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physalian · 17 days

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What No One Tells You About Writing #4 (100 Follower Special!)

Have you got any that deserve to be on these lists? Don’t be shy! Send ‘em over.

Part 1

Part 2

Part 3

*This list contains mentions of assault, #4

1. Zero cursing is better than censored cursing

I made the mistake in the early days of writing a self-censoring character, and every “curse” she said just took the teeth out of the rest of the statement. I’m talking gosh, darn, dang, etc, not world-specific idioms a la “scruffy nerf herder” or “dunderhead” instead of “dumbass”.

Look to any American TV show that so, so badly wants to use f*ck or sh*t but has to appease the sensitive conservatives who still somehow believe strong language is worse than graphic violence and horrifying psychological damage. For shame! Your characters can be angry without expletives, so rework your sentences to include equally damning insults that don’t resort to potty mouths if you’re concerned about ratings.

Or go full-throttle into the idioms of the world or the time period like Pirates of the Caribbean. Or just… don’t. There’s zero modern cursing in the Lord of the Rings adaptation and not a single sentence that censors itself. The dialogue is above vulgarity and feels more *fantastical* that way anyway.

2. “Yeah, you aren’t the target audience.”

It’s kind of hilarious seeing the range of reader reactions to two characters I intend to have a romantic relationship. Some will go “I ship it!” after the first page of them together… and another will go “wait, I thought they were just friends” up until they kiss. Sometimes you might be too subtle, other times it might be better to just accept that you can’t rewrite your entire book to please one naysayer.

When I’m pitched a fantasy adventure book that turns out to be a by-the-numbers romance where no one is allowed to be a peasant and every important character is royalty in some way, with a way cooler fantasy backdrop, I get severely disappointed. That doesn’t mean the book is bad, it just means I’m not the target audience.

3. There is no greater character sin than making them boring

Unless you live in the wacky world we find ourselves in where any flaws whatsoever are apparently harmful depictions of so-and-so and not at all written with things like ~nuance~. I will gush over your heinous villain committing atrocities because he’s *interesting*. I will not remember Bland Love Interest who’s a generic everyman with zero compelling or intriguing traits or flaws.

There’s another tumblr post out there that I cannot find that says something like this, and I believe the post goes “his crimes are fiction, my annoyance is real”. Swap annoyance for boredom and you get what I mean. So, I don’t care what your character does so long as they’re memorable. I will either root for their victory or their doom, but I do need *something* to root for.

4. The line between “gratuitous” and “respectful” is actually very thick

Less what no one tells *you* about writing and more what no one tells screenwriters. Y’all do realize you can write a character who experiences assault without actually writing the assault, right? Fade to black, have them mention it in their backstory, or have the horrific aftermath as they come to terms with it. An abrupt cut to this devastated character when it’s all over and they’re alone with themselves can be incredibly poignant and powerful. This goes with anything sensitive, especially if it’s not coming from experience.

If you want to write it or film it respectfully, romanticizing assault, for instance, is when it’s framed as if either character has earned or “deserves” it. If the narrative in any way argues that it's justified. The victim might have "earned" it for any of the BS reasons we use in the real world, or the perpetrator might've "earned" it because of temptation, desire, pressure to assert dominance, etc. Representation is important, but are you “representing” to shed light on a misunderstood and maligned topic, or are you doing it to satisfy a fetish or bias in yourself?

5. Don’t let your eyes get bigger than your stomach

Fantasy has no limitations, which means you can dig way deeper into the well of your worldbuilding than you realize, until you look up and realize you’re stuck down there. I have never seen a more obvious inevitable disaster looming than the pilot of GoT season 5. Why? Nobody has any plans. They’re all just led around by whatever side quest the writers throw them on, twiddling their thumbs until the writers deign to pull the trigger on the White Walkers.

To the point that what should be a major character can skip an entire season because his arc is meaningless. Everything in the last half of that show was one big “eventually” while the story toiled around in an ever-expanding cast of characters and set pieces (seriously, it’s hilarious how jarring the extended version of the theme music became compared to the pilot episode to fit all these locations).

When you have too many directionless characters, too many plot elements, too many ideas you want to fully mature and get their due spotlight and then somehow combine them all together for a common foe in the end, writing can get tedious and frustrating very quickly. Why, I imagine, the book series remains unfinished. Fantasy is great for being able to create such complex worlds, but don’t be the snake that eats its own tail trying too hard.

6. No one cares about your agenda if you insult them to push it

This deserves its own post but here we go. Peddling an agenda is a paradox: those who agree with you won’t need to be preached to, and those who you want to persuade will instead reject you further because they feel belittle and disrespected. This is why so many recent “strong female characters” fail on both sides of the aisle. Feminists see an annoying caricature of the movement they’re passionate about. Antifeminists see an insufferable, shallow, liberal mouthpiece when they just want to be entertained. You have failed both sides, congrats.

The answer? Write a strong, nuanced, well-developed character. Then make them a woman. I know this has been said before but this BS keeps happening so clearly the screenwriters aren’t listening. Entertain me first. Entertain me so well I don’t even realize I’m learning.

7. Today’s audiences won’t react the same way as tomorrow’s

Sometimes genres or tropes get oversaturated and need a few years to cool off before audiences are receptive to them again—teen dystopia, anyone?—that doesn’t mean your story is inherently bad because it’s unpopular (nor does it mean it’s amazing because it is popular).

You should always write the book you want to read, not the book that chases trends. I can pick up a well-written teen dystopia I’ve never read before and enjoy it. I can continue to ignore Divergent because it has nothing to say. Write the book you want to read, but then accept that you might make no money because no one else wants to read it, not because they think it’s bad. And, who knows? You might get a boom of chatter months or years down the line when readers stumble upon an uncut gem.

8. Your characters don’t age with you

Depending on how long you’ve been working on your world and what age you were when you started, the characters, concepts, morals, and story you set out to tell might no longer reflect who you want to be as an author when all is said and done. Writing can take years, some of which can be incredibly turbulent and life changing. I wrote the first draft of my first original novel in my freshman year of college. Those characters and that draft are now unrecognizable and has left a world I’ve poured my heart and soul into in limbo.

I’ve slowly creeped up my characters’ ages. My writing has matured dramatically. The themes I wanted to explore in the height of the 2016 election are just demoralizing now. That book was my therapeutic outlet and, as consequence, my characters sometimes reflect some awful moods and mindsets that I was in when writing them. But nothing in that world grows without me tending to it. It’s not alive. Despite all the work I’ve done, there’s still more to be done, maybe even restarting the plot from the ground up. When I think of what no one told me about writing, staring at characters designed by someone I’m not anymore is the hardest reality to accept.

—

If you think I missed something, check out parts 1-3 or toss your own hat into the ring. Give me romance tropes. Mystery, thriller, historical fiction, bildungsromans, memoires, children’s books, whatever you want! Give me stuff you wish you’d known before editing, publishing, marketing, and more.

Also, don’t forget to vote in the dialogue poll!

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #fantasy #sci fi #character design

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chaoswarfare · 1 year

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do x dc prompt #44

The JL are all out of options. this summoning is their last chance to get rid of the creature destroying the country and easily fending off their strongest allies.

The eldritch horror melts out of the chalk lines and looms over the heroes in charge of summoning it. The Ghost King, Ruler of the dead. Their last chance.

They ask for assistance, waiting on baited breath the creature’s demands.

“Wacky, poggers my dude. That’s pretty unfun, i gotchu tho. I’ll skedaddle and knock the ghoulie on his ass for ya.“

“no deals or repayment? he must be lying, you all know you can’t trust fae without specific contracts-“

“no cap, true that. i’m just cooler than that.”

And just like that, he disappeared from the circle with a quiet pop to take care of the problem.

Apparently the king of the dead talks like the worst combination of all american slang ever.

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hetalia-club · 5 months

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I said before that America is like a looney tunes character but I also believe Russia operates in the same way. That their strength is just so next level that it's cartoonish, they can't kill each other so they just violently maim each other in the most elaborate ways.

To me I can't picture cold war fights between the two of them any other way. Picture these for me...

1.Russia waiting around the corner with a big mallet ready to knock an unsuspecting America unconscious as he chases after him.

2. America putting a sign on a building that says 'free vodka inside'. To which Russia zooms in quickly but when he does the sign falls away to read 'radiation factory do not enter!'

3. America and Russia getting into a fight and it's just one of those big dust clouds with stars and wacky sound effects coming out.

4. Them arguing and doing the back and forth where America says "Capitalism is better!" and Russia says "Communism is better!" Until America says "Communism! is better" and then Russia replies with "No Capitalism is better! and if I'm ever not a Capitalist let me be struck dead!" And then he's struck by lightning.

