesn’t really work. For example, there is a chapter that pissed me off so much that I had to put the manga on pause. It’s the chapter where Coco shows off a spell that can clean water, and the townspeople are uninterested because they don’t need it. And the moral of the chapter is that Coco should make her spell for everyone. No. No no no. These people need to learn some damn compassion and realize that they need to help end what suffering that they are able to. The moral of the chapter should’ve been that these people need to stop thinking of only themselves. Everything else was aimed at them, so Coco’s spell didn’t need to be for them. It shouldn’t have been for them. There is also the situation with the knights. You went into this already but who gives a shit if they are offended by a grieving husband taking out his anger in them when they are a part of the system that caused his grief. The manga wants you to sympathize with everyone, and while I don’t think these people should be one dimensional their issues should not be treated on the same level as others. Anyway, sorry for the weird long rant, it’s just everyone treats this manga like it is The Most Flawlessly Progressive Manga Ever and your one of the few I’ve found who acknowledges is flaws without devaluing its strengths

Thank you for your ask! I agree with what you're saying and think you worded it very well. It's a bit of a shame it's so rare to find people openly critiquing the series in the community, while it's nothing serious (and minimized by being a bit of a hermit, lol) I've seen some animosity for doing it, I assume because many assume critiquing art means you don't like it or are opposed to what it's trying to do! Which isn't true. Granted Witch Hat Atelier contains many an obvious fantasy metaphor for real life social issues it should be under more scrutiny than normal if you ask me, because those are serious topics that affect people's real lives. I do have faith in the author's serious handling of touchy topics, but in the execution there are things I'd do differently for sure...

The manga wants you to sympathize with everyone, and while I don’t think these people should be one dimensional their issues should not be treated on the same level as others.

WHA has in its writing strong expectations from the reader regarding how you think of its cast I find hard to read through a lot - the latest arc in particular, comparatively, has much of its character based moments revolve around if they're good or bad in a way that implies it'll change how you think of a character and it disturbs me. Qifrey and Sasaran are two early examples of characters that do *not* play into that - Qifrey's beginning arcs simultaneously show him as a shady manipulator and genuinely good teacher who betters the life of his students, and it participates so much to the dramatic tension. Sasaran is a villain of the week who while shown to be a huge cunt, has a backstory that implies his original motives were not nefarious ones, and his life was not easy.

Compare this to a character like Dean who, as much as I'm a fan of his concept, falls rather flat because he's, depending on the chapter, pushed as good/bad to the reader, regarding his moral alignment. Characters who are just meant to be despicable don't have the same level of attention placed to their writing which is a similar issue. It feels insecure, like if the story was saying: we have those important characters, their role is to bring up difficult situations, please don't hate them, like them, see, they're nice too! And giving them chosen positive traits. People don't work like that and it feels cheap. Fandom's obsession with villains should show well a character being despicable doesn't make them unlikeable, and I'd like WHA's characters to be less "good"/"likeable" myself to make them a bit more human. This would detonate a fandom nuke given I still regularly see passionate debates about how mean and terrible characters like Agott or Custas are but hey

As for priorities in the depicted suffering of characters in universe - yeah, it's true some scenes feel a bit off in that department...the water cleaning scene you mention did not rub me the wrong way too hard, because it's centered around Coco, who's our main character, the story bending to give her a central role makes sense, and her unique position in witch society and how it relates to helping others are, with the responsibilities of witches, very important to the story. The apprentice backstories are an earlier example I had trouble taking too seriously because while they're all terrible, tiny silly Riche and her brother's experience with physical child abuse felt drawn with the same intensity as Agott being pushed to mental disarray by her rich fancy perfectionist family. It's all hard to complain about and might sting less if the writing was a bit less dramatic and preachy, but that might just be a me issue, I've seen many fans praise WHA's writing wholeheartedly, so...

What I am hoping is that the latest arc will conclude and lead to the shorter previous structure and we'll get individual attention brought to character stories, one after the other, instead of the all at once formula going on right now... We'll see!

