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frostfall-matches · 7 months

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[ matchmaking... ]

@remediesshp : [ match report ready ]

your match is…

✦ Kozume Kenma

Kenma adores how calm and relaxing you are. There are so many loud, nosey, energetic people that he has to deal with on a daily basis, and it drains him so much. He can tolerate them, sure, especially his teammates since he has gotten used to them over time… But it’s so nice being around someone who has such a chill vibe to them. There’s no pressure to talk, or to go out and do something strenuous - he can just hang out and spend time with you, and it’s such a nice change of pace for him! Initially, he is a bit more reserved and doesn’t talk much (of course), but over time he does take the time to talk (rant) about his day, and listen to you talk about yours. These little chilling sessions happen regularly since it’s such a good way for him (and you!) to recharge.

As calming as you can be, you definitely stress him out with your lax approach to life and its problems. Kenma can definitely be a worrier, and mulls over certain things incessantly in his head. He can’t help it, his brain just fusses over the details and the issues a lot. So to see you laugh something off, when he thinks you should be at least a little bit concerned about it, is… Well, it catches him off guard. Kenma might plead with you to at least take something a little seriously so he can stop worrying about it for you. Perhaps he’ll even help you come up with a solution, or something.

He’s the type to ask you what you’re thinking about when you zone out for a while. Perceptive as he is, Kenma very quickly picks up on how much you end up daydreaming, mind wandering, that faraway look in your eyes… And sometimes you’re lost in your thoughts for quite some time! He definitely doesn’t mind it (hell, his mind wanders off a fair amount) - but he’s curious, even though technically he knows it’s none of his business. He’s fine if you don’t want to tell him anything, but if you do decide to share whatever you’re thinking about, he’ll gladly listen no matter what was on your mind. Weird, serious, philosophical, silly - doesn’t matter, he just wants to know what’s going on in your head.

Lazy days are frequent! Not that the two of you don’t ever go out and do anything, but when the opportunity presents itself… you two are cuddled up in bed or the couch, playing video games, finding some show to watch, and getting food delivered. Kenma loves just being able to hole himself up somewhere and avoid life for a bit - and he doesn’t mind doing that right alongside you. In fact, it’s rather comfortable. Of course, you two still go out for dates and such, because even he likes the change of scenery sometimes, and he’d get a bit bored if all he ever did with his free time was sit around and play games (and, like, he does that a lot - but it’s nice having the option available to get out and do something).

Your optimism balances out Kenma’s pessimism. He isn’t completely gloomy and he would describe him more as a realist - but he can’t help but expect and prepare for the worst sometimes. So, your more sunny and upbeat disposition is a good contrast to his more serious one. The two of you might get on each other’s nerves slightly (not that it really goes anywhere since both of you tend to avoid conflict - and when you two butt heads it’s not usually over anything major, thankfully). Still, the two of you force each other to consider things from other perspectives, for better or worse. It’s a good way to keep each other in check and it leads to some interesting discussions or problem solving. (Kenma does really appreciate your optimism and warmth, though. It’s good at helping him not fuss about the potential for a situation to go awry).

Prepare for teasing once the rest of the Nekoma team figures out you two are daring. Kuroo definitely figured it out right away - hell, he probably knew the two of you liked each other even before you hooked up. But he won’t blab, and he’ll just let the others figure it out on their own (it takes Lev forever to realize what’s up). Considering you’d be the Nekoma team manager, it’s just prime teasing material. Kenma would get the brunt of it, though, with his teammates heckling him and asking how he managed to win over the cute manager. He’s not happy about that, lol. But he puts up with it, reluctantly - don’t be afraid to tease him a bit yourself, though. Even if he gets fussy about it.

Kenma tends to shy away from pictures, but he will sit nicely for a few since he knows how much you love photography and scrapbooking. You like to capture things that catch your eye, things that are pretty, things that are important to you… So of course, Kenma is going to be included. You probably won’t take many pictures of him without his consent (the occasional candid shots of him aside), and he knows that - so he does begrudgingly allow you to take photos of him as long as he’s feeling up to it. It’s just kind of embarrassing knowing that you’re paying so much attention to him and getting shots of him, lol. But he does like to look through the scrapbooks you put together! Snaps of him aside, he actually really likes seeing you work and he’s curious to see what sort of things you choose to take photos of, and which ones you end up printing.

#user matchup #haikyuu #request

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c-is-for-circinate · 3 years

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So as close as I am to fully escaping Hades for the first time, I figure I might take this opportunity to write down a couple of things I'm scared of from this ending. The story is so good so far! But I have seen good stories before! And there are patterns, right, patterns it's so easy for even good stories to fall into, so yeah, I have fears, and they mostly come down to Hades himself.

(Yep, this one got long again! People seem to be enjoying my game-reaction rambles, so, for your enjoyment under the cut: themes of separation and reunion, predictions for what Zagreus is the god of, and a whole lot of discussion of familial abuse dynamics, how they're depicted in fiction, and the work it takes to change them in real life. Stay warned! Stay safe!)

(ALSO, I still haven't made it past the first couple of chambers in the Temple of Styx, so no spoilers in the reblogs/comments please! Yes, even though the whole post is me going on about predictions and hopes and concerns about the path the story might take. I WILL GET THERE SOON.)

It has been really interesting watching some of the stuff the game is doing with themes of parting and reunion, and how that corresponds to life and death. So many of our social links are about reuniting estranged loved ones: Chaos and Nyx, Eurydice and Orpheus, Patroclus and Achilles. Hades is estranged from Olympus, Persephone left. And every time we leave, or try to leave, it is both an attempt at a parting (and Meg and Than are so hurt by that goodbye, or lack thereof) and an attempt at a reunion with our mother. Every time we die it's a reunion, every time we die it's fun, it's great, we get to go back home and check in with all of our friends and be impressed by whoever made Employee Of The [Timeperiod] and sell fish to the cook and put down yet more rugs. (My Zagreus has something of a rug addiction. What can you do.)

It's at the point where I feel pretty secure in stating that Zagreus is going to discover eventually that he is both life/death/rebirth god, and god of partings and reunions. Both halves of both of those things. People leave each other when they die and re-find their loved ones in death; you go away from one group of people to come back to another; you have to depart to return, and I really think that's where we're going to end up with Zagreus. He's going to reunite his various friends with their loved ones, he's probably going to restore communications between Hades and Olympus and even Persephone, he's going to reunite with his mom, and he's going to come back to the Underworld before he leaves to see everyone up top all over again. And of course the vehicle for all of this coming and going is death, because death is the ultimate departure and reuniter. (This is absolutely a religious concept containing a whole bunch of "oh hey our culture has a lot of Christian influence, doesn't it", Greek trappings aside, but that's fine, it's a game made in 2018 not 300 BC, these things happen. They keep calling the Underworld 'hell' and 'infernal'. It's all good.) Of course he's a cthonic god. Of course he bleeds, because you have to bleed in order to die, and Zagreus has to die again and again and again. That's his whole thing.

Thing is, though, looking at those themes, I am also continually aware of the fact that some partings are for a really good reason. Some partings should not end in reunion.

Yes, of course this is about Hades the abusive dad. I have been talking about Hades the abusive dad basically non-stop since I started playing this game, where did you think this post was going.

There are a few things I'm nervous about, separate but related, and at the core it all comes down to, I'm not okay with it if we learn why Hades got to be this way, and Zagreus forgives him as we-the-audience are meant to do, and Hades promises to do better, and nothing concrete about the situation is forced to change. Actual, meaningful, practical, logistical, non-hypothetical non-metaphorical change, not just for Zagreus but for Hades himself.