5. Russia sending America a plane ticket in the mail that says "Ticket to Capitalist beach paradise. + All you can eat disgusting delicious American foods" America quickly packs a bag and gets changed into sunglasses and a Hawaiian shirt and hops onto a plane but it just goes to Siberia where America quickly jumps out and says something like "relaxation here I am!" he feels a tap on his shoulder and it's a polar bear and he just gets mauled.

6. Them playing hot potato with active dynamite. America getting Russia to keep it by saying something like "No no comrade! It's a gift! I bought it for you." And Russia's like "Awe thanks! why is it ticking?" And America's like "Gee I don't know pal, gotta run!" and zooms away right before it explodes leaving a very annoyed looking Russia covered in soot with his hair blown back.

7. Russia shoving America into a freezer and setting it to "artic" and ripping of the handle. America falls out a few hours later as a giant ice cube.

8. Russia punching America in the back of the head at a meeting and America turns around all surprised and Russia says "Gee pal I'm real sorry, shouldn't have hit you when your back was turned that was un- sportsman like of me." And stands America up dusting him off. America is like. "No worries buddy you only did this." And punches him in the face. Then he goes "Now if you would have done this..." And punches him in the gut. "Or this" And upper cuts him. "We would have had a serious issue...and I would of had to do something like this..." And America takes out a big mallet and hits Russia with it sending him through the celling. When Russia comes down he's like "Gee I'm sure glad I didn't do that then!"

So like major cartoonish and crazy things happen around them and at their will but everyone else is just normal. Only Russia and America can break the laws of physics for their bit.

#hetalia #hws america #aph america #alfred f. jones #hws russia #aph russia #ivan braginsky #orignal

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mostrovskaa · 11 hours

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Hi! I love your art, your color and shape work is amazing!!

I wanted to ask if you have any Polish media you can recommend to us non-Poles - movies, shows, stuff like that

Hi! Thank you so much for the ask! It is a great pleasure for me to share some Polish media to the people! I just have to preface this and tell especially my fellow Poles that: I am by no means an expert on the subject, I like a lot of bad media, I like a lot of children's media and mainstream media that I love to shape by my own creativity ok and I don't know every single niche thing so please don't come for me. Be nice please or I'll die of embarrassment! With that being said, here are just some of my picks of some cool things I like that I would recommend to check out! (Again I don't know about how available these are around the internet and what would be the subtitle situation but still, i love these pieces of media and think they are interesting to even just read or check out visually if anything!)

- The Akademia Pana Kleksa movies (Akademia Pana Kleksa, Podróże Pana Kleksa and Pan Kleks w Kosmosie) (1984-1988)- These children's fantasy and fable inspired beautiful movies based on a book incorporate beautiful puppetry and set designs, visually they are one of my biggest inspirations. Having both dark,whimsical and sci-fi elements they have been in my visual language since I saw them as a kid! Really really recommend looking into them, even though they may be wacky and strange at times!

And they contain absolutely amazing songs :

youtube

Available to watch without subtitles unfortunately here, but worth to check out the visuals of all the movies in the series: https://www.ninateka.pl/vod/dla-dzieci/akademia-pana-kleksa/

- Poszukiwany, Poszukiwana (Man- woman wanted) (1972) (one of my favorite movies ever!) - a comedy film about a museum curator who gets accused of stealing a painting and goes into hiding as a maid. You would think with polish humor it would be the typical: haha man dressed as a woman, hilarious! type stuff but no! It’s funny, charming, sweet and smart and surprisingly based. Marysia, just one chance please queen.

available to watch with subtitles here (alongside many other great Polish movies): https://35mm.online/vod/fabula/poszukiwany-poszukiwana

- Ranczo (tv show, 10 seasons, I believe it’s available on Netflix) - the epitome of Polish society. This is just pure Poland in tv show format. A timeless classic, never gets old, never stops being funny and relevant. Watched it a million times and could watch a million more and not get bored. An American woman with Polish heritage comes back to her family village and chaos ensues. I think the characters are so well defined you don’t need to know so much deep Polish lore to get what is going on so I really recommend it!

Other stuff you can find on Netflix I recommend are: 1670 - comedy show about 17th century Poland, Rojst (all seasons)- crime show set mainly in the 90’s.

And something that’s a Polish phenomenon that I absolutely love is media based around popular copypasta: a short film Fanatyk based on this timeless classic of a copypasta, and a tv show called Emigracja XD - about polish guys finding work in the UK.

And obviously the shows I make art for are always something I encourage people check out like Czterdziestolatek (amazing old show with a cult following) and Ojciec Mateusz (absolute shitty formulaic 30 season tv show that i love with all my heart).

Thank you again, sorry for the long post! There’s obviously many more cool Polish media to watch but this is just what immediately popped into my head! :-))

#long post #asks #:-)

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striving-artist · 1 year

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Technically this is because I saw it in fiction I was reading, but considering the devolving state of American reproductive rights…

A pregnancy is measured in weeks from your last period, not weeks since The Sex™ So in general if you have a 28 day cycle, you ovulate around day 14, have had sex before or around that date, and implantation happens about 9ish days after conception. Some at home pregnancy tests, sometimes, if you’re lucky and your hormones are high, can give a positive reading 3 days after implantation. That would be day 26 of your cycle.

So you’re thinking to yourself, ok, at that point, you’re a few days, maybe a week pregnant, right? Wrong.

If you do all that, are trying to get pregnant and are testing obsessively, and find out earliest possible day, you would be 3w 5d pregnant. Most people don’t test until a missed period plus a couple days. Let’s call it five days late. That person tests, and finds out when they are almost 5 weeks pregnant.

Now lets be realistic. Lots of people don’t have textbook 28 day cycles.

Let’s say you have an average of a 35 day cycle but it’s unpredictable. You’ve got a healthy sex life. You miss your period, wait five days bc you know your cycle is wacky, go get a test on day six after work, and test first thing in the morning (when they tell you to test). You would be 6 weeks pregnant and would already be ineligible for an abortion in some states. You probably have no symptoms or indication other than a late period. Early pregnancy symptoms look a hell of a lot like PMS. It isn’t a movie; you don’t get a clear indicator.

Pregnancy math isn’t measured from implantation or conception. It’s called gestational age, and it’s the infamous Forty Weeks in your head about pregnancy. It’s also why sometimes you go to 42 weeks or later, because the baby isn’t done, because ovulation wasn’t in week 2, it was in week 4. Yes, doctors sometimes adjust dates and estimates after you start ultrasounds. But this weird math is what lots of the strict abortion bans are based on.

In your head, unless you know this already, hearing someone talk about a six week abortion ban sounds like someone had six weeks after sex to notice the pregnancy and make a decision. They didn’t. They might have had a couple days. They may have not even known they were late when they already crossed the line.

If you want to argue about this issue, write about this, protest, scream, pray, whatever; start by knowing what it actually means, and go from there.

(Sorry it’s in red, I’m on mobile)

#us politics #abortion #this is in red because I’m on mobile #if you’re writing fic #please research pregnancy before writing it #just a little #I’m begging you #if you don’t believe me about this #go research #if you were poorly educated in us sex Ed #my condolences #it’s worse than you can imagine

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an0nfr0mth3d3n · 5 months

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more headcanons/story bits/whatever

So one day Pac woke up early because he really needed a piss and he got up out off the bear furs (shush I know we haven’t seen bears yet on purgatory but I had the idea in my head that soulfire uses animal furs as blankets around the base and there’s a sleeping room that is lined with the reeeally fluffy furs and everyone pretty much dog piles in there and it’s pretty much a hot mess, but necessary cause they can’t afford to keep the campfires burning at night because DUH the BASE might BURN DOWN and it gets REALLY COLD so they just have this insulated room and it’s nice and cozy and OKAY I’ll get on with it) and he left the room to go to the elevator and get out.

He got to the surface and went in the woods to do his business, and it was like, that morning purple? Where the sun isn’t up but you can see the outline of trees where they just look like they were painted black against the sky? And occasionally a bird will fly by and they too just look dark against the sky. The first couple whistles of tentative birdsong are echoing in the silent woods and he turns around to go home, shivering and regretting not grabbing a winter coat or at least one of the furs.

When Pac gets near the base however, he sees Fit sitting on a fallen spruce tree, facing towards the sea, sharpening a Diamond sword on his knee. (Rhymes. Hah.)

Fit, who heard him approaching, turns his head and beckons pac over to sit next to him. Pac does so, even though he is SO COLD he thinks if he sits down the bark will freeze to his pants. He sits because he is a massive simp, and they kind of just watch the sky slowly brighten up, and additional details get revealed onto the silhouetted trees as if someone is carefully tracing over them with cyan dye, and bleeding it into a mix with dark green.