#no real conclusion. if u wanna discuss more feel free to:) #ask #witch hat atelier #sounding like a broken record at this point but if you want a kids having variousproblems manga that im #o does characters right: read sunny

[theshadowrealmitself]

Thinking about the post I made about an omega getting transported to a universe without the a/b/o dynamics (unfortunately can’t reblog that original post with this addition cause both posts are gonna be scheduled) and I think a situation like that would really help give me what I want out of omegaverse

What I really want out of omegaverse is all the world building stuff, how a society and its people would function in that situation, but most of the time it’s a reimagining of intense misogyny, which is not my cup of tea

But I think a situation where a person goes from a society like that (without the omega hate) to a society where a/b/o isn’t a thing, would really highlight how different things would be

Technically the omegaverse society is different depending on the author, so I’m making up my own version, and adding in aliens:

Heats and ruts can cause health problems, the stress it puts on your body every month can lead to a ton of issues down the road, and honestly you just don’t wanna have your life be disrupted that much, so going on suppressants is common, especially for people who are single

But going off of suppressants can be deadly, and sometimes your suppressants can start being less effective as time goes on, so calling out of whatever to make sure you can go to the doctors and have that all figured out is not only normalized but also encouraged

(But now you’re suddenly in a universe where Humans don’t go through all that and you’re running out of suppressants and you’re just hoping the scientists, Vulcan ones who are strangely extremely interested in your heat suppressants and keep asking you about rut suppressants?, can quickly figure out how to make more)

Depending on the situation, scent blockers can be used (mostly in the maternity ward, so the medical staff don’t accidentally get their scent on the kids and accidentally cause the parents to instinctively think they’re trying to take away their kids), but it’s more of a personal preference

Alphas, omegas, and even betas can scent mark things, but alpha scents are usually just more noticeable because they tend to be more territorial and aggressive, doesn’t mean that omegas and betas aren’t scent marking things for the same reason, so just because you can’t smell an alpha around, doesn’t mean you aren’t encroaching on someone’s space, you can also tell people’s emotions from their scent

(You hate that in this new universe, no one can smell that you claimed stuff and you have to remember to verbalize it, you also hate that the only ones who can smell you are aliens who have to be weird about it because they aren’t used to Humans smelling like that)

I can never think of anything cool for betas and I hate that it’s usually just like “betas are usually just how Humans are irl”, so what, they don’t have cis guys that can get pregnant and cis women who can sire kids? boring! but I can’t think of anything fun for them!

Claiming bites are a thing, but mostly a thing of the past, still, you never touch go near an omega’s through without explicit consent

(If another fucker tries to go near your neck again you’re losing it at them >:/)

Nests are a big thing, even outside of heats, and kids, and stuff, it’s just really beneficial to an omega to have a safe, soft, place they have complete control over, their instincts demand it

(Apparently nesting isn’t a normal fucking thing for Humans in this universe?? you can’t find the round mattress with the round frame that has a headboard that goes around a majority of the bed to kinda cocoon you anywhere, that’s like, the most basic thing you’d used to find in stores, and now you keep having to find specialty shops that cater to extraterrestrials to find anything remotely similar, or figure out how to replicate it yourself, this is so frustrating!!! you’re gonna be so much more frustrated when you try to find the other supplies needed for nesting)

Instead of heats and ruts being quick things, there’s still a lot of time and clarity before it hits them, so like, let’s say if it’s a default alpha/omega, the omega will obsess over their nest and get it just right while the alpha get their scent on everything else in the room to let everyone else know to fuck off (if it’s any other pairing, then whoever feels the most comfortable fighting if a trespasser comes by, [even though that almost never happens, but there’s always that instinctual worry that if will happen] is the one who gets their scent on everything else and makes sure the room they’re in is secure)

(I love the idea of this omega getting a temporary Vulcan partner because their heat came on quickly, and Vulcans understand their predicament, so the omega is stressing over their nest while the Vulcan is walking around, methodically trying to scent everything because they know that also serves to make the other person not scenting feel secure in that scenario, and then, because I feel like Vulcans are a little bit of control freaks (lovingly) the Vulcan goes over to fuss with the nest as well and the omega is strangely content with that)

That’s what I have for now, may add stuff later

#star trek #humans #aliens #Vulcans #omegaverse #a/b/o dynamics

[sharpace]

As your Crank Ut universe is completely sfw, i really hope it's still okay to ask, but....