Because I know how this story tends to go, in fiction. Fictional abusive parents (especially in fantasy/sci-fi stories) tend to come in two types: 'coerced their offspring into actual murder with a side of physical abuse and optional unethical lab experimentation', or 'this was here to create character conflict, we didn't mean for it to read as actually abusive, this parent just has flaws to make them a good character, we swear!' Hades isn't the first type--we have never once seen Hades strike his son, or anybody, or even come out from behind his desk--which means that the fear is, always, always, in every piece of fiction, that he's the second. That the writers are going to decide that the right response to his abuses is remorse, forgiveness, and one really good conversation. That they don't realize it's abuse in the first place.

And, like. They have to know, right? They have to. They can't have done this by accident. (Sometimes, writers get so close by accident.) They can't have done so well at drawing out this situation simply by going, 'well, people are meant to fear this god, so they'd probably react like this, and I guess based on what I've seen in other stories or vague acquaintances they'd then do this,' and never put the name on the situation. Every single time we leave to the tune of a Hades word-flash, he's being dismissive, insulting, and sometimes downright cruel. He is cruel. They have to know!!!

But oh boy have I been consuming media for a lot of years, and oh boy have I run into a lot of writers who don't know.

Reconciliation is such a loaded word, but stories about dysfunctional families really do love it. Stories based around themes of reunion are primed for it. And of course, it's nice, it ties a happy ending off with a sweet little bow, everyone gets to be with the people they love and the family is safe and nobody gets hurt, but so rarely have I seen stories that show the actual work required to rebuild those relationships in a realistic or meaningful way. So rarely do stories trying to build that happy ending actually let the victim of abuse set and maintain boundaries. The character never gets to actually just cut the damn ties to the thing that hurt them. The character so rarely even gets to be safe.

And it's so hard in this game specifically, because "THERE IS NO ESCAPE", because every single thing about this game says that the story's not over when Zagreus gets to the surface, that no matter what he's going to have to come back. It's so hard, because this is a game about reunions. I am not going to get an ending where the abused kid trying to flee his toxic home and abusive dad actually gets to leave and stay gone, not in this one. And that hurts (I have watched and supported and done my best to help multiple real-life friends get the fuck out of homes like that, and stay gone, I have seen how hard it is, how complicated, how awful, and there are never stories for that), but I can live with it, if I get an ending where Zagreus is at least safe. Where things change. Where they really change.

Which is why I need actual, concrete, material changes in the logistics and power structure of the Underworld for this ending to be okay. Understanding why Hades is Like That doesn't cut it. Remorse doesn't cut it! Because look, even if Hades wants to do better, even if he admits he's at fault and tries to be better, he is still set up in a position as an all-powerful tyrant, and trying to become a better person is hard. There is nobody around who can keep him in check when he starts backsliding, which he will. Even if he doesn't want to, he will.

Because people are people, and it's really difficult to break patterns! Especially if everything around them stays the same. Hades is going to slip at some point, be cruel, be callous, be tyrannical, no matter how much of an effort he's making. Not to mention, it is STRESSFUL to face your own crimes and improve, it sucks, it feels bad. And what do habitual abusers do when they feel bad? What's the only coping mechanism Hades appears to have established for dealing with his own shit? That's right, it's inflicting suffering on everyone else around him. (This is why it doesn't really matter what circumstances drove Hades to act this way, why it can't matter--I believe that he is suffering, but he copes with that suffering by inflicting additional suffering on everyone around him, everyone who relies on him, and that's still true no matter what made him feel bad to begin with.) So then we just get a great old guilt-->lashing out-->more guilt-->more lashing out merry-go-round of abuse even as Hades is trying to change. That's how these things work. And yes, change is possible, improvement is absolutely possible, but the environment needs to change first. The system that enables and rewards Hades for acting this way can't stay in place. Things need to actually change, with people who are around to support Hades in his growth and also check his power, people who have power of their own to stop him. And however it happens, for this story with this protagonist with these goals to feel like a happy ending, Zagreus needs to be safe.

It would be okay, though a little disappointing, if those changes were mostly based in magic and fate and, idk, divine mind-control. (This story has been so grounded in actual human dynamics that a fantastical solution to a realistic problem would feel like a letdown, but if it actually solved the problem I'd be okay with it, more or less.) It would be okay, though a little disappointing, if the responsibility for bringing Hades to heel fell upon Zagreus and Persephone, if the two family members who he hurt badly enough that they felt the need to run away from him entirely now had to shoulder the burden of helping him fix himself. (There are definitely ways to write that dynamic better and ways to write it worse, and I think I trust these writers to land on the 'better' side of the scale, but I still don't love the implications.) I think I'd be pretty into it if Hades took a vacation off to Olympus to Work Out His Shit with his own family, while a coalition of Meg, Nyx, Thanatos, Zagreus, and Queen Persephone took over running the Underworld in his absence. I think we might end up getting some combination of those things. I'm hopeful. I think these writers might know what they've written. I think they might have a sense for what it'll take to fix.

But yeah, I'm nervous. (Nervous enough that I might switch to God Mode just to get through, combat has started getting really tedious instead of fun, I want to know what happens next, and this is a game and there is no shame in making it more fun for myself by making the boring parts a little quicker and easier.) I've seen so many stories go wrong. This one has done so much to earn my trust. We'll see if it breaks.

#Hades game #Hades spoilers #driveby meta attack #C plays stuff #I have so much hope!!!!~!#I have so much fear!!!!!#DO NOT TELL ME WHAT THE ANSWER IS GOING TO BE!!!!!

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nightwingmyboi · 4 years

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Hey so I was wondering about Dick's Romanian heritage. Is it mentioned a lot in comics or media? Is he dark skinned in any adaptations? Is it true he originally went to Juvie after his parents died? Where would I go to find this stuff out? Thanks!

Sure! So, Dick’s heritage is a pretty complex topic. I think it’s best to leave the explanation to [this post]. Since I know not everyone will click the link, just to briefly clarify something: Dick is Romani, not Romanian. Being Romanian means being from the country of Romania. Romani people are scattered across the world. Also, Dick is typically depicted with light skin in canon...him being Romani would not conflict with this, because the Romani people have a large range of skin tones. Not at all opposed to him being depicted with darker skin, but just so that you know. Very, very strongly recommend checking out the post for the whole story (edit: and checking the reblogs for the counterpoint to said post!!)

Robin (1993) Annual #4

As for your other question...in one version of Dick’s origin story, following his parents’ deaths, Dick was sent to Gotham’s Youth Center. This center was essentially a juvenile detention center; most of the kids were sent there for committing what are described in comic as “adult crimes.” It was a very rough environment for Dick, especially in the aftermath of his parents’ deaths.

Dick going to the center after his parents died is technically a retcon of his origin (ie it was something added later). I know for some reason certain people hear the word retcon and immediately are like “then it doesn’t count!!!” but I think that is very much the wrong approach. True enough, some retcons are bad--that is, those that completely ignore previously established characterizations or plot points, and in doing so often radically change the story for the worse. It’s fine if people want to ignore those bad retcons, I do so myself. But, that’s not true for every retcon lmao. I’d say the juvie origin retcon is a great example of a good retcon. It really helps to clarify and enhance the original story, and I don’t think it should be dismissed. Hear me out here:

1.) The juvie origin doesn’t replace any previous origin story--it really only adds to and improves upon the timeline of Dick’s original origin.