Pac is still super cold and he doesn’t NOT shiver because A. That’s hard to do when you are pretty much in your pajamas in 20 degree (FAHRENHEIT BISHES IM AMERICAN although metric is better Fahrenheit is better on a numerical scale cause when it is 109 degrees F it feels like it would be the number 109 and not some wacky other number. I will concede metric units to you because as an engineering student every time I see American units being used in a problem I cry a little inside)

(wait a second Pac would use Celsius becau- oh whatever it doesn’t matter that much)

apologies for the rant

in 20 degree weather, and B. Maybe Fit would-

“Do you want me to. Uh. Go down and grab a coat?” Fit offers, his throat husky from disuse.

Pac mentally facepalms. “Ah, no I’m doing good actually! Great! Really. I’m not, it’s not like I’m cold!”

They sit for a while in awkward silence. The stirrings of the world become more frequent around them, woodpeckers knocking into trees, and the breaching of whales in the distance. Fit turns around to look towards the base where all of their friends are still sleeping.

As if he had been checking that no one could come up and see them, Fit puts the sword into his inventory and reaches over, gently dragging Pac to sit, not in his lap because that would be crossing a line of things that roommates did, but on the log space in between his legs (ok so like I imagine he like, moved back a bit on the log, and like, manspread so there’s a seat there). Fit’s arms wrapped around Pac, just to keep him warm and stop his shivering, it wasn’t as if there was ANOTHER reason what are you talking about of COURSE not.

They sit there, watching the world around the base slowly come to life. The first cloud lights up a golden color, and the sky blushes with beauty. Its still cold, but sometimes the cold isn’t all that bad.

This was not a headcanon what went wrong what did I do oh god

#qsmp fitmc #qsmp pactw #fitpac #hideduo #qsmp soulfire #q!pactw #q!fitmc

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telomeke-bbs · 8 months

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BAD BUDDY'S BASEBALL MOM – ROOFTOP RUGBY WITH LUCY IN THE SKY… OR ON A BASEBALL DIAMOND?

One of the most mystifying aspects of Bad Buddy was the decision to have Pat wear the now-iconic Baseball Mom tee for the Epic Rooftop Kiss at the end of Episode 5.

It's so utterly incongruous with the drama onscreen. The scene was a pivotal moment for the narrative, with Pat's big coming out to Pran followed by the very steamy demonstration of mutual emotions, after episodes of unending turbulence around where they stood with each other. And The Kiss they delivered was so stupendous, it rocked the Internet to its very foundations.

And for that hugely important moment, Director Aof decided Pat should wear – a big woman's t-shirt more associated with loud, overzealous American moms cheering on their kids at Little League baseball? 👀

At first I thought production simply wanted something open and sporty for Pat, to contrast with Pran being all covered up (mirroring their states of mind – Pat actively seeking to confess his feelings on the rooftop, Pran all closed-off and repressed). That line of thinking was definitely behind a lot of Pat and Pran's outfits, and I assumed they just used a random tee and cut off its sleeves for this.

But in retrospect this seems altogether too blasé an approach, especially since we can see how purposeful the wardrobe decisions were throughout the rest of the series. (The Soon Vijarn Recap video for BBS Ep.5 also makes it very clear Director Aof was closely involved in wardrobe selection, choosing all the outfits for their appropriateness to the narrative – see this link here, at timestamp 23.24.)

(above) The Soon Vijarn Recap video for BBS Ep.5 timestamp 23.49

The examples of the wardrobe reflecting the characters' inner states are copious. Pran's emotional journey in the first half of BBS – learning to open up, getting his feelings returned, and falling into a relationship – was mirrored by his sartorial journey, and he went from all colorless and buttoned-up to a wardrobe filled with more relaxed, expressive and colorful outfits when out in public:

(above) Pran all buttoned-up in his early whites (Ep.2 [1I4] 1.56, Ep.3 [1I4] 12.40 and Ep.5 [1I4] 6.03)

(above) A selection of Pran's more relaxed and colorful sweaters that he wore outside later in the series (Ep.7 [3I4] 2.52, Ep.10 [3I4] 0.26, Ep.12 [3I4] 6.36 and Ep.12 [4/4] 10.14)

Loud extrovert Pat on the other hand was decked out almost from the beginning in bright prints and wacky t-shirts (with some rivaling Baseball Mom in wackiness), all the better to broadcast his outgoing character and personality:

(above) A selection of Pat's bright and wacky tops (Ep.2 [2/4] 5.03, Ep.6 [3I4] 4.37, Ep.8 [2/4] 8.30 and Ep.10 [1I4] 4.52)

The mystery deepened further when the fandom tracked down the maker of Baseball Mom – it looks like a small, possibly home-based business in the US, and the t-shirt is part of a line, one of several related tops (see this link here). It simply wasn't a random tee from some small Bangkok shop (unless the vendor had gotten it secondhand off some American tourist, and was re-selling it locally). This looks like a t-shirt that was specifically procured for the show (possibly even sourced from overseas), rendered sleeveless with low-cut armholes to echo the openness of Pat's personality, and then put on Ohm with absolute intent.

But why?

I'm convinced that there is an element of subversion about this (not the least because the t-shirt undercuts the heavy drama of the scene so drastically). @ranchthoughts has already pointed out in this write-up linked here that the feminine Mom is an allusion to the subversion of gender roles embodied by Pat's character, and I very much agree. It's also possible that this particular tee was chosen because the baseball standing in for (and thus somewhat obscuring) the letter 'O' in the word Mom kind of makes the word call out to M🤍M or MLM. (And here's an afterthought that occured to me watching Only Friends and the promo trailer for My Golden Blood – the baseball bat is also visual shorthand for the emotional violence that Pat and Pran wreak upon their relationship when each figuratively beats up on the other – and on himself too – while acting out their strange, rambunctious relationship as enemies who are secret friends and later lovers.)

But I also do think that there's still more to Baseball Mom than the above, and this particular train of thought was triggered by an Ask from @pandasmagorica about Ep.5's rooftop scene (linked here).

I now think we can piece together a reason for Baseball Mom on the rooftop, but it's only fair to signal that this wackiest of wardrobe choices is getting possibly the wackiest of explanations (and it's a doozy).

Now what @pandasmagorica's Ask triggered for me was the realization that Pat's directness on the rooftop was actually almost the complete opposite of something that he'd been doing very often, right up until Episode 5 – and that was his propensity to torment Pran with the bait-and-switch.

Time and again, Pat would reach out with the offer of something precious to Pran – a smile, a kind word, a tender moment, a suggestion of intimacy – but then quite suddenly he would subvert the situation and switch out the proffered affection with something wholly discomfiting, crushing hopeful Pran's expectations.

There are several examples:

During their childhood, Pat returned Pran's watch after Pran saved Pa from drowning (Ep.1 [4/4] 9.46), signaling the start of his friendship with the lonely little boy next door – only to impose the caveat "But…don’t talk to me in front of people. They might think we're buddies."

That (almost shirtless) bedside conversation at the end of Ep.4 (beginning at Ep.4 [4/4] 10.43), when Pat kept bombarding poor Pran with personal, leading questions, half-begged to be allowed to share his bed and cuddle, before shattering his neighbor's heart by declaring that it was Ink whom he liked romantically.

Tending to Pran’s injured shoulder at Ep.4 [3I4] 7.07, before suggesting he only wanted Pran to recover so that they could compete in rugby again;

Returning Pran’s long-lost guitar to him, then ruining the tenderness of the moment with “I just like to see your face… when you lose” (Ep.3 [4/4] 10.30).

And with Pran deep in his feelings for Pat, the constant intimations of closeness and deeper feelings, shell-gamed away at the last minute, must have been soul-crushing for our poor yearning boy. (This is also what the lyrics of Pran's theme – Just Friend? – are all about, e.g., "I can’t make sense of what you’ve done"/"Are we just friends or are we more?"/"If you don’t mean it, don’t act that way".)

No wonder Pran was trying so hard to keep a distance from the cheerful boy next door, who was always invading his personal space (after having taken over his heart). So much so that Pran on the rooftop was expecting more of the same, which explains his blunt statement "Pat, you've got to stop doing this to me. We are not a thing" in response to Pat telling him that it hurt to see the song they co-wrote in high school played with someone else.

Pran saw this as more of Pat's teasing games, but irony of ironies Pat was being totally serious this time. And yet, even on the rooftop in Ep.5, Pat did a version of the bait-and-switch one more time, but with the polarity reversed for once – he listed all the ways Pran's exile should have brought him joy, only to end with "It was so depressingly lonely for me." 😢

I think Pat learnt early on that this is what you do to your loved ones – because there's actually an example of Ming doing something similar to his son at Ep.8 [2/4] 16.12. Helping to wash Pat's car, he quietly allowed his son to natter on about his day with fibs about rugby practice, before landing a sledgehammer blow saying "When did I teach you to lie?" at Ep.8 [2/4] 16.41. This was an ambush, intended to take Pat by surprise and inflict the maximum amount of damage – and judging by Pat's despondent moping after, Ming certainly succeeded.