When Viktor didn't know that he and Jayce were dating - were they already having sex? Because it's kinda not obvious in the comics, but its somehow important for my own understanding

Like, was it a 3 months long platonic thing, which Jayce, for some reason, decided to call a dating?

Or was it a full mind-and-body connection, which Viktor somehow managed to not consider a dating?

That's important for me, as depending on the answer I'll be able to relate to one of them or another 😅😅😅

The SFW answer is up to you! I leave a lot of room for whatever is fun.

But 👀 for timeline/writing purposes….

First, I love your theories hahaha

So, yes, they have but they both define intimacy differently and experience the relationship differently (uh oh some divorce era foreshadowing).

Viktor fell for Jayce first but as a result of lurking for so long and his own insecurities from past relationships, learned to accept what he can take and not overstep. He’s also more experienced so sex is just a thing to do rather than a grand gesture or tied to romance.

Jayce falls for Viktor fast and hard. He’s a big romantic who gets too nervous to make the big move so he keeps just offering random things and hangouts which is partially how they end up moving in together. He sees sex as the pique of intimacy and love.

They grow closer while living with each other and flirt while the other completely misses it until the night they messed up so bad.

They were drinking and gaming, Viktor got too into the game and slipped off the sofa, Jayce helped him up. They were giggling and breathless …and the rest of the night was ✨history✨

So Viktor walks away, pleased as peaches they got to hook up and is okay with whatever they might be now because at least he wasn’t rejected and it was fun! And it was with Jayce! He deal with those dumb feelings later (or never!!!! Not his problem!!)

Jayce walks away panicking that he messed up so BAD! He worries that Viktor thinks he took advantage (Viktor was the one to make the first move but he doesn’t think about that) and that their friendship, roommate situation, and working relationship will have to end — unless!! He can save the relationship by asking Viktor out proper and making them honest. But he gets too nervous to say it all and just asks Viktor to dinner. Viktor accepts and Jayce is SO relieved that they’re on track as boyfriends.

Until 3 months later when Jayce asks to go public as boyfriends and Viktor is like “since when.”

so yeah! Writing-wise, this gives me lots of room to play around in for their dynamic, stretch out the pining/yearning/awkwardness, and is just so funny to me. Anyways…. Thanks!! Hope this was fun and didn’t spoil things.

#crank it #sharp ask #uhhh how do i tag this #babies don’t look #I feel like that’s a good tag that won’t tumblr ban me #they be idiots

[proudfreakmetarusonniku]

Something I love about Exile Arc is that it focuses heavily on emotional abuse as the most harrowing aspect of c!Tommy's experience.

Like, yes, the physical torture (both c!Tommy and c!Dream have referred to it as such) started pretty much immediately. c!Dream was always very physically abusive, frequently striking c!Tommy with weapons while he was defenceless and eventually hitting him to the point he didn’t react. And that’s horrific on its own, obviously, but what Exile really focuses on is the emotional and psychological harm done, and the escalating abuse there.

It starts off with c!Dream belittling c!Tommy's feelings and thoughts, and isolating him for large periods of time. As he visits Exile more- something he occasionally didn’t do early on- he started lovebombing c!Tommy heavily, something he did to a degree beforehand with gifts but would start doing emotionally. He began manipulating him to gain his trust, presenting the absence of abuse as proof of kindness and leading him to see himself as uniquely bad, then making him feel special by portraying himself as a saviour and a trustworthy adult figure who was there to help. He began gaslighting c!Tommy about serious events, like Mexican Dream's death, and would increasingly make c!Tommy out to be the offending party and himself the victim, making c!Tommy feel guilty and wrong and ashamed, like he was the toxic party in the situation. He intentionally isolated him, lying to him and others to deliberately lead people away from Logstedshire and to keep c!Tommy unwilling to accept any help when someone did show up. Whenever anyone did while c!Dream was around, he'd worsen his abuse and drag the other person into it without their knowledge, leading c!Tommy to associate visits from anyone but c!Dream with humiliation and pain. On that note, c!Dream was very much deliberately setting rules and organising things to make c!Tommy feel humiliated and ashamed of himself, like it was embarrassing to be the victim of abuse- with infantilising and dehumanising rules, c!Tommy was treated very much like the child he hated to be seen as. It left c!Tommy desperate for any sort of validation, which c!Dream provided by making himself out to be a martyr who was the only one who cared, and he'd lovebomb c!Tommy even further when he fell into that dependence, encouraging c!Tommy to- as c!Tommy describes it himself- lack free will and become a toy, puppet, and/or pet.