For the most part, in previous tellings of the story, Dick’s origin went pretty much straight from his parents dying to him and Bruce in Wayne Manor. It’s a pretty sudden, jarring jump; the in-between was largely left to the reader’s imaginations or implied to not exist at all. And I’ll be real...the pacing and immediacy of events is pretty wonky and unreasonable. In one of the most extreme speed runs through Dick’s origin I’ve seen, Dick’s parents die and Batman immediately swings down from the rafters and tells Dick that he’ll solve the case...while Dick’s parents’ bodies are still cooling a couple feet away (Batman #436). Yeah, that is absolutely ridiculous lmao, as is the idea that Bruce just immediately adopted Dick the day his parents died. I think that the juvie origin very nicely slows things down and helps to organically fill in the gap of time that would and should exist between Dick losing his parents and being taken in by Bruce.

2.) The juvie origin helps to rationalize Bruce’s reasoning for taking Dick in.

In previous origin stories, Bruce’s main motivation for taking Dick in is that he saw his own suffering reflected in Dick and wanted to help him. I dig the parallels between Bruce and Dick...but this is very flimsy reasoning to adopt someone lmao. With all the tragedy that occurs in Gotham, you cannot tell me that Bruce had not run across some orphans before. Bruce sympathizing with Dick certainly should be part of what motivates him, but there needed to be something more. If there is not some immediate, urgent reason to adopt Dick, then it makes zero sense that Bruce would try to raise him honestly. Why would Bruce tear Dick away from his remaining family and friends at the circus? Why would Dick want to leave? And even if Dick could no longer remain at the circus, why wouldn’t Bruce allow Dick to go to a good foster home, especially since Bruce is so laser focused on his solo crusade against Gotham’s crime that he doesn’t even allow himself to have a steady girlfriend half the time? Lots of plot holes here!

The juvie origin fixes a lot of these issues! Staying at the circus is not an option for Dick, not because Bruce just snatches him away, but because legally Gotham Juvenile Services says that the circus is an inadequate environment for raising a child. Dick is sent to juvie, and the comic makes a point of showing Dick nearly being beaten to death almost immediately upon arriving.

Dick is in danger and he’s lost in the system, so there is no longer a possibility for him to land in a good home. Initially, when Bruce goes to find Dick, he’s still tracking him down only with the intention of getting justice for Dick by solving his parent’s murder. But Bruce is a good person at heart. When Batman finds Dick trying to escape from the juvenile hall, beaten to hell, he intervenes. The next morning Dick is taken in by Bruce Wayne.

So now, taking in Dick isn’t Bruce tearing Dick away from the chance of having a loving family and throwing him into the dangerous life of a crime fighter; taking Dick in is Bruce saving Dick from a horrible situation, possibly even saving his life. The only way to get Dick out of the potentially deadly situation he was in quickly was for Bruce to take him in as a foster parent. Bruce’s actions actually make a lot of sense! And Bruce is forced by necessity to take on a fatherly role that he does not feel suited or prepared for, rather than him adopting Dick on a whim. The juvie origin gives this scenario the urgency and necessity that it desperately needed.

3.) The juvie origin has been around for a long time, and pretty successfully adds nuance to Dick’s character without completely altering or changing who he is.

The juvie origin is a retcon that has been established for about 25 years, fyi. Robin Annual #4, which is where this idea first came into play, was released in 1995. There are also references to this origin story in Nightwing Vol. 2, and that comic series ran from 1996 to 2009, so it’s not like the juvie origin is completely baseless or totally removed from the narrative.

Nightwing (1996) #11

Also...Dick Grayson has been around for 80 years. In DC comics, I’m pretty sure he is predated only by Superman and Batman. You are inevitably going to have to add nuance to his character as time goes on. The juvie origin adds a very interesting complexity to the character and his fight against crime, considering he himself has been in the system...there’s so much untapped potential there!! So yeah, I feel like the juvie retcon is a very valid addition to Dick Grayson’s origin story. Plus, Robin Annual #4 is just a very well written and well thought out comic book that really fleshes out Bruce, Dick, and Alfred’s initial relationships to one another in a realistic way, and more people should check it out.

What I’m saying...is that more people need to get on board and accept the juvie origin guys!! It’s my favorite origin for Dick, hands down. Thanks for giving me an excuse to talk about it anon.

As for where to go for more info…well, you can always check out Dick’s DC wiki, or anyone else’s, for basic summary info. For me, I always like going straight to the source. You could find a comic rec list that focuses on what you’re interested in and just dive in and build your knowledge that way. Sometimes if you google around, you can find neat creator interviews that address questions like the ones you asked. If nothing else, I’m sure there are people on tumblr (like me :D) or elsewhere online who are willing to help you out and point you in the right direction if you’re curious about something in particular. Idk if other people know of a good resource for things like this?

#thanks for the ask anon!#ask #dick grayson #robin #bruce wayne #batman #alfred pennyworth #juvie hall #meta #romani #romani dick grayson

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choices-binglebonkus · 3 years

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Things ILITW did right:

-The cast. The cast was fucking incredible. They all had their own unique problems and we got to glimpse into their lives by playing as them. Additionally, there wasn’t anyone in the group I didn’t like. Lily was my least favorite but even she was a likable character.

-Dan. Dan doesn’t get a lot of screentime, and even though he’s technically a member of the main gang, he’s more of a side character. But PB still made me fall in love with his storyline. It really resonated with me. He was clearly grappling with the trauma from Jane’s death years and years into the future, but since he was the star football quarterback, he felt he couldn’t show any signs of weakness or ask for help. If he survives the final encounter with Jane, he becomes a trauma counselor, and he seems so much happier and more at ease with himself. I love that for him.

-Jane. It’s already been established that I’m terrible at predicting twists, but finding out that Jane was the monster all along at the end of chapter 14 shocked me to my core. I remember yelling at the revelation, I was so surprised. I was both amazed and appalled that Jane was the cause of all the chaos, violence, and terror throughout the story. Jane was the perfect villain.

-The vibe. The vibe is more creepy (while ILB is just outright scary and goes straight for the fear factor) and I think this book really benefitted from the creepiness rather than forcing sheer terror upon us in the first book.

-The lore. ‘Nuff said.

-The pets! We get a baby crow FOR FREE, can babysit Hilda (good fluffy dog!), can get an adorable black kitten, AND can even get a vine monster pet!

-The love interests. In my opinion, all the love interests are fairly equal to each other (except Andy, who blows the rest of them away because he is FANTASTIC). I’m pretty sure most of them get equal amounts of scenes and the nerve boosts make them OP as hell.

-The shed. I loved getting to go to the shed in the chapters for weapons, the lore documents, the pets, clues, and what have you. It was nice that it actually served a role in the story.

-The outfits. There wasn’t a single outfit in MC’s closet I didn’t like. And, while I’m on the topic of the outfits, I also appreciate the lack of outfits. There are only three times in the story where we’re presented with the option to buy outfits. The beginning, before Britney’s party, and before homecoming. That’s it. The clothes and outfits aren’t constantly hawked at us for purchase, unlike...other stories.

-The cast deaths. This is a little morbid, but I thought the ways the main cast died were honestly kind of cool, and I liked how some of their causes of death also reflected key points of the story. Ava being toyed with and flung around to her death like how she used her powers, Andy being torn apart from the inside by spiders, Lily being picked apart by birds, it was morbid and creepy and gross and I loved it. The art team drawing the cast’s dead bodies at the end for maximum shock impact was also a nice touch, and I kinda wish they did that for ILB.