But it's not only Pat doing this to Pran, or Ming doing this to Pat, that we see in BBS. Director Aof and his writers actually littered the narrative with other examples of the set-up and switch-out as well, doing it to us the viewers:

Pat may have started out Ep.1 a ruffian, but then we saw that he was really a cheery big kid who needed his popsicles and cuddles from Nong Nao for comfort (Ep.1 [4/4] 8.37 and Ep.2 [1I4] 1.36).

Ink was introduced as a demure girl from the north (remembering that northern Thailand is seen as close to the birthplace of Thai culture) in Ep.4 [1I4] 7.41; then she tripped and let out a curse word at Ep.4 [1I4] 8.01.

Pa's glow-up at Ep.7 [1I4] and subsequent story arc subverted her initial (albeit not very successful) portrayal as the frumpy kid sister with no life and no agency as a character.

BBS placed the emotional burden of Episodes 1 to 4 solely on Pran's pining shoulders, and then suddenly whipped it away in Ep.5 and dumped it squarely on Pat (kudos to Ohm, who gamely played Pat as a shining object of affection for the first third of BBS, before showing us that Junior Jindapat was so much more than a lovable, empty vessel himbo, and was instead someone who actually did possess an inner life that he could access).

And perhaps the biggest BBS bait-and-switch of all – Pran's unrequited love for inaccessible Pat turns out to be requited after all, but then without warning it's Pran who spins out of reach on the rooftop.

Looking at BL as a genre, the bait-and-switch is sometimes employed as a storytelling device to provide an unexpected dramatic twist (though whether or not it satisfies is debatable). For example there is the trap set for Lhong in TharnType, the aloof ice prince Sarawat turning out to have been carrying a torch for Tine in 2gether, and Nubsib's reveal in Lovely Writer as someone who also shared a past with Gene.

And if you think about it, all of Bad Buddy itself was kind of one big bait-and-switch as well. They set it up so that – at the start – it looked like the series would be shaping up into a run-of-the-mill, formulaic romance. The roadmap was laid out quite clearly – enemies to lovers, Romeo and Juliet or Kwan and Riam but the BL version thank you very much, star-crossed and kept apart by their warring families.

So we were expecting BBS to follow the usual romcom beats and rhythms, delivering the standard tropes, with the main storyline about how the enemies would fall in love against the odds, then find a way to beat the odds and stay together, or fall victim to it and be forever driven apart.

Except that Director Aof and his team pulled the rug out from under us time and time again, after setting this all up. The idea that Pat and Pran were enemies got turned on its head (they'd been secret friends since childhood). The process of falling in love didn't follow conventional beats at all – Pran was already in love, while Pat was… possibly already beset by emotions, just getting them all mixed up and projecting them onto Ink.

Instead of showing us the main couple falling for each other over the course of 12 episodes, this was firmly established by the end of Episode 5. Instead of their families being the primary conflict driving them apart, it was Pran's overthinking and emotional walls that drove a wedge between them in Episode 6. When family conflict finally did rear its head to threaten their relationship, well Pat and Pran just sidestepped it and carried on.

And the tropes? One by one they fell by the wayside as well. Ink turned up in Ep.4, looking like a formidable love rival for Pran (and he believed it too). Except that she wasn't the stereotype of the evil girlfriend at all – she turned out to be Pat's supportive bestie, while her eye (and camera) were focused on Pa instead. Any stereotypes overhanging macho Pat and pernickety Pran got subverted too, with Pat ditching sports practice for musical theater and Pran a credible street fighter and also a star player on his rugby team – so much for the seme and uke in this BL. The "gay for you" trope got put down (Ep.9 [2/4] 1.41), as was the "wifey" one (Ep.9 [4/4] 8.48). There are so many examples.

Even the end of Ep.11 was a bait-and-switch as well, when a large portion of the fandom was hoodwinked by Director Aof's Ep.12 preview into thinking that we were headed for a break-up. (Fortunately they switched it out for the happy ending that we got instead, thank goodness.)

There's so much of this going on, it seems as though BBS was actually celebrating the bait-and-switch (and in that way kind of subverting its use in BL as well). The thing is, nothing was ever what it seemed in Bad Buddy, and it was all intended to be so, from Day One, because it's solidly a thematic preoccupation underlying the series.

I now think Baseball Mom really plays into all of this glorification of and subversion with the bait-and-switch as a storytelling device. But in a really wacky way, as perhaps is only fitting for the wackiest of Pat's t‑shirts.

So looking back on decades of popular media, who's been crowned the Big Boss of the Bait-and-Switch, the Grand Poobah of Switcheroos, the Queen of the Short-Con, the House Mother of all Bamboozlers?

It’s this little lady right here: 😍

This is Lucy Van Pelt, from Charles Schulz's comic strip Peanuts. Lucy is many things in the Peanuts universe, but one thing she's iconic for is a bait-and-switch prank, where she holds a football and then goads Charlie Brown on to kick it. He usually takes a bit of convincing, but eventually he goes for it and at the last second, Lucy pulls the ball away and poor Chuck ends up kicking the air, sent flying in the process. It's a running gag in the comic strip, first appearing in 1952 and recurring every year after that:

So what's the link with Baseball Mom though?

Football aside, in Peanuts Lucy is also a member of Charlie Brown's baseball team – and significantly she's absolutely terrible at the game. She misses the easiest of pitches, and even when perfectly positioned she gets hit on the head by the ball instead of catching it in her mitt.

So while she may be totally, confidently in charge of the situation baiting Charlie Brown with the pigskin, when it comes to baseball instead of football – Lucy is completely out of her element.

The parallel with Bad Buddy is that master of the bait-and-switch Pat Napat Jindapat – the BBS manifestation of Lucy – was pulling different versions of the Charlie Brown football prank on hapless Pran over and over again, causing much anguish to the latter's battered heart.

But suddenly on the rooftop, the tables got turned and Pran pulled the big switcheroo on him instead – by confirming their mutual feelings with a kiss so dizzyingly sensational that Pat must have been delirious with happiness… only to send it all crashing down by abandoning him there without a word of explanation.

(above) Bad Buddy Ep.5 [4/4] 12.58 – an abandoned Pat stares uncomprehendingly as Pran walks away from the wreckage of their broken hearts

In that moment Football Lucy morphed into Baseball Lucy, from self-assured manipulator to incompetent klutz, all alone in right field when the ball came zooming in from way out left. And what better way to mark this moment than with a t-shirt loudly proclaiming Pat's newly-minted Baseball Lucy status on its front?

(above) The Baseball Mom graphic – BBS's own version of The Scarlet Letter

Yes, I know this explanation is outlandish; that's how it sounded to me too when it first took shape in my head. So I decided to test it, by looking for supporting information elsewhere in the context of Bad Buddy. And the findings are truly surprising. 👀

No characters from Peanuts actually appear (in canon form) within any of BBS's visuals (not that they could, I suppose, for licensing reasons). But Charlie Brown and his cohort of characters aren't unknown in Thailand – there is a Charlie Brown Café (79/335 แขวงช่องนนทรี เขตยานนาวา, Bangkok, Thailand, 10120) that was previously at MBK Centre and a Charlie Brown's Restaurant (315/303 ซ.นราธิวาส24 แขวง ช่องนนทรี Yan Nawa, Bangkok 10120, Thailand) at Belle Park Plaza/Fortune Condo Town:

(above left) Charlie Brown Café; (above right) Charlie Brown's Restaurant

And even though we don't directly see Charlie Brown, Lucy or any other Peanuts characters in BBS, there are oblique references. One of the more obvious ones alludes to Lucy's younger brother, Linus Van Pelt:

When we see Pran out in the world with his PP hobo bag (written up here) or Pat snuggled in bed with his beloved Nong Nao (written up here), we know by now that the bag and the stuffed doll-pillow are our boys' favorite comfort objects, providing psychological security even as they face their personal fears.

(above left) Bad Buddy Ep.2 [1I4] 3.01 – Pran and his PP hobo bag, that he deploys like a shield when outside; (above right) Bad Buddy Ep.2 [1I4] 1.37 – Pat cuddling Nong Nao for comfort when he's all alone

But another name for these comfort objects actually has a connection to Peanuts – they can also be called Linus blankets, after the security blanket that Lucy's brother carries around with him all the time. Just a coincidence? I'm not so sure. (I think it's also significant that all three objects have blue as their predominant color.)