Emotional abuse is often downplayed, but it's one of the most damaging forms of abuse out there. It’s insidious, and the effects of it often never go away. Many abuse survivors consider emotional abuse to be the most traumatic parts of their experience due to this, but it’s so rarely depicted as such in media. Physical and sexual abuse are considered worse or more serious than emotional abuse (and even then they’re not treated with respect a lot of the time!), when it’s far more complicated and nuanced than that with each of them causing different but deeply damaging trauma. It’s genuinely very cathartic to see a depiction of abuse that really focuses on the psychological elements, along with other stuff that’s generally not covered by media as much (such as c!Tommy not being anywhere close to a perfect victim yet still being portrayed entirely as a victim who didn’t deserve his abuse at all, or the complex feelings towards his abuse he has), and it helped me process a lot of what personally happened to me. It might be a little fantastical in some areas, but in others it’s so realistic in ways I’ve never even seen before, and I think that’s awesome.

#dream smp #Exile arc #primeboys (derogatory) #abuse tw #Dsmp analysis

[shandycandy278]

that post u reblogged frames antis in a dishonest way... literally all we want is for people to be normal about minors and siblings.

but the issue is that most of the bad stuff is framed in a neutral light. or worse, it just exists for someones pleasure. which knowing fandom spaces, is going to be the case a rather high percentage of the time.

antis arent evil, and its clear that that post is coming from a close minded person.

sorry i just got up and seeing a post framing me as someone who wants to censor the whole internet makea me mad. i LOVE being not censored. its just some stuff HAS to be censored because its just morally gross.

but as i said, as long as that morally gross stuff is framed as it is, morally gross, im fine.

No, you’re right. Anti’s aren’t evil. But they’re not entirely right either. There’s a LOT of miscommunication going on in the drama surrounding them, and I will happily take a chance to try and communicate about this as clearly and calmly as I can.

I’m not mad or upset or anything, PLEASE do not see this as me being like “actually you’re WRONG”. That’s not it at all. I’m just going to be going over what was brought up in the post you are talking about, and how I interpreted them/what I believe.

(TW/CW: talk of the pro/anti drama, pedophilia, incest, abuse, murder, suicide, terrorism, rape, censorship)

I’m very confused as to how you thought this was an attack on you. The post was literally talking about how the response they have is very natural and good. Especially in real-life situations, because those sorts of things are wrong in real life. If you reread the post, you’ll see that it compares it to an automatic immune system for fandom spaces and the like. There was no hate or shade thrown, because you guys are necessary and right that incest and pedophilia is wrong. There’s nothing that says that you are not right.

But it also says that fiction is something that requires different approaches in this regard. People writing and drawing about pedophilia and Incest don’t want it to happen in real life an know it’s abusive and shady IRL. They KNOW it’s wrong, they aren’t denying that it’s wrong. The post actually explains this part better than I’ve seen many others describe this, and if you read it, you’ll find that they go on to define that exploring this sort of what-if thing in a fictional setting helps us, as humans, process the horrors of the reality and and the reality of the situation.

I’ve written about characters committing suicide and killing each other. Does that mean I want everyone to kill each other and then themselves? No. But I couldn’t fully process and define how that made me feel. Not until I wrote about it in a fictional setting. I didn’t even realize how horrible it was that I had almost offed myself years before that, back before I found writing and fanfiction. Not until I wrote about it. Now if I write characters killing themselves, it’s a reminder to myself. My life is valuable.

People make shows and the likes about serial killers too, you know. There’s fiction out there that highlights that, slavery, abuse, rape, terrible addictions, genocide, cults- but Anti’s don’t get upset about those. Not really.