-The nerve. I think the nerve loss/gain was pretty on-point in this book. Nerve loss was kind of big, I will admit, but it was usually pretty easy to get lost nerve back. On my first playthrough with no diamond purchases, not a single character died.

-The memorial. Seeing all the different dialogue outcomes when the entire group is dead or when only one person is dead, or when Noah survives or MC survives, there was obviously a lot of thought put into the memorial. It was very heartbreaking and very well done.

-The music. What a bop.

-The plot. The plot was very well paced, and every chapter contributed pretty evenly to the plot. In other words, filler in this book was at an all-time low. The only chapter that was kind of filler-y was the homecoming chapter, but that was to trick us into thinking the fight was over.

-The romance. As I’ve mentioned before, It Lives has a very, very high stakes plot. This inevitably led to the romance/dating features taking a backseat to the main plot, which of course, was necessary. It doesn’t make sense having romance as the main focus when a homicidal shadow monster is hunting you and your friends down, after all.

-The mental health and trauma mentions. Overall, mental health and trauma can be kind of tricky to talk about, and need to be handled very carefully. I felt that ILITW was very respectful and careful in that regard, and mentions of mental health were handled as realistically as they could be in a supernatural horror story.

Things ILITW really could’ve improved:

-Lily, Ava, and MC. Lily, Ava, and MC’s storylines felt considerably weaker than the rest of the cast. The storylines just felt...lacking. All three were bullied by Jocelyn, Britney, and Cody, though Lily and MC got the brunt of it. Ava’s storyline mainly focused on gaining and losing her powers, which wrapped itself up within 3 or 4 chapters. The bullying plot ended after chapter 7 when Cody died and wasn’t really mentioned again, and Lily’s storyline shifted its focus onto her relationship with Britney. MC felt more like a self-insert than an actual character throughout most of the story (ILB MC definitely felt like more of a character). Not to say they were a bad character, but they were definitely lacking.

-The nerve checks. Unlike ILB, the ILITW nerve checks didn’t really do anything. At least, not until the final game with Jane. In ILB, you paid the price if your friends didn’t pass the nerve checks spread throughout the conflicts. If Tom fails his nerve check, your MC loses a finger, nerve, and Tom suffers a breakdown. Danni betrays the group if she doesn’t pass hers. Imogen’s isn’t terribly high stakes, but she does lose her connection to the power if she doesn’t pass the nerve check. Parker accidentally shoots Kelley and abandons the group forever if he fails his. Failing the first group nerve check will cause Tom to snap and cause a massive argument. Failing the second group nerve check will result in the death of whoever has the lowest nerve. In ILITW, nerve checks simply yield different dialogue, and at the end, determine whether a character will live or die, though this seems to be partially randomized.

-The flashbacks. Maybe it’s just me, but I felt like there were too many flashbacks, and that some of them could’ve been lumped together.

-The side characters. Personally, I find that the side characters in stories are the most interesting. Unfortunately, most of the side characters didn’t get a lot of development and were used simply as plot devices or character development for the main cast. Jocelyn, Britney, Cody, and even Ben could’ve been fleshed out much more. Tom was also severely lacking in development in ILITW, but he was upgraded to a main cast member and love interest in ILB, so that problem solved itself.

#choices stories you play #playchoices #choices stories we play #pixelberry #pixelberry studios #playchoices fandom #choices stories you play fandom #choices stories we play fandom #choices it lives in the woods #it lives in the woods #choices ilitw #choice ilitw #ilitw #it lives beneath chapter 14 #dan pierce #daniel pierce #jane marshall #douglas redfield

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bitchapalooza · 3 years

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Romano :)

First impression

Early fandom, I really did just jump right into fanon portrayal. Asshole. Conceded. Lazy. Ect. I actually disliked him. I didn't hate him, but I did dislike him to a degree.

Impression now

Oh no yeah I hate him, you guys should know this by now.

Jk jk, I love him, obviously! After actually looking into his character and analyzing it, he's complex and well written, when before I thought he was just a poorly written character. It's pretty obvious he has some serious issues to him, one of which could be intentional or unintentional emotional abuse from those around him or specifically from Rome— I say this because most of what he does, putting himself down and having low effort and cowering behind his brother/others during conflict, could be a result of such kind of abuse. You really don't get that way randomly. Through his interactions with his younger brother, I can tell he deep down wants to actually make a connection, its just he doesnt know how. Its in his nature, most likely learned nature, to push people away so as to not mess things up and lose them. But really he does want to get close to people. As shown with his interactions with Spain, both younger and older, and America.

Favorite moment

SO MANY TO CHOOSE.

Its a tie between:

Him asking Spain for fun stuff to do with the ladies, specifically bullfighting, and then Spain responding with saying he'll be the bull. I like it because it really does display how Romano's view and relationship with Spain has progressed since he was a child when he absolutely detested Spain. Thats growth :)

And then there's when Prussia reaches out to a crying Romano. He cheers him up and then they try to make a movie together. It doesn't work out but it was a nice character detail and interaction nonetheless!

Idea for a story

Oh I have tons.

I have a scrapped three part story for all three Italy brothers, each one focusing on one brother. The first part would have been Romano's. He and his brothers lost their parents to a home evasion gone wrong, to which they were hiding in Seb's nursary/shared bedroom(amongst all three of them) closet that was left alone(what would baby stuff be worth anyway?? It was an unspoken fact that his parents told the robbers they were away at their grandparents). It was Romano's self assigned job to make sure his brothers were then safe after the crooks left; his several months old baby brother and deaf little brother(I wanted to explore how to write a deaf character at the time). After all thats done, it shifts to modern day where Romano wakes up from the dream as described above, an indication he bears a great deal of trauma over it despite what he stubbornly says. I reveal he's a pediatric nurse and he's currently taking care of his grandfather with alzheimer's(again, was trying to explore things) while simultaneously dealing with his now rebelling teenage brother and preparing for Vene's return from a semester off from college. He also had his relationship with Spain to maintain, to which he also is looked at as a kind of father figure by Spain's six year old son. It was a lot to deal with for one person. The message for his story was supposed to be Mental Health First as his nelgected trauma would be a significant factor into why things were falling apart near the climax of the story before completely collasping then being solved once he takes that big step into recovery such as seeing a therapist and actually communicating with his family.

Unpopular opinion

I've already stated it all before, but Romano isn't stupid nor is he not creative. I believe he excells in science and math more, as well as astonomy as side hobby/interest. I think he's just better at sculpting than drawing/painting too. He clearly compares himself to, who he refers to, his more successful brother Veneziano, plus others around him and puts himself down quite a lot. So he most likely has imposter syndrome.

Favorite relationship

It kinda varies in context.

In canonverse, Its Romerica. @thatsamericano (hope you dont mind the tag) has a lot to do with why tbh. They just work really well together! Every canon interaction is like a hug to my soul! I feel as though America hypes Romano up A LOT. Like Romano sets out to do something but then gets anxious about it. So America swoops in and lists all the obvious pros and few of the cons just to make it seem legit(whisch it always is either way). Meanwhile, I think Romano actually keeps America grounded to reality? America is a dreamer and seems to act on impulse a lot. Romano is the opposite. Before America ever sets out to do something extreme that might not actually pan out, Romano might sit down and get him to talk it out and write everything down. Then they'd go through together and cut things so its more realistically reachable and doesnt end in America's dissapointment.