There's also a nod at Charlie Brown himself later, on the rooftop in Ep.7 [4/4] – Pat's tee is an unmistakeable visual reference to Charlie Brown's signature yellow top with its zigzag motif:

(above left) Bad Buddy Ep.7 [4/4] 1.48; (above right) Charlie Brown in his own iconic t-shirt

After their roles were reversed on the rooftop at the end of Ep.5 (with Pran pulling the ultimate bait-and-switch move back on Pat by walking away after The Kiss), the mantle of Charlie Brown the football prank victim was thrust onto Pat instead, and that is what we see here in Ep.7.

The brand name emblazoned on Pat's t-shirt also rings some bells – it's Patriots, which immediately calls to mind the NFL team from New England, and is another nod at Lucy's American football. (There is also a Minor League baseball team called the Somerset Patriots based in New Jersey; not as well-known as their counterparts – compatriots? – a few states away, but still… 👀).

(above) Bad Buddy Ep.7 [4/4] 2.13

And looking a bit closer the Ep.7 scene on the rooftop (the last one to be filmed among all of Bad Buddy's queues) really starts to overflow with meaning because it's actually a parallel to Ep.5's rooftop bait-and-switch.

It's far too much to include here, so I've put it into its own separate post (see this write-up linked here) – the short of it is that Pat as Charlie Brown plays the bait-and-switch one last time on Pran in Ep.7, but for the very first time turns the last-second switch-out into a win for his beloved instead, rescuing Pran who was floundering with the musical. And this reversal of the bait-and-switch, a redemption of sorts, is what convinces Pran to end their courtship competition and enter into confirmed couplehood instead. 👍

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Now all that aside, there's still one more element in Bad Buddy that I think is a direct reference to Lucy's bait-and-switch in Peanuts – and that's all the rugby, doing its part as a stand-in for Lucy's American football.

(above) Bad Buddy Ep.4 [4/4] 2.04 – the boys face off on the rugby pitch

It would never have been possible to feature American (gridiron) football authentically in Bad Buddy (it's not a popular sport outside of North America, to be honest, and would have been totally alien in a Thai setting). So they shone the spotlight on rugby instead, most probably because the ball used for play there is ovoid and almost the same as the one used in American football – it seems like the rugby in BBS is pointing at Lucy and the American football she deviously deploys.

(top) Bad Buddy Ep.7 [2/4] 13.01; (bottom) Bad Buddy Ep.7 [2/4] 13.02

This would explain why Director Aof and his team opted to feature rugby instead of soccer –the latter is far more popular in Thailand, and would have been a more obvious choice. In addition, soccer would have been far easier to stage – all the BBS rugby scenes had to be filmed at a completely different campus from the primary uni location (Bangkok University instead of Rangsit University) because the latter doesn't seem to have a rugby pitch, though it does have a soccer one. In case you were wondering as I was, the goalposts are starkly different so they couldn't just pretend to play rugby on the soccer pitch – it would have been a terribly obvious fake-out if they had.

They couldn't substitute another team sport even if it was easier to accommodate, because rugby (or rather the ball) was integral to this aspect of the storyline. It needed to be rugby if the intention was to evoke Lucy's favorite weapon of torment.

Further evidence in support of this can be found when you look at the original (rough-draft promo) Bad Buddy trailer that was released in 2020 (I think) to promote the 2021 lineup, before actual filming of the series itself in mid-2021:

The rugby was present even at that early stage (and Toto was on Pat's team! 😂). But what's mindblowing is that they're actually using an American football (the AF500), not a rugby ball (you can tell from the laces, which modern rugby balls do not have). 👀 So the gridiron football was very much part of Bad Buddy's primordial DNA, way back at its inception, even before actual filming began. Another nod at Lucy in Peanuts here.

(above) A screenshot from the original Bad Buddy promo trailer at timestamp 1.48

(above) A screenshot from the original Bad Buddy promo trailer at timestamp 2.15

Now all of this is dandy I suppose, but even with Linus blankets, Pat dressed like Charlie Brown, the oval ball and BBS's insistence on rugby (masquerading as American football) over soccer, for the longest time the hardboiled skeptic in me still wasn't fully convinced that Pat wearing Baseball Mom was actually Lucy in disguise getting her comeuppance, Bad Buddy style.

UNTIL I DECIDED TO LOOK MORE CLOSELY AT THE RUGBY MATCH IN EPISODE 4. And that was the clincher, that cemented the intentionality behind Baseball Mom in my mind, because there actually is a sequence where Pat executes Lucy's signature bait-and-switch move, with the rugby ball standing in for an American football, and with Pran as his fall guy.

The sequence in question starts at Ep.4 [4/4] 3.33, when we see Pat running with the ball, coveted by Pran (in more ways than one).

(above) Bad Buddy Ep.4 [4/4] 3.33

Pran tackles him, but in a blink-and-you'll-miss-it moment, Pat flicks the ball away and before any of us (Pran included) can realize what's happened, Korn is off and running with it instead (and I think he scores the rugby version of a touchdown too).

(above) Bad Buddy Ep.4 [4/4] 3.38

Meanwhile, Pat and Pran are still locked in a full-body clinch – and if you look closely, it's Pat who's actually holding on to Pran, not letting him go (with obvious delight, even if he's unaware of exactly why he's relishing the contact so much).

Much of Bad Buddy is really chaste, but there's something about this moment here that makes it seem like a line has been crossed, and that things have turned inexplicably raunchy somehow. There's full-body grappling, legs spread wide, crotch jammed to butt, a whole lot of heaving and panting. Pat is clearly enjoying every second, almost as though it’s the successful climax of his great big plan to waylay Pran with this bait-and-switch. And of course it's the perfect cue for him to deliver that now infamous, golden line: "If you hug me this tight, you might as well take me as your boyfriend." 😂

Actually Pat had been teasing and taunting Pran with hints of romance even before the game (going so far as to acknowledge that his behavior was flirtatious, at Ep.4 [4/4] 0.48) so it's impossible not to see that body tackle on the pitch as anything but a close encounter suffused with sexual tension – and Pran would of course be the first to notice it. (It's possibly also a subversion of the accidental "falling on you" trope, since it's at once contrived yet consensual.)

If you break it down, Pat used the ball to get Pran to tackle him, only to switch it out at the last minute with something else (close, practically intimate body contact) that poor Pran (drowning in his crush) would have found absolutely devastating. This is practically a playbook version of Lucy doing the football bait-and-switch with Charlie Brown.

To be honest though, I'd always found this rugby clinch a little odd and confusing, and had wondered why they even had this scene. It was logistically complicated to set up (two whole teams of players!), and the bait-and-switch portion would have been extremely tricky to choreograph and film. The whole rigmarole was also a lot of work for just a few seconds of screen time. That the ball slips away unseen also makes it seem anti-climactic for the viewer – but not for master gameplayer Pat, who successfully got his planned payload nonetheless.

And because he did it using Lucy Van Pelt's signature move, I now think the reason for this scene is for it to be held up as the paragon of Pat's bait-and-switch traps in Bad Buddy, and a parallel for the Epic Rooftop Kiss when Pran slaps the old switcheroo back on Pat instead.

On the rugby pitch Pat baited Pran by pulling away (with the ball), and then crushed his heart with physical intimacy (hugging him like a lover, but making it seem like he was only play-acting at returning Pran's love). On the rooftop Pran baited Pat with physical intimacy (The Kiss, proof to Pat that his feelings were returned), and then crushed his heart by pulling away (and taking with him all promise of his love).

Atop Chana City Residence at the end of Ep.5, perpetual prankster Pat couldn't stop himself and went in for the bait (Pran offering himself up romantically), only to see it whisked away from him at the very last second.

Suddenly the rules changed and Football Lucy, the House Mother of all bait-and-switch bamboozles, became the victim of the biggest bait-and-switch of them all, and was thrust into a different game instead. Bereft of Pran and denied his moment of victory, Pat became Baseball Mom indeed. 😔

(above) Bad Buddy Ep.5 [4/4] 13.06

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P.S. You can order Baseball Mom (the t-shirt, not Pat 😂) from Amazon at this link here. (If the link doesn't work, you may need to change your "Deliver To" location at the top left of the landing page on Amazon to another country – not useful if you want to buy it when they don't deliver to your location, but useful if you just want to view the page, or get them to deliver to a third party who can then forward it to you. If changing the location doesn't work, try following the other instructions in this post linked here.)

I suspect the fandom has been buying up Baseball Mom like crazy, because it went from limited stock and availability on Amazon (selected locations only), to becoming available for other global locations and on Walmart.com as well – so maybe demand from the BBS fandom has boosted sales so much they started marketing it on more channels? Thai BL soft power trickles down. 🥰👍

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P.P.S. OK, just a little aside – this Peanuts fan theory for Baseball Mom is really wacky, but I think the universe is telling me to put it out there anyway because just as I was finishing the write-up, this random post about the Peanuts football bait-and-switch appeared on my dashboard.