Because those are ALL horrible, terrible things. Things that suck about our world, things that we hear about and it makes us feel sick. Because they’re BAD. Everyone knows they’re bad. Proshippers, Anti’s- EVERYONE. The only people who don’t know that are the people being abused and the people abusing them (depending on the situation).

You can drop into a pro shipper or Anti’s inbox and ask “how do you feel about school shootings, incest, pedophilia, rape, and the likes IRL?”, and they will respond with “man they SUCK humans sucks I wish people wouldn’t do that, I wish humans would (insert something to try and get the horrendous acts to stop). I hate that it exists IRL.” Or something along those lines.

But I haven’t seen anything telling writers and artists to stop creating content on those things. Why? Because creating them in a fictional reality helps us process the truth of it.

All of this was also in the post! I understand if it was a hard read because you felt like you were being attacked by it, but I do NOT think the post’s intent was to “attack” antis. Heck, “anti” is even in quotes because I’m fairly certain OP was only using the title so that people would see it and know that this is what they were discussing. It was just to try to explain the dilemma to people who didn’t know, or to those who have chosen one moniker or another not knowing what exactly it means or what’s happening. An analysis, if you will.

But I’d like to gently ask (if you can find it in yourself to, because I’m not going to force you to do something you’re uncomfortable with) that you take a deep breath, push your feelings about the drama and the likes to the side, and re-read it. It really summed up everything nicely, with a comparison that is honestly very true- not just for fandom, but for a lot of humanity. Again, if you don’t, I understand. It’s very hard to reread a post after it gets you all huffy and puffy and upset. (Especially when you hate feeling like that, like I do, and it makes everything worse.) But it’s ALSO very hard to see what exactly is being talked about in a post and what the point of the post is if you read it huffy and puffy. Again, you don’t HAVE to, but it’s something I’d recommend trying if you feel up to it.

Along side that, I don’t think pedophilia and incest in fandom was ever intended or meant for it to be centered AROUND the fact that it was pedophilia or incest. Not unless it was a MAJOR story/plot point, or a part of the source material (like in a LOT of various Anime. I’ll be very honest, it’s a surprise that anime has not been brought up/referenced in any pro/anti drama I’ve seen so far. There is a LOT of fictional pedophilia/incest going on in there. Then again, Japanese fandom has stated that they don’t care about antis/proshippers or any of this sort of thing and will just happily block anyone who tries to drag in drama or throw them into mud. Maybe that’s why. Idk).

I personally think it started because people liked the idea of the character types and personalities working off of each other. Not because of some “HIDDEN SECRET EVIL PREDATOR URGE”. They just like how the characters acted together and had chemistry, thought it was cute, and went with it. The fact that it was incest and/or pedophilia wasn’t even at the forefront of their minds. They literally went “OOO TWO PRETTY CHARACTERS they should kiss”.

And honestly, that’s a lot of what shipping just… is. It’s deciding you like how two characters interact, taking it, and running off with it. Shipping discourse exists because people disagree on how that should happen and what dynamics should be in a ship, too! Because it happens soooo often. This isn’t much different, even if it’s a ship that others or many May view as problematic.

The post WAS admittedly a bit confusing about this next topic, so I understand if this was a big basis towards confusion, but-

I am a firm believer that people should create what they want to make, and not what others want to see from them.

And this post says much the same, in the later parts of it. Just phrased weirdly.

If this means that they make a bunch of stuff about incest, porn, pedophilia, murder- that’s not our business.

We are in no right to tell them what they should or should not create. It doesn’t matter their reasoning. It is their freedom to make whatever they want. No one should be policed over their own content, which they make for themselves.

But You know what is within your right to do?

Blocking them.

You have every right to block them so that you don’t have to see what they’ve made. If you don’t like it, I recommend you familiarize yourself with the block button and blocking tags, too.

And I think this is SO IMPORTANT for people to do.

A lot of proshippers have adopted this tactic, did you know? A lot of them block other proshippers and the likes ALL THE TIME, because they don’t like the content that that person makes. It’s fascinating. Proshippers will even do their best to respect Anti shippers by blocking them, so that the Anti won’t ever have to see the Proshipper’s works. And if proshippers find that someone is actually IRL a pedophile or a predator like that (a rare occurrence, mind you), they will block them, too! (Like what happened with an NSFW artist named Neahchan some time back).