In a human au, its Spamano. I tend to like Spamano in the context of established relationship and just general partner stuff. I've never really branched out of this comfort zone, however. I think their personalities mix really well together. Its the grumpy one with the sunny one! I can see Spain being the early bird and making Romano a surprise breakfast before work begins. He probably gently wakes Romano too so hes still not so sleepy later on. Then theres Romano who's probably the type of partner who checks in on Spain on his schedualed breaks, when hes not also working of course. He just strikes me as the type who likes to know his partner's overall health and mood and likes to hear how things are going for the day so far, even if he wont admit it.

Favorite headcanon

Trans man Romano baybie✌

He's had top surgery already but he's waiting a little bit for bottom surgery. He's a little nervous and not entirely sure he's ready to go thru with it yet. But to combat his bottom dysphoria, he uses a packer or just lounges around the baggiest sweat pants he owns.

#ask #ask game #hetalia #hetalia romano #tw emotional abuse

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filthyjanuary · 3 years

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ok well i watched tfatws finale and like the entire season that was absolutely incoherent in terms of politics and theme and messaging

first of all, it’s CRIMINAL that karli dies and walker lives. like i expected that because...marvel, but it makes me genuinely livid that to the END they committed to this ‘she’s just a misguided little girl’ thing and she had to die because a) she was going to shoot sam and b) she needed to die to preserve sharon’s secret but WALKER who murdered someone in BROAD DAYLIGHT last ep was like...somehow part of the team again??? working with sam and BANTERING WITH BUCKY???? ARE YOU JOKING???? his only consequence is he’s stripped of his military titles but otherwise is free to do whatever including signing on to work with val? what the shit? you KNOW they have plans for walker so they had to put him in a neat little anti-hero box for later, and they OBVIOUSLY never had any kind of coherent motivation for karli and her storyline so obviously she needs to die.

like was it nice and feel good-y that sam saves all these politicians and they finally give him the time of day and listen to what he has to say? sure! but you’re telling me we’re supposed to be like well maybe if karli tried talking that would’ve solved anything? what kind of messaging is that? the average marginalized person is never going to be in any kind of scenario where they can save their oppressors enough that their humanity is finally spelled out for them enough to give a shit about doing the right thing

like i get it, sam is worthy of the mantle of cap because he never stops reaching out to people, he leads with empathy, I GET IT, but whatever point they’re trying to make doesn’t work because REALISTICALLY BEING EMPATHETIC CAN ONLY GET YOU SO FAR

and they never answer any of the tough questions! if karli had never tried to take the prisoners hostage and thus they’d never been saved by sam, appealing to them to stop the vote through their shared humanity wouldn’t have done jack shit! by having SHARON kill karli, they take the choice of what to do with her out of sam’s hands entirely so he never has to ACTUALLY make any tough calls, including the call that steve makes in catws which is do i surrender and accept death instead of raising my hand against someone who is going to kill me who maybe doesn’t deserve it? it’s cowardly writing to ask all these tough questions and then sidestep around the answers. yes, in an ideal world empathy and dialogue and appealing to others solves every problem but WHAT DO YOU DO WHEN IT DOESN’T? karli isn’t going to stop, so sam’s response in the face of that was IMPORTANT and they just... don’t answer it? i’m not saying there’s a CORRECT answer, but they needed to answer it somehow and they just... don’t.

i called sharon as the power broker but her heel turn to villain was just like.... told to us? we needed to see it like how do you go from catws sharon to this sharon.... like off screen?????

sam’s gesture for isaiah w/ the statue very good and pure but REALISTICALLY you’d think he’d have some conflicting feelings about it. you’re telling me he goes from absolutely justified anger and mistrust of the government to like ‘uwu they acknowledged me’ because sam said some nice things on tv and he’s in the corner of an exhibit now???

they just were juggling WAY too many plot threads and then went ‘oh shit we need to wrap them up’ and consequently dedicated like... 35 minutes to fight scenes and like 10 to actually closing character threads as quickly as possible and setting up everything they need to set up for future mcu instalments (villain sharon! whatever is going on with val and us agent!walker, etc.)

there were a lot of very cool shots! a lot of the sam/karli fight was a very obvious call back to the steve/bucky fights in catws especially the last one in the helicarrier, and sam flying down with karli’s body was BEAUTIFUL but like... cool shots and actors carrying the shows on their back despite incoherent writing can only do so much of the work, you know?

EDIT: ALSO I COMPLETELY BLACKED OUT DURING THIS PART BUT IT WAS FUCKED UP AND EVIL FOR BUCKY AND WALKER TO CALL THE COPS ON A BUNCH OF POC FIGHTING FOR REFUGEES LMAO MARVEL GO TO HELL

#tfatws #tfatws spoilers #long post #what the fuck lol

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wondereads · 3 years

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Personal Recommendation (2/14/20)

The Sisters Grimm by Michael Buckley

I’m doing something new this week! I’ll be reviewing every book in The Sisters Grimm series. Each will get a small paragraph and get a rating out of ten, and then I’ll rate the series overall. Hope you guys enjoy it! Please keep in mind this will contain spoilers for the later books, so don’t read ahead if you don’t want some major spoilers!

#1: The Fairy-Tale Detectives 9/10

The very beginning! Sabrina and Daphne Grimm, after a year in foster care with some dubious caretakers, are being sent to live with their grandmother, who, until a few days ago, they didn’t know existed. Granny Relda lives in Ferryport Landing, a typical small town in almost all aspects except for the significant population of fairytale characters or Everafters. The first book serves as a good introduction to Buckley’s world. The sisters have been shielded from fairytales their entire lives, so it’s easy to insert explanations for the inexperienced reader. It also very quickly sets up Sabrina and Daphne’s characters by using their reaction to Granny Relda and her fairytale reveal. Daphne, being a younger, more sheltered child, accepts it wholeheartedly and is excited to get involved in solving magical mysteries. Sabrina, after protecting her sister from nutcases for a year, has a much more cynical outlook, and it takes an actual giant scooping Relda up for her to believe. There’s also some memorable introductions for other important characters such as Mr. Canis, Puck, Mirror, and Mayor Charming. In terms of the plot, Buckley consistently creates mysteries that have twists but aren’t too difficult to follow for late elementary students.

#2: The Unusual Suspects 7/10

Things are starting to get a little more intense. Sabrina and Daphne are required to go to school after being preoccupied with chasing giants around the countryside. Unfortunately, especially for Sabrina, who wants to regain some semblance of normalcy, something is killing the teachers at school. I forgot how gruesome the murders were. I also forgot that Sabrina is in sixth grade. This particular book always got on my nerves. Sabrina is clearly having some issues; her parents are missing, she’s trapped in a town with fairytale characters, she can’t see to escape humiliation either at the hands of Puck or her classmates, and now people are being killed left and right. And yet, her family refuses to see that she needs help and decides to reprimand her constantly instead. The villain for this book is particularly disturbing. I must warn readers-child manipulation and abuse is a common theme in these books. If you couldn’t already catch on in the first book, it becomes obvious here that Sabrina has some grudges against the magical community.

#3: The Problem Child 7/10

This book has a sort of in-between feeling to me. Sabrina comes upon a maniacal little girl dressed in red who is holding her currently enchanted parents captive. The little girl, obsessed with recreating her family, is convinced they are her own parents and controls a jabberwocky, her ‘kitty’. All she needs is a granny and a doggy-Granny Relda and Mr. Canis. Everything in this book pours into the next ones, while, unlike the other books, there isn’t much of a self-contained plot. Red comes more into play in Tales from the Hood and The Everafter War, the election sets up Magic and Other Misdemeanors, and the vorpal blade and Puck’s injury lead into Once Upon a Crime. This book, however, introduces Uncle Jake, one of the most interesting characters in terms of development, and it also begins the problem of Sabrina’s magic addiction. The events of this book contribute to Sabrina’s distrust of magic after she has some run-ins with her addiction. It is also when you maybe start to develop some affection for Charming, despite his over-inflated ego.