What are the odds of it crossing my dash at the same time I'm writing about it, when I've not seen it referenced before throughout my history on Tumblr, ever? (There were a few random Peanuts and Charlie Brown posts that appeared at the same time as well.) I'm not superstitious, but I do think the universe has spoken. 😂

#bad buddy #bad buddy baseball mom #bad buddy baseball mom t-shirt #bbs baseball mom #bbs baseball mom t-shirt #bbs lucy van pelt #bbs bait and switch #bad buddy bait and switch #patpran #bbs charlie brown #bbs linus van pelt #bbs linus blanket #bbs peanuts #bbs rugby #bad buddy analysis

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rainbowchewynuggets · 8 days

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Hello, I'm still here!

I just moved again, and I wanted to share some stuff I made before I did.

So I was working on an idea for an episodic serial comic about a small polycule with mild super powers trying to live a quiet life together in an apartment in a small city--hanging out, running errands, going to work, and trying to duck the feds who want to take them away to be "studied". Just a cute slice of life thing with some spice to heighten the magic and preciousness of mundane life.

It woulda been called UNSUCOTH (Untitled Supernatural Comfort Throupple).

I didn't get far into making it, and I may never. I think I started it because I felt really sad and lost and missed my hometown. And now that I live there again, I don't really feel that motivated anymore. I just want to go outside all the time lol.

But here's the cast anyway because I love them, they're a part of me, and they may show up in later posts and projects regardless.

This is Chesah. They have psychic powers (largely Akira style, but they've always had a spiritual/emotional connection to the stars and are starting to think they can also talk to the dead). ((My notes also say they have acid blood? What??)) They work as a clerk/archivist in the filing room at a very outdated office. People leave them alone, so they get to use their powers to do their job and listen to music all day.

They are my inner goth who never got to come out.

This is Kanai. He can influence local temperature, air pressure, precipitation, plant life, animals, and kind of effectively the sun? A lowkey nature god, though he's too humble to claim the title. He splits part time as a line cook and a delivery cyclist. Really, he'd do any job where he gets to be in a group or meet new people.

He is the 90s beach dude I want to be.

And this is Briar. He's a shapeshifter who has used his powers to explore his gender and humanity, as well as extend his lifespan by hundreds of years. She does odd jobs--any relatively anonymous contract work she can get. It's safer that way of course, but he also enjoys trying new things and getting to blow in and out of people's lives like a phantasm (with the exception of Chesah and Kanai's lives--he loves them to death).

She is the metalhead I almost forgot I am.

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It's also worth mentioning that I had a funny little gender awakening after I started this.

Turns out I'm genderfluid! Yippee!

These three characters represent archetypes that have developed through my projects and hcs since I was 14. I always put a bit of myself into my ocs, but I put these three to paper and realized that they're much bigger chunks of me. All the stuff I'd been repressing all my life.

(Also, I should clarify that I'm a white redneck American. The ethnicities of the throupple obviously don't apply to me. They're based on other people I know or cultures I want to know more about.)

I especially looked at Briar and said to myself, "Oh, that guy really is just what I look like on the inside." So I named myself after him.

Can you do that? A reverse self-insert?

Still, all three of them have been my guides through this wacky, cool period of my life. I'm having all kinds of complicated feelings about it and am very slow in the process of exploring it as I put my new life together.

Look forward (maybe) to some kind of post about how agenderism, shapeshifting, and monster kinning factor into this. (Legitimately. I think it's really cool and I hope I can sort out my thoughts well enough to explain it.)

Anyway, thanks for reading.

Signed, BRIAR!!!

#ocs #my ocs #briar #kanai #chesah #unsucoth #projects #comics #comic ideas #genderfluid #gender awakening #coming out post ig

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therearewaytoomanygoodthings · 3 months

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I watched american housewife and am very sad that there's no season finale, so I want to make up what I think is best for the characters, if there was a season 6.

Katie - I thought the pregnancy was a weird twist, that only made the fact that the show is cancelled sadder. However, with that I would make that there are complications with the pregnancy, but in the end it turns out more or less fine. Just typical baby stress.

Greg - now that he's a politician, he just has some wacky storylines about what he's doing and fighting for nature and history and stuff.

Taylor & Trip - Taylor keeps doing relatively good in college, she and Trip are a great couple, although they for sure go through some troubles in their relationships. They also plan the wedding, but I would say they wait a pretty long time.

Oliver & Cooper - they finally become a couple god damn. Cooper convinces Oliver to at least finish high school, especially so they can go to Prom together. They have a lovely storyline about how they realize they do love each other, maybe this girl comes back and Cooper gets all jealous. Also, Cooper totally lied, his dad was not okay with it, instead he got disowned. Now he actually has to live a normal life and get into college the normal way. Oliver keeps working on that app, but he also finally realizes there's more to life than money, maybe through Coopers help. But also, I think his efforts should pay off (also, I think it was so unfair that he blew the SATs, because he literally worked so hard for it)

Anna-Kat - idk she's just doing kids stuff I guess.

#american housewife #cooliver #oliver otto #cooper bradford #taylor otto #katie otto #greg otto

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thekingofwinterblog · 3 months

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There is one detail were I think I need a second opinion on:

So during the manga ending, there is that detail of supposedly Lord Death, with his "madness of order" being able to control everyone on earth - basically being able to solve all crime/evil things from happening.

The fact that he doesnt use this power is presented as a positive thing, basically an indirect way of answering the problem of evil with "actually God gives us free will and thats why evil happens, because denying us the free will would be more evil than anything else"

So ok, what is the sticking point to me? Well Lord Death was kinda hinted as being deeply flawed, and even his death at the end is framed as tragic but as the time necessary and a positive thing, a new generiation taking over creating a better wolrd, ect.

But isn't including such a huge revelation - a revelation that only makes sense with an All Good, kinda absolute God?

Basically, maybe I'm just looking for nitpicks, but to me these two things clash - like the story and Ohkubo couldnt decide between if Lord Death was holding the world back and needed to pass the torch or if he actually was the wacky all knowing force for good all along -

Like if instead it was revealed that Lord Death was pressured to make Kid be an automaton to avoid an Asura situation, but he refused because he didnt sucumb to the despair of failure and had hope in humanity and freedom, it could work as "wow Lord Death had past sins and couldnt steer the world into the future, but here is an action that proved that the flame of his vision was still good and know Kid will be his resurection, like that old NAS song"

Idk, maybe this is all just nonsense to normal people but to me its the best example of Soul Eaters (more the mangas) unwillingness to commit to the "Death is not all good thing" - like the whole WMD's parrelel and shit seems even more out of place and ironically as a way to say "well Bush made mistakes, but American imperialism is a good thing overall!"

(Ok i probably shouldnt have included "politics" here lol)

Anyway I think the anime in the end was better with its more simplistic worldview - cause atleat it didnt break itself - the shadyness of Death was worked into Kids isuess of trust and accepting that he isnt perfect and can place his trust in his partners and is more simmilar to his father in this way etc.

So yeah, if you are still reading and didnt delete it out of boredom, Im interested in a response, cause I'll admit I'm not sure about it 100 percent myself so if you go and say "Nah, thats wrong cause-" I'll probably open to listening

Eh, i'd say that you're looking at this from a wrong perspective.

Shinigami was a good, if very flawed individual, but the thing is that the reason why he could not lead the new age was not because be was flawed... It was because in chasing perfection, he made an error so great that he could never recover from it.

That error being the way he created his first son, not to create a successor, but instead as a byproduct of ripping his fear out of his own self in order to become a "better" God of order, a desciaion that had enormous consequences in that it laid the groundwork for the first Kishin, but also because it left him utterly incapable of feeling fear, and thus incapable of feeling bravery either, and drastically affecting his descision making.

As such, he was incapable of decisively defeating his son, and had to resort to sealing him away, something that also required him to stay in one place forever afterwards.

The school that he founded afterwards to replace his team of immensely powerfull warriors that Asura and Excalibur was a part of, came as a consequence of his own failures shattering that group, and with him no longer being able to move around, he couldn't even uphold his actual purpose in the world.

And thats withouth taking into account how much getting ridd of his own fear screwed him up as a person. Through the series, shinigami is utterly incapable of showing real, true fear, no matter how dire things get. All of his angry moments happens in the moment, as things are happening around him.

He was incapable of truly feeling any sense of urgency when Asura was about to escape, and only after he is free is he able to confront the very real consequences on an emotional level.

Similarily at the end of the series he isnt actually afraid of the witches betraying them despite thinking this is the likely outcome, but when he thinks they do, he flies off the handle to reveal just how much hate he truly has for them.

Hia philosophy debate with his son near the end of the anime is all about exploring how these two family members are unable to feel fear and by extention understand bravery.