But I think SOME (not all) Anti’s don’t understand that this is the easiest and safest way. Because you want to know what those FEW (not all) Antis do if they follow a proshipper?

If they are not blocked immediately, one of the first things those few do is harass the person. Cyber bully them. Maybe something small at first, but it gets to big things quickly. “You are sick I can’t believe you support this, let me make a full on call out post about this to tell everyone to isolate and bully you too”. If the proshipper chooses to comment or argue against the allegations, harassment just gets worse. If they block it then, it saves some face, but the drama swells horribly and it takes HUGE blows on their mental health.

Do you remember those videos about the kid that was bullied online and in school? About how they were going to kill themselves because they felt so horrible? That’s what those few antis are doing. They’re doing that to a human being.

(To me, this is the big issue. This is the thing we should REALLY be talking about instead of if a ship is okay to ship or whatever.)

If the proshipper blocks them right away, it’s a lot less impactful and a lot less harm is done. And those few antis will pick up a fuss about it “why did you block me! Your AUs are so cool! Whatever I’m going to try and harass you anyway”. (This is something that has actually happened recently to Skumhu, the creator of leviathan tale.)

When proshippers usually talk about Antis, it’s often these antis specifically that they’re talking about. The ones that harass and cyber bully them over completely fictional things that have no impact on the real world.

But why am I bringing up blocking people, anyway? You were talking about censorship.

That’s because blocking is a form of censorship, just personal to you.

If you were to go out one day and censor the entirety of the internet from, let’s say, images of any and all kinds of skeletons because skeletons and their symbolism made you uncomfortable, you’d get a LOT of people really upset at you. Because skeletons mean something completely different to them.

Okay, well, what if you prevented people from talking about and discussing terrorism by censoring them? It’s bad and horrible, surely if we stopped talking about it then it would stop. But now a lot of people who were victims or terrorism are upset because they had safe spaces where they could talk about their traumas and express them without fear. They don’t get that anymore with censorship in play. And now, terrorists have actually increased their attacks because there isn’t enough awareness going around, and people can’t prepare to defend themselves or keep themselves safe because they can’t even find out that it’s happening.

So now what if we censor pedophilia? Horrible, gross. SURELY something that’s influenced from everything going on online, so stopping it would put a stop to it. Right?

I promise, the same exact thing that I described above with terrorism will happen here.

Victims would not be able to discuss or share their experiences safely, or recover in their own way. Children would be put into further risk because parents wouldn’t be taught how to teach kids to watch out for the signs of a predator and notify their parents. Some parents might not even know of what signs to look out for, because we censored all the content of it.

Full, complete censorship of something gives oppressors the power to be more oppressive.

I understand being uncomfortable when fictional characters are written as incestuous or pedophilic, but if you want to censor the uncomfortable and icky gross stuff entirely, you should be ready for the consequences of censoring EVERY LITTLE THING about it because extremists and religious extremists will take what you’ve done and make it ten times worse. It’s not worth the pain and suffering it would cause. Not worth the lives that would be lost or the lack of support systems in place for survivors.

Is this every Anti’s vendetta? ABSOLUTELY NOT! But that doesn’t mean that censorship doesn’t give the abusers the power and freedom they need to hurt people.

There’s a reason why these are the signs of people in abusive relationships, and that’s because the lack of knowledge and support someone has, the more power the abuser has.

The safest and healthiest way isn’t to censor the whole internet because you’re uncomfortable with something. It’s to block users and tags who make you personally uncomfortable. It’s SO much better for your mental health, AND theirs. No one gets harmed, hurt, or cyberbullied.

It’s so important to know that there is SUCH a vast range of pro and anti people. There are certainly proshippers that are abusers, trolls, or jerks. Just like there are also antis who are the same.

(Trust me. I’ve been hurt by both a proshipper and an anti shipper. I’d rather not have to talk about my experiences with them to prove my point, because I’m also friends with pros and antis. It’s also a very private experience, and just mentioning that it happened is something that makes me feel weird.)