#4: Once Upon a Crime 10/10

This one is my personal favorite. After Puck’s run-in with the jabberwocky, the Grimms take an emergency trip to New York, Sabrina and Daphne’s old home. There they plead the king of Faerie, Oberon, to heal Puck. Unfortunately, Oberon is poisoned within hours of their arrival, and Relda, of course, takes the case. This book is so much fun because in Ferryport Landing they just sprinkle the whole town in forgetful dust. In New York, Everafters need real jobs and a way to cover their tracks as beings who don’t age. The Wizard of Oz works at Macy’s, Ebenezer Scrooge makes a living as a medium, and pirates such as Long John Silver feed off of Wall Street. It also addresses the downsides of that. Everafters don’t age; some of them don’t even look human. It comes as a shock to Sabrina, but her mother, Veronica Grimm, was secretly working with the New York Everafters to fix their problems. I feel that Sabrina finding a connection to her mother through the Everafter community is the first step she takes toward accepting her role as a Grimm.

#5: Magic and Other Misdemeanors 8/10

The conflict between humans and Everafters starts to take center stage. Someone in Ferryport Landing is stealing powerful magical artifacts, causing rips in time, but the Grimms have to split their attention with Mayor Heart’s new tyrannical rule. This is where the series begins to take a darker turn. The new mayor, the Queen of Hearts, and Sheriff Nottingham are set on running every human in Ferryport Landing out of town, and the divides between human and Everafter are becoming more pronounced by the day. The rips in time are particularly interesting, especially Sabrina and Daphne’s trip to the future, which really raises the stakes going forward. Also, the idea of a past Grimm arriving in town, giving Heart and Nottingham a chance to end the entire family, is very nervewracking. Also, the concept of Everafter-human relationships and how that would work presents some interesting conflicts.

#6: Tales from the Hood 10/10

There’s nothing I love more than a fractured fairytale. Intent on getting rid of the Grimms’ staunch protector, Heart and Nottingham put Mr. Canis, or the Big Bad Wolf, on trial. Some investigation in order to clear his name reveals that the story of Little Red Riding Hood might not be all true. Technically, the entire series is based on fairytales, but this is the first book where those stories are actually challenged. The actual story of Little Red Riding Hood is amazing, and it also ties into all the other stories the Wolf is present in. Also, I love Red, the sane Red, and I always get so happy when she’s cured. Once again, Sabrina clashes strongly with her family in this one, for understandable reasons. I’m less inclined to side with her on this one, but she definitely learns her lesson.

#7: The Everafter War 8/10

The Grimms are finally united! Henry and Veronica Grimm are woken up from their magical sleep, but Henry, having too many bad memories, wants to leave town immediately. Unfortunately, the Scarlet Hand has taken over all of Ferryport Landing and only a small resistance stands in their way. There’s a lot of family drama in this one. The dynamics of Sabrina, Daphne, and their parents are all out of whack after spending over a year apart. On one hand, they now have parental support again. On the other, Henry can’t seem to conceptualize that Daphne is, in fact, not five anymore. If that isn’t enough drama for you, Puck finds out he and Sabrina are married in the future, and Snow and Charming are caught up in a soap opera of their own. Also, not to mention the plethora of betrayals in this book. The plot is really picking up here.

#8: The Inside Story 8/10

This one took quite some imagination. After the reveal of the Master’s identity as their own beloved Mirror, Sabrina, Daphne, and Puck pursue him and Pinocchio through the Book of Everafter, a living book filled with fairytales that could actually change history. I find it absolutely hilarious that the kids absolutely refuse to follow the story no matter what. Also, this is where Sabrina starts coming into her own. She’s going through a rough patch in this book. As would anyone whose best friend turned out to be the leader of a magical terrorist organization. By the way, if you are connected to these characters in any way, Mirror’s betrayal will hit you like a punch to the gut. She’s having trouble trusting her judgement, which will have her come back stronger than ever. Also, it’s nice to see her and Puck get through a couple sentences without a barrage of insults. Finally, Relda was such a badass in this book. If you didn’t love her before, you definitely love her now.

#9: The Council of Mirrors 9/10

It’s time for a happily ever after. With Mirror running loose in Ferryport Landing and the rebellion in tatters, things are looking bleak. Especially when the twenty-four remaining magic mirrors issue a prophecy putting everyone’s fate in the hands of Sabrina and Daphne Grimm. Sabrina starts out pretty broken in this book. She’s been betrayed, her grandmother is possessed by an evil mirror, and now everyone is expecting her to lead an army. I absolutely love that when she gets the push she needs from the mirrors it plays to her strengths. She’s a master of planning and subterfuge, and it’s so nice to see it come out. On a less chipper note, I hate Atticus with everything in me, and I was so happy he ended the way he did. In terms of Mirror, I found it poetic, but also so typical of a kid’s book, that he was defeated by the one thing he never had: love. Finally, the reason this book doesn’t get a 10/10 is because I felt the epilogues were kind of rushed and unrealistic. However, they don’t have much impact on the book overall, and I still loved most of it!

Overall 1 2 3 4 5 6 7 8 9 10

The Sisters Grimm is one of my favorite series from childhood. The characters are realistic, relatable, and get great development. Kids books are great because there’s no worries about the idea being too juvenile. This book could never be an adult book, the ideas in it are too silly. However, that doesn’t mean it isn’t amazing, and I find the crazy ideas and cheesy lessons absolutely charming. It gives some unexpected sides to some well-known characters, and the amount of thought that went into incorporating classic and even more obscure characters into the modern world was crazy and very amusing at times. I also suspect that this series is the root of my fondness for fractured fairytales. I would recommend this book to people who like modern fantasy, sibling relationships, and fairytale characters in a decidedly un-mystical setting.

The Author

Michael Buckley: American, 51 years old, also wrote N.E.R.D.S. and Undertow

The Reviewer

My name is Wonderose; I try to post a review every two weeks, and I take recommendations. Check out my about me post for more!

#recommendations #reviews #books #the sisters grimm #michael buckley #children’s #fantasy #fairytales

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aclosetfan · 3 years

Note

For the Salty asks: 1, 3, 5 and 6?

Thanks so much for playing along! Ima be real with you 2 out of the 4 questions you asked really opened up a can of worms for me, and I’m so sorry. I put the less stressful ones first, and the other two are under the cut! Anyway, these were super fun to answer, but plz don’t hate me for it!! 😂😂

for anyone wondering, here’s the ask list: Salty Asks List

3. Have you ever unfollowed someone over a fandom opinion?

lmao yeah. It’s petty, but honestly, people’s personal morals really bleed through into their fandom opinions, and I’m not willing to put up with any unnecessary hate, especially in environments that are supposed to be fun. I’ve even blocked a few people. In the ppg fandom specifically, I’ve blocked a person who, I guess, thought it was necessary to try to gate-keep with racist/sexist/etc. terminology and ideologies, and I truly don’t have time for that 🤷‍♀️ (a lot of people probs know who I’m vaguing, but if you don’t, you’re lucky)

I can’t say I’ve ever unfollowed anyone for any innocent/not-in-conflict-with-my-morals fandom opinions. Usually, if I don’t agree with something, I just keep scrolling because lol whatever. Everyone’s entitled to their own opinion.

but ngl I have unfollowed people who just get annoying 😬😬 lol

6. Has fandom ever made you enjoy a pairing you previously hated?*

I went into this fandom without having too many preferences, so I didn’t have a pairing that I’ve previously hated!