Ultimately what Shinigami came to realise and finally accept, is that as a consequence of chasing utter perfection, he ironically made himself too fundamentally broken to lead the way, both as a person, and as a king/god who should be leading his organization by example, rather than being trapped in his city.

Fundamentally Shinigami was a good person... But by his own actions, while chasing perfection he crossed a line that he was never able to uncross. Very much like his son, he believed that if he was the strongest, withouth "flaws", he would be able to see his vision through. Only where Asura wanted to feel completely out of any possible danger, Shinigami wanted keep the word orderly and safe for the good people of the planet.

A good goal. But as they say, the road to hell is paved with good intentions.

#soul eater #shinigami sama #lord death #meta #kishin asura #fear #bravery #courage

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experimentkc · 6 months

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Happy (belated) anniversary to Lilo & Stitch: The Series and Stitch!

Yes, I know that the twentieth anniversary of the premiere of Lilo & Stitch: The Series (on ABC Kids) was on September 20th. I was sick back then, though. So, I'm celebrating it today on the anniversary of its Disney Channel premiere instead.

Lilo & Stitch: The Series continued our beloved titular human-alien duo's adventures on their home island of Kaua'i after the first film and the show's pilot film Stitch! The Movie. Throughout the course of 65 episodes over two seasons that aired within almost three years (September 2003 to June/July 2006), they went around the island (and occasionally elsewhere) to find, capture, and rehabilitate Jumba's other genetic experiments by giving them a place where they truly belonged. They also dealt with the ex-Captain Gantu, now working for Jumba's ex-partner Dr. Jacques von Hämsterviel, as they hunted down the experiments.

While Lilo & Stitch creator Chris Sanders, who reprised his voice role as Stitch in the show (as did almost all of the original film's voice cast reprising their roles), never really intended for his film to go anywhere beyond the one film he made, Lilo & Stitch: The Series has left a lasting impact with Lilo & Stitch fans everywhere that can still be seen to this day. Dr. Hämsterviel and his Python-esque Frenchman-sounding voice became recognizable while giving the franchise a proper villain. Gantu was fleshed out more as a character instead of just being a brute enforcer for someone else, especially through his interactions with the memorably lazy, wisecracking, sandwich-loving, reluctant sidekick Experiment 625, who we know today as Reuben. The second season did crossovers with other Disney properties before it was cool, with the casts of Kim Possible, American Dragon: Jake Long, The Proud Family, and Recess each joining our duo's 'ohana for an episode. Then there are the genetic experiments themselves, with their fun designs and wide and sometimes wacky abilities making a lasting impression on those who enjoyed seeing Stitch and his mischief while expanding on the (admittedly crazy and inconsistent) lore of Lilo & Stitch's universe. One of them, X-619/Splodyhead, even made a cameo in a Walt Disney Animation Studios film in Big Hero 6, while another, X-221/Sparky, who debuted in Stitch! The Movie, became a boss in Kingdom Hearts: Birth by Sleep. And we can't talk about experiments without mentioning X-624/Angel, Stitch's love interest and mate who became so popular in her own right that she now gets a regular influx of merchandise and has made several video game appearances, including most recently in Disney Speedstorm.

Not to be forgotten, the Stitch! anime series also recently celebrated its fifteenth anniversary of its premiere back on October 8th. The first spin-off made after the original Western continuity, Stitch! had the little blue alien crash-land on a small fictional island in the Ryukyu Islands called Izayoi, where he meets and befriends the tomboyish Yuna. During the first two seasons, which were animated by Madhouse, Yuna and Stitch go on their own adventures around the island, befriending yokai who live in the island's Chitama Forest, and dealing with Hämsterviel, Gantu, and Reuben again. Some of the experiments even return in this show, especially Angel, who became an intergalactic pop star in the (in-universe) years since we first met her on Kaua'i. The main plot of these two seasons is about Stitch getting enough good deeds to have the magical Chitama Spiritual Stone grant him a wish, which was apparently to become "ruler of the universe". However, by the end, he decides that living with Yuna is better. After Madhouse's 56 episodes (which includes two post-season specials), Shin-Ei Animation took over for the third season, retooling it by having Yuna and Stitch move to a fictional Okinawan city called New Town, going on wackier adventures there with her new classmates, while Hämsterviel now goes after Stitch on behalf of a big-eared humanoid alien woman named Delia to gain a power cell within him, using several experiments that he "transmutated" to do his dirty work. The 30-episode (again, including another post-season special) season also had Stitch reuniting with Lilo, now all grown up with a daughter of her own, for one episode. The main series of three seasons ran from 2008 to 2011; they were followed by two more specials, Stitch and the Planet of Sand in 2012 and Stitch! Perfect Memory (or Stitch! A Perfect Memory) in 2015.

Infamously, the English dub of the anime established itself as a post-Lilo continuation from the get-go with probably the worst-chosen opening lines to any sequel show ever, when Jumba claimed (later proven false by Lilo's aforementioned third-season appearance) that Stitch left her because Lilo became more interested in a boyfriend over him; such lines, which weren't in the Japanese original, caused many fans to swear off the anime series as "not 'ohana". However, as the years passed since Stitch! ended, the anime faded to relative obscurity, which in turn caused much of the hate it received to die down. In more recent years, it's now garnered some appreciation in its own right after years of ridicule and vitriol, with those such as Saberspark enjoying the show for what it is and making videos about their more positive thoughts on it.

My friend @angoraram made the drawing at the top of this post for this special occasion featuring Stitch, Reuben, Angel, and several other experiments well-known and obscure from throughout Lilo & Stitch: The Series (plus Dorkifier from Stitch!). She already shared this picture on her DeviantArt galley last month, but she also allowed me to share some special 5K desktop wallpaper edits I made of her drawing available in 16:9 and 16:10 aspect ratio versions. You can download these over here.

#Lilo & Stitch #Lilo and Stitch #Lilo & Stitch: The Series #Lilo and Stitch: The Series #Stitch!#Stitch! anime #anniversary #Disney Stitch #Stitch #Lilo & Stitch experiments #Lilo and Stitch experiments #genetic experiments #fan art #artwork #AngoraRam #computer wallpaper #desktop wallpaper #desktop background

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saintsenara · 9 months

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What do you like about Voldemort/Tom Riddle as a character? What elements of the character do you find fascinating?

thank you so much for this ask, @sarafina-sincerity

i have received a flurry of asks about my main boy, lord voldemort, which form a neat triad, so this is part one of a three part meta on him:

1. what do i like about voldemort as a character? 2. what is my preferred way of writing voldemort (a character analysis deep-dive)? [here] 3. what does dumbledore get wrong about voldemort? [here]

what do i like about voldemort as a character?

my general principle as a reader, both in fanfiction and original fiction, is that villains are more interesting than heroes. i prefer the complexity of characters the audience is not supposed to root for, and i enjoy the confrontation of realising that people who are capable of astonishing brutality and evil are also simultaneously capable of beauty. indeed, one of the most heart-breaking passages in literature, in my opinion, is humbert humbert’s final encounter with lolita, in which the reader is forced to sit with the fact that a violent, sadistic, and dangerous paedophile is also a creature hollowed by grief and loss, and that they feel nauseatingly sorry for him.

the canonical voldemort’s complexity in these aspects isn’t entirely drawn out in the narrative - although voldemort’s own struggle with anger, grief, and loss is discussed in details in the third part of this series of meta - but thinking of him in these terms provides something that i think is of considerable value to me as an author.

as might be hinted by the nabokov, my favourite subgenre of original fiction is undoubtedly the american literature of the mid-twentieth century, for its portrayal of the sinister ennui which lurks under the quaint picture-postcard of the american dream life (that i like voldemort for what he reveals about the rot in the wizarding world is expanded upon below). the authors i have felt speak most profoundly to this apart from nabokov are shirley jackson and - and i recommend this enormously not as pulp fiction but as a sincerely raw look at the america of the 1940s and 1950s - jacqueline susann’s valley of the dolls. voldemort has a lot in common with jackson and susann’s famous anti-heroines: he has the jealous, isolated relationship with family and lineage of merricat blackwood and the childhood trauma leading to obsession, manipulation, and greed of neely o’hara.

all of which is to say, he is a character whose complexity can be used to challenge the reader, to force them to have to sit uncomfortably with their own views and biases (the fact that he’s a self-hating sectarian terrorist has always hit me like a body-blow, given that i live in northern ireland…), and to provide a window into the broader commentary on the world of the story (and the world of the author).

voldemort as a narrative tool

indeed, voldemort is the character who most interestingly straddles the harry potter series’ various different genres and their subtypes - no mean feat, given that the difficulty of reconciling these separate genres is what drives many fans’ complaints about plot-holes in the series.