Repeat after me the 15% rule: in any given group of people, 15% of them are just the worst, most horrible and sucky people you could ever meet. And those people should be blocked for EVERYONE’S mental health and well being, but more specifically, YOUR mental health and well being.

I apologize if this doesn’t make sense or if there are any typos. It’s 5:30 in the morning and I haven’t slept, but I just… HAD to say this.

I’m so sorry you got hurt by that post and felt like it was attacking you. That was not my intention and I doubt that that was OP’s intention, either. But it’s SO important to me that people are free to do as they wish and create what they want in safe fictional spaces, to define that proship does not mean they support those things IRL, and the issues with censoring the icky gross stuff.

#ask sc #drama #pro shipping #anti shipping #pro ship #anti ship #pro anti drama #stars it’s 6AM now #i need to sleep so I can go to work tomorrow but I don’t think I can anymore #this exhausted me because this isn’t something I like to talk about #because blocking and moving on is just so much easier and safer than having to spill my heart out #but you are my friend and I care for you #so I did it anyway #and even if you disagree still #or even decide to block me or something because of it #I’d be okay with that #it might hurt but you’d be talking care of your mental health and well being #and that’s far more important to me than anything else #same with any other mutuals who read this

[lucianalight]

The Missed Opportunities in Loki Series

While I was writing my review of S2, one of the topics I had problem with, was the redemption of TVA and its agents. I couldn't understand why "not having their memories" and "didn't know they were variants" could possibly be a good explanation for the atrocities they committed. I mean why does it matter? They were still killing people. Didn't they know that?...wait…let me google sth real quick…by which I mean reading interesting articles about the psychology of dehumanization and brainwashing that led me to some interesting results and a new perspective into how the series, especially in S1 missed its chance to explore some of the most important issues of Loki and his backstory.

The short answer to my question "Didn't they know they were killing people?" is "No, they didn't". And not in a racist or bigoted way the humans thinking other humans who aren’t like them, are subhuman. In a literal sense they didn’t consider anyone on the sacred timeline as people.

Empathy for another’s happiness and suffering depends fundamentally on recognizing that the other has a mind minds—that is, the same capacities for thought, emotion, desire, intention, and self-awareness as ourselves. Without appreciating others’ minds, empathy makes no sense[1]

To TVA agents those on sacred timeline weren’t people like them. They didn’t have thoughts and minds and emotions like them. And anyone making a different choice from what was considered for them was a “variant”. For a lack of better word, the TVA had dehumanized anyone but those who were working for TVA which is a necessary perception if you want to facilitate inhuman acts of torture and slaughter.

Dehumanized perception is a cognitive bias characterized by spontaneous failure to think about mental contents – thoughts and feelings in a social target’s mind. [2]

According to TVA propaganda, TVA and its people were created by the Time Keepers. They were different. They weren't like the ones on the sacred time line. The chaotic and disobedient "variants" should have been "pruned". None of them mattered except the right order of time.

The only ones TVA agents considered as people were each other. They were friends and coworkers and cared about each other's lives. And they had no memory of their previous life. But when they found out they are variants themselves, they realized “Those we were killing were like us. They had minds and emotions like us. We’ve been killing people all this time”. This should have been the explanation for their change and redemption. Their memories were taken from them and they were brainwashed by a propaganda that dehumanized anyone else and let them commit those atrocities easily. It shouldn’t have been “they’re variants themselves” but “the variants were people like them”.

So, while TVA can be compared to a totalitarian regime, there's probably no exact irl example for TVA agents because their situation for the most part is fictional. But perhaps the angels and demons in Good Omens have a close mindset to them. They care about each other but not the humans. The humans are just a tool for them to start the final battle according to the great plan.

This would have been easier to pinpoint if TVA was framed as evil from S1. Also if you want your characters to be likable or redeemable give them personality and show that they're doubtful and uncomfortable with what they're doing from the start not when they find out the truth or in the last episode of the last season! And don't frame torture and dehumanization as sth hilarious, therapeutic and deserved for one character and completely opposite for another character if you want to reach the conclusion that those actions were atrocities.