I guess I could say that while I never really hated them, the color-mixing and color-clashing ships weren’t ever on my radar until I came across the fandom content. Now, I really like them! Particularly, Brick and Bubbles!

1. What OTPs in your fandom(s) do you just not get?*

Before anyone gets pissed off at me, before you get into my answer for this question, I’d like to really stress that you’ve got to go into it with absolutely zero fanon context. Like, erase all your headcanons from your mind. I’m dead serious. Because I literally DO NOT get why ANY rrbxppg ship would realistically work ever.

Okay, canonically, these six little funky science experiments were dead set on ending each other. The boys were absolutely horrible to the girls. And the girls literally KILL the boys. I know in fairytale romances, nothing stops love, but bruh, it’s hard to come back from murder 😂 And yeah, I know Clipsville showed the girls and the boys together as older teenagers, and they weren’t trying to kill each other, but that was an obvious gag. In the documentary, it was revealed that that particular “clip” was made because a bunch of people wanted the boys and girls to interact again, and CN gave into the demand. (also, lol I know it super embarrassing, but I did watch the documentary. I just really like Craig McCracken) I just don’t think that realistically a canon pairing between the two sets of triplets would ever be considered a healthy relationship.

Also, ethically, I just—okay listen, I go back and forth with this allllll the time, but the ppgxrrb ships make me confront the “Would I sleep with my clone?” question way too often. Depending on my self-esteem, the answer changes each time. Like sometimes I’m like fuck yeah I would! Other times I’m like, ew, no, I’d have to consider my clone as a twin! I know counterparts aren’t technically clones, BUT the boys really do come across as identical to the girls in the show. The only difference really is their moral alignment (I’m nixing any gender argument). So, I’m like, omg, can I honestly pair these six together in any way??? Are they too close to each other genetically in some sense for this to be morally right??? Like if you ship Brick and Buttercup together, would that just essentially be shipping Brick and Butch/Blossom and Buttercup together in some messed up way??? Is Brick just Blossom, and Blossom just Brick?? Is it better just to ship color-matching instead of mixing???

On top of all of that, wouldn’t the boys and girls be pseudo cousins since Mojo was the Professor’s lab monkey? Technically, in canon, Mojo ends up being both sets of triplets “creator,” so could the rrb and the ppg be considered siblings of some sort? Some of you are probably like, wow, calm down. Stop thinking about it. They’re science experiments. It’s not so deep. Which I get, but I can’t stop, so let me hit you with something ten times worse: should the girls (or the boys) actually be considered biological siblings? Does sugar, spice, and everything nice make you genetically related? Nothing put in the stirring pot was organic—just a bunch of chemicals. If you ship the boys and girls together this could be a good thing! BUT, but, could some sick fuck use this information to somehow justify shipping siblings (ppgxppg or rrbxrrb) together??? This is a literal nightmare to think about!!

All in all, I can’t think about these pairings too much without getting caught up in the logistics of their existence even if they’re fictional lmaoooo! If it wasn’t for the fandom, I wouldn’t ship them together at all. I just think it’s amazing that the ships took off like they did lol, because their literal (fictional) existence is just one giant mind fuck for me. Anyway, I ship them at the end of the day, but tbh I do it with a bit of a guilty conscience. Is it morally correct to ship clone-like counterparts? Or should counterparts be treated like twins? Does it even fucking matter at the end of the day, it’s just fiction? I don’t know the right answer. But I do know the pairings don’t make sense.

Aside from the ppgxrrb, I don’t think there are many other BIG fandom wide pairings. Still, I just want to say that I don’t get why people ship Ace and Buttercup together. The pairing sounds off a few major alarms in my head for obvious reasons. There’s also a bunch of crack ships that involve crossovers with other cartoons. Generally, I don’t mind them, but it seems popular to ship Aku (from Samurai Jack) and Blossom together. And I’m real sorry to those devoted shippers, but again I do NOT get it. I see a lot of romantic fan art depicting romantic situations with Blossom still drawn as a child, and like I get Aku is an immortal demon, so “age is just a number,” but again, BIG ALARMS go off in my head.

5. Has fandom ever ruined a pairing for you?*

🙃 🙃 Kind of don’t want to answer this, but I will anyway because only a few people actually read my blog lolol, so lol, yep! And it’s the reds. Don’t shoot me lol. When I was in middle school, I got into this fandom, forgot about it, and then came back when I was hit by a round of nostalgia. I’m finishing up college now, and I can confidentially say that the fanon content for the reds hasn’t changed one bit. Or the demand for it.

I tended to find that a lot of red content follows many archetypes that I’m just not into. Their stories can get a real cringey, real fast. Blossom is always written like this “perfect, except she’s not (but she really is)” character. Like she’s the girl you WISH you could be, but she’s also going through a shit ton of stuff that no person IRL would be able to handle without having a mental breakdown. And sometimes, in some stories, Blossom does have a mental breakdown, but in a sexy way, so she’s still perfect. Generally, there’s still something problematic about Blossom that makes it easy for a reader to relate to her on some level, unlike the way people write Bubbles. And then there’s Brick, who’s broody, hyper-possessive or jealous, and hot figuratively and literally (gotta love the fire/ice trope). He’s the only boy—no! Wait!—the only person who could ever possibly outwit Blossom, and he is just so undeniably attracted to Blossom. They’re the smart power couple that should honestly just hook-up in Chapter One to save everybody time, but they don’t. Nah, they’ve got to survive at least two love triangles before they even consider admitting they’re attracted to each other.

And don’t get me wrong, none of that’s bad, but there are a million fanfics that go through the same song and dance with these two. And it’s kind of easy to tell when someone’s hardcore projecting onto Blossom because the type of person they’re personally attracted to is the way they write Brick. And I’m not knocking anyone self-projecting onto characters, sometimes people got to do that to give themselves a fun mental break, but bro, I don’t want to read about it. For one, smart broody assholes aren’t my type. Maybe when I was in middle school, but not anymore. And two, it’s just not interesting to me, which is a real shame since the reds are a majority of the fanon content.

Maybe if I found more red stories where the plot isn’t character-driven but plot-driven, so I see the romance between these two characters in a context where it’s not the main focus of the story, it would solve my issue with the pairing. I haven’t found many fics like that, though.

I can’t really think of any reds fic where I’m like ey, this aint bad unless it has a “major character death” tag attached to it lmao (which are always plot driven stories). However, in all honesty, since I’ve stayed away from red content for a while now, I don’t know the current state of things. Maybe there’s been a load more development for these two, or people have broken away from the same plotlines, but I’m too busy to check. I do browse people’s fic rec lists from time to time, but it sort of feels like everyone just puts the same fics on their lists and moves on.

And before someone’s like, “well, you can say all this about the greens or the blues,” just know I’m fully aware. The greens make me cringe too because there’s a shit ton of possessive and abusive storylines filling their story tags. And what makes me super uncomfortable is how people make Buttercup hit Butch or call him derogatory names, oftentimes unprompted. I don’t know why people make Buttercup such an unlikeable and overly aggressive person. I also don’t get why they make Butch some perverted idiot, but to each their own, I guess? Still, I see these green-character patterns most often in red-focused stories, which is another reason why I avoid them. I’ve found a lot of green-focused content that strays from the abusive tropes I try to avoid. Considerably less than I’d like, but the greens are typically the b-plot pairing, so that’s to be expected. Personally, I’d really like to see more content with the greens finding some kind of inner peace, and recently, I’ve seen a few fics that have tried to tackle this concept.