after all, the series literally wouldn’t function as children’s literature without him; in the first two books he provides that scooby-doo villain-turns-up-in-disguise-at-the-end flavour which drives the narrative and allows harry to conform to his own children’s lit archetype of the wise-cracking everyman hero who is constantly getting into wacky mysteries.

but voldemort is, of course, at his most interesting after the books undergo their tonal shift following the conclusion of prisoner of azkaban:

he is the series’ most significant and most complex character within the genre-types it borrows from noir and political thrillers - in goblet of fire, we get the hint of him as a paramilitary kingpin, whose supporters wished to incite terror into any members of the wizarding population who did not support blood-supremacy and who targeted state institutions and political figureheads who stood in their way. voldemort’s own hypocrisy - he is a supposed pureblood champion despite not being pureblood himself, although his anti-muggle views are undoubtedly sincere - serves as a concentrated metaphor for the ministry’s corruption, which harry uncovers throughout this book.

he is the series’ most interesting folkloric archetype - the fate-driven hunter-villain, whose belief in the mystical value of the prophecy (within a series in which all the other characters - except harry, who we’ll come to below - are surprisingly rational. for people who can do magic.) drives the series towards its conclusion. it is impossible for harry to go on his hero’s journey without voldemort, and given that many of the other characters fit more obliquely into their folkloric archetypes (ron is very different from many folkloric sidekicks - the boy is no samwise gamgee - and hermione’s folkloric archetype is closest to the non-human gift given to the hero by a donor-figure), this aspect of the narrative depends on voldemort entirely.

he is, perhaps, one of the less interesting characters within the series’ purpose as christian allegory (the award for the character this applies to most interestingly, for me at least, is either dumbledore - the word of god revealed in a twist to be the john the baptist - or snape - the paul who thinks he’s a judas), since he is the satan allegory. the catholic-coded nature of many of his behaviours, however, does fascinate me, and contribute to my headcanon - discussed in the next meta - that he is raised in a church orphanage.

and the use of voldemort within these narrative confines changes many of the other characters in ways which move them beyond genre archetypes which might otherwise not allow them to grow as the narrative tonally shifts (a fate which befalls hagrid, who cannot stand up to the nuancing of harry’s character as he goes on his hero’s journey). dumbledore’s similarities to voldemort, for example, hint at the reversal of his omniscience and infallibility before deathly hallows hits; snape’s relationship with voldemort as a terrorist leader, and particularly what voldemort’s terror says about the social structure of the wizarding world, provides an explanation for his actions which is more complex than ‘tee hee mudblood’ and which gives the reader a space to think about how deprivation drives radicalisation in our own communities.

above all, voldemort’s narrative relationship with harry is fascinating - and not simply for shipping reasons - since, within a story which ends with harry in the guise of the resurrected christ and voldemort-as-satan dead and buried, they are never actually portrayed as black-and-white enemies. indeed, they are the only pair of narrative mirrors in the series whose relationship is portrayed not as diametric, but relational; the only two whose relationship is described as fraternal (something made explicit in their ‘brother’ wand cores); and the only two whose relationship is described - by a figure no less powerful than the prophecy itself - as equal.

for example, that their shared backgrounds, their views of their own orphanhood, their relationship with their fathers, and their physical appearances are similar is lampshaded by several characters - not least both of them themselves. but the narrative actually goes deeper, drawing out ways in which their differences appear stark, but then loop back to become another similarity they share: their mothers come from opposing blood classes, but both form the key to understanding their characters; their wand woods are both associated with death and resurrection, albeit with different folkloric values of luck and purity attached to them; and voldemort is the series’ ‘true slytherin’ and harry the series’ ‘true gryffindor’, but they both have numerous personality traits connected to the other house.

in contrast, if we take the narrative mirrors of ron and draco malfoy, we find a pairing whose differences stem from similar attitudes and insecurities, but manifest themselves in ways which are polar: both serve the crucial narrative purpose of explaining the wizarding world to harry and, therefore, the reader, but ron exclusively shows its positive aspects and malfoy its more negative ones; their material circumstances are opposites; they both heavily physically resemble the rest of the family, but ron is one of many siblings and strains against that and malfoy is an only child and strains against that; and they are defined in the text by the diametrically opposed nature of their relationship with harry.

harry and voldemort, on the other hand, are defined by the divergence of their similarities - like their wands, they have the same core, but their choices affect them profoundly - and they are, therefore, the series’ clearest examples of the value of choice.

voldemort as a social mirror

i also think that voldemort’s childhood and background is one of the series’ most interesting looks at britain and its social dynamics, which i think many readers miss. how i prefer to write voldemort’s childhood is discussed in the second part of this series of meta, but he provides - like hermione - a look at the profound irony of the class system (after all he is an aristocrat in both worlds - and an example of both types of aristocrat, the rich and snooty in their luxury manor and the impoverished clinging to a name and a lineage - who has no access to the social advantages this should bring because he was born in an orphanage in the muggle world and he has a muggle name and face in the wizarding one).

but, above all, voldemort spends the first six books of the series as the best cipher for how state brutality and corruption only begets more violence. his unusual tolerance of non-human magical creatures (and his openness in his brutality to slaves - which, as i have argued, is one of the things that shocks regulus, who clearly conceives of himself as a ‘good’ slave-owner, a thing which does not exist) is at odds with the ministry’s benign oppression. his rejection of the patronage networks which sustain wizarding society (he rejects slughorn’s offer to set him up in the ministry because he wants a job he got himself, and good for him) only serves to emphasise that these still exist (the fact that voldemort would not want to rely on patronage canonically never occurs to dumbledore); while his use of patronage networks for his own ends shows how easily structures considered to be ‘right’ or ‘normal’ can turn malign. his brilliance, but the fact that his name and background would clearly constrain him in an ordinary career, underlines the fate which befalls many characters, from snape to the weasleys. he has a complex relationship with gender in a series which otherwise doesn’t (not only in the fact - outlined in the second meta - that his own gender identity is incredibly interesting, but in that bellatrix is the only married woman in the seven-book canon who has both a speaking part and a job). the ministry’s reaction to him - particularly the suspension of due process in the trials of death eaters (a reference to operation demetrius, one of the british government’s most degrading extra-judicial decisions during the troubles) - deepens anti-government resentment, which - since the wizarding world is clearly not a democracy - has nowhere else to go but revolution.

voldemort causes himself, obviously, but the ministry enables him to exist, and this provides so many avenues in fanfiction to explore.

why we need fanon voldemort

this said, there are, of course, things which frustrate me about the canonical voldemort - and this drives many of the traits in my own writing of him which i am completely aware do deviate from canon (my preferred characterisation of voldemort is addressed in the second part of this series of meta).

i dislike the portrayal of the canonical voldemort - or, at least, the canonical adult voldemort, the canonical teenage voldemort is more layered - as a sociopath, largely because i think it’s quite lazy writing to have a villain whose evil is caused by just not getting human emotion. in particular, this absolves the reader from noticing our own similarities to voldemort and considering how that challenges our own views and biases - as the enormous amount of ‘the class system is good, actually’ in death-eater-centric writing shows.

above all, i loathe the argument that voldemort can’t feel love (i am hopelessly wedded to the idea that he does love bellatrix, in his own little way), not least because it is an extremely cruel interpretation of what is clearly enormous childhood trauma (although the series’ weaknesses in its approach to that topic go far beyond voldemort), and because it fails to open space for a critical look at dumbledore’s own idea of love; that is, not as something which can be luxurious, pampering, and restorative to the self, but as something which depends on sorrow and sacrifice. i detest the fanon - which, i think it’s important to note, is based in something jkr never actually said - that voldemort’s conception is the cause of his attitude to love. i also think the way the text treats both tom riddle sr. - who is never acknowledged as a rape victim - and merope - who, if we take dumbledore’s implication that she could have survived voldemort’s birth at face value, directly justifies voldemort’s view on death by not bothering to stay alive for him - is horrifying.

i think the voldemort of deathly hallows is the weakest, not least because the fact that he is never shown in the previous six books to have an interest in running a government (he spends most of the early books as a paramilitary leader, not a dictator in waiting) means that he has to be shunted off in other directions when he takes control of one.

and, with the greatest of respect to the wonderful ralph fiennes, who i’ve just paid a huge amount of money to go see in macbeth, the film version of voldemort is terrible. indeed, film!voldemort is the source of so many of the worst fanon readings of the character, especially the idea that he only knows one spell, that he’s insane (the statement of canon is that the creation of the horcruxes does nothing to damage his mental capacity, since the soul exists independently of our free will and rational thought - although clearly the voldemort of the second war becomes considerably more paranoid than his earlier incarnation), that he loves to shriek, that he isn’t very scary, and that he doesn’t come spectacularly close to winning.

up next, then, how do i like to write voldemort?

#asenora meta #tom riddle #lord voldemort #he is my beloved #my blorbo for life

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