What bothers me more is that they missed a perfect parallel and opportunity to address Loki's identity issues. I don't even think the parallels were intended, considering how much the show is indifferent to them.

First the parallel with Loki finding out about his heritage. He was stolen from his homeland, grew up learning to hate and fear his own race. Like Loki people in the TVA didn't know about their past. Like Loki they would have an identity crisis. This was explored a little in S2 but they failed to make the connection with Loki's past. I mean you could let Mobius call Loki an ice runt as an insult, but didn’t bring up the topic when he had an identity crisis and talking about it with Loki? Although maybe that's too much expectation from the people who treated Loki being adopted and not knowing about it as sth unimportant, and didn't mention the racism and favorism he grew up with even once.

The parallel isn't accurate though since Loki weren't going around killing frost giants. He even didn't really consider them less than Asgardians. Not until he thought that's how his family actually sees them. That was his breaking point.

"You could have told me what I was from the beginning. Why didn't you?" "To protect you from the truth" "Why? Because I'm the monster parents tell their children about at night?"

This is the reason Loki went on his genocide attempt. To prove to Odin he wasn’t one of the monsters. That he was an Asgardian. That he belonged with them.

The second parallel with Loki's story that they failed to address is Loki being brainwashed by Thanos. You want to say your characters are redeemable because they were brainwashed? Show it! Make a connection with the main character's backstory. How they have missed this chance is beyond me…On second thought, they probably didn't even connect the dots, because they presented torture and brainwashing as a positive thing.

Brainwashing is the process of manipulating a person’s beliefs, thoughts, or actions through psychological manipulation. If a person is brainwashed, they may no longer be able to think for themselves and may act on orders without considering the consequences. Brainwashing is often used by totalitarian regimes to control their citizens, and can also be used in cults and other groups to manipulate members.[3]

Some people are more susceptible to brainwashing like people who are going through a difficult period in their life or a change that may or may not be of their own making[4]. It is also useful to consider identity when it comes to brainwashing.  

Someone experiencing an identity crisis is in desperate need of a new identity. Because brainwashing promises them a new identity, it makes them more susceptible.[3]

Through the events of Thor 1 Loki’s going through an identity crisis. All he ever knew his life were lies. Even his skin was a lie. At the end not being accepted by his father no matter what he does, he commits suicide. That’s when he meets Thanos. And Thanos and his allies through torture and using mind stone, brainwashed Loki. People who go through brainwashing give up their previous identity and adopt a new one.

The person’s thinking and behaviors are altered by the indoctrinated beliefs that support their new identity. The individual changes into a whole new person, in some cases.[3]

This change in personality and ideas is easily noticeable in Loki in Avengers vs the other movies. The way he talks in Avengers is eerily similar to the way Ebony Maw talks in EG.

This could be a parallel with how TVA agents memories’ were removed and replaced by propaganda. But no mention of what happened to Loki during his time with Thanos. Nothing.

What’s interesting though is that when you read about how brainwashing is done, there isn’t only one example of it on screen. There are two. The steps for brainwashing are:

1.Isolating the victim

2.Degrade the target

3. Promise a better identity

4.Offer rewards

What Mobius was doing in S1 wasn’t therapy unlike what the writers claimed. It was brainwashing.

Another interesting point is that the way Loki treated Mobius was the right way to undo brainwashing. Those steps are separate the person from their group, be on their side and question their beliefs like what Loki did during 1x02 and tell them they’ve been brainwashed like what happened in 1x04.

I find it really funny though that every time they try to show what a villain Loki was and that he needed the guidance from these heroic™ people, he turns out to be the most moral person in the group if you look at the story objectively. Loki befriended and tried to help the people who arrested, tortured and tried to brainwash him, even before he knew they were variants.

In the end, I don’t give the credit for these parallels to the series. Because I don’t think they were intentional. Otherwise, they would have delved into Loki’s past and compared it to what happens in the show and wouldn’t have disregard it completely. What a huge waste of opportunity.

Sources:

From Dehumanization and Objectification, to Rehumanization

Dehumanized Perception

How To Undo Brainwashing

How to Recognize and Avoid Brainwashing

#loki series criticism