And lol, if you’ve read some of my posts before, you already know that I think the blues are an underdeveloped fanon pairing. The fandom can’t ruin that pairing for me because it never does anything substantial with it.

Anyway, at the end of the day, I’m just personally not into the way the reds are popularly written, but I get why people are and that’s good with me.

#salty ask game #lisathefan #an ethical debate in MY ppg post??? It's more likely then you think!#long post #ppg pairings #and all my issues with them #also im a firm believer in the block button being your friend!

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adventure-hearts · 4 years

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( PART 1: DA + ASTROLOGY )

PART 2: DIGIMON ADVENTURE + MBTI

Taichi - ESTP Yamato - INFP Sora - ENFJ Koushirou - INTJ Mimi - ESFP Jou - ISTJ Takeru - ENFP Hikari - ISFP Daisuke - ESFP Miyako - ENFP Iori - ISTJ Ken - INFJ

Discussion and Commentary below!

If you’ve read some of my previous headcanons about the MBTI, and in particular this very popular post from four (!) years ago, you may find I’ve changed my mind a lot.

An important thing about this typology (or any other one, really) is that it’s quite easy to just look into some websites and make decisions based on the keywords used to describe each type. Which is what I used to do. Keywords are helpful to help us get the “basic picture” (hence why I quote them in this post), but now I believe that you have to read actual theory in order to understand the subtle differences between each type and make more educated guesses.

Since then, I’ve been reading more deeply into MBTI and the Functions. Consequently, the way I understand the MBTI has changed significantly, and so have my Headcanons.

It’s been particularly interesting to learn about the Inferior Function, or the “dark side” of each personality type. The more I read about it, it became surprising that how it seemed to describe most of the adventure kids’ characters arcs incredibly well. This is another reason why the combination Chosen Children + MBTI is such a fascinating and fun thought exercise!

It should be noted that different authors can have widely different interpretations of types, which is why, for the sake of simplicity and coherence, I’ve only read 3-4 main sources when preparing this post. And I tried stay away from popular MBTI websites and resources that exist around the internet, most which can have a slightly misleading/superficial vision of each type.

However, this doesn’t mean my HCs are “RIGHT” or that other people can’t have better ideas. I’m as biased about the characters as anyone else. I’d be very happy to hear alternative takes!

***

Taichi - ESTP Dominant function: Se

Flexible and tolerant, they take a pragmatic approach focused on immediate results. Theories and conceptual explanations bore them - they want to act energetically to solve the problem. Focus on the here-and-now, spontaneous, enjoy each moment that they can be active with others. Enjoy material comforts and style. Learn best through doing.

Taichi is pretty easy to type, and most ESTP descriptions fit him nicely. Thompson notes the archetype of ESTP is James Bond and Xena the Warrior Princess; I think the character of Taichi, who represents Courage, fits in the same tradition — a bold, impulsive, adventurous leader who is good at strategizing and is able to make though decisions, but is is also very charismatic and charming. Taichi’s tendency to become thoughtful, introspective, and indecisive under stress can be explained by the inferior function, Ni.

Yamato - INFP Dominant function: Fi

Idealistic, loyal to their values and to people who are important to them. Want an external life that is congruent with their values. Curious, quick to see possibilities, can be catalysts for implementing ideas. Seek to understand people and to help them fulfill their potential. Adaptable, flexible, and accepting unless a value is threatened.

By contrast, Yamato is always the most difficult to type! I ended up using INFP rather than INFJ, because I think it makes more sense for his dominant function to be Fi (introverted feeling): “Due to the introverted nature of Fi, INFPs’ status as feelers is not always evident from without. When immersed in Fi, they can seem a bit cool, aloof, or indifferent.“ (Drenthe). This type is pretty well representative of Yamato’s caring, passionate and caring side, and especially his conflict during Adventure is beyond, his search for self and meaning. Yamato’s more critical, aggressive, angry, and impetuous side is easily explained by him falling under the influence of the inferior function of this type, Te.

Sora - ENFJ Dominant function: Fe

Warm, empathetic, responsive, and responsible. Highly attuned to the emotions, needs, and motivations of others. Find potential in everyone, want to help others fulfill their potential. May act as catalysts for individual and group growth. Loyal, responsive to praise and criticism. Sociable, facilitate others in a group, and provide inspiring leadership.

Another character who’s relatively difficult to type. I see Sora as being in the middle of many of the Preference axis, hence why I initially typed her as something pretty difference different. But now I’m pretty convinced her dominant function is Fe, even though she’s probably only 51% Extroverted. She leans more towards iNtuition than Sensing: Sora’s definitely someone who can pick up things intuitively, especially when it comes to human relationships. So, ESFJ could probably work as well, but I see her as more of an NF type than a SJ type. Sora’s tendency to become hypersensitive, stubborn and withdrawn when under stress? That’s the inferior function, Ti.

Koushirou - INTJ Dominant function: Ni

Have original minds and great drive for implementing their ideas and achieving their goals. Quickly see patterns in external events and develop long-range explanatory perspectives. When committed, organize a job and carry it through. Skeptical and independent, have high standards of competence and performance - for themselves and others.

This is an example of how learning more about Functions made me change my mind! I believe Koushirou is the text-book definition of INTJ and the Ni function. Koushirou isn’t just someone who thinks — he creates knew knowledge and connects theoretical possibilities. One of the effects of the inferior function of this type, Ni, is an “Obsessive focus on external data”, which means that they can become obsessed with controlling small details, which is what Koushirou tends to do under stress.

Mimi - ESFP Dominant function: Se

Outgoing, friendly, and accepting. Exuberant lovers of life, people, and material comforts. Enjoy working with others to make things happen. Bring common sense and a realistic approach to their work, and make work fun. Flexible and spontaneous, adapt readily to new people and environments. Learn best by trying a new skill with other people.

Mimi is a rather obvious fit for this type, not only with her bubbly and happy exterior, but also her naïveté and compassion towards others (Crest of Purity).

Jou - ISTJ Dominant function: Si

Quiet, serious, earn success by thoroughness and dependability. Practical, matter-of-fact, realistic, and responsible. Decide logically what should be done and work toward it steadily, regardless of distractions. Take pleasure in making everything orderly and organized - their work, their home, their life. Value traditions and loyalty.

Jou’s type seems pretty straightforward. The characteristics of this type to fit him (and the Crest of Honesty) very well. The inferior Function of this type is Ni, manifested as impulsiveness and catastrophizing — classic Jou moves whenever he looses his cool.

Takeru - ENFP Dominant function: Ne

Warmly enthusiastic and imaginative. See life as full of possibilities. Make connections between events and information very quickly, and confidently proceed based on the patterns they see. Want a lot of affirmation from others, and readily give appreciation and support. Spontaneous and flexible, often rely on their ability to improvise and their verbal fluency.

Takeru is REALLY hard to type. Mostly because, just like his brother, he isn’t as transparent as he seems. Behind that charming, open, happy façade, Takeru runs deep. I ended up choosing ENFP is described as the most optimistic of all types (Crest of Hope), and they are very charismatic and inspiring as well. The “dark side” of this type can be hopelessness or depression (see also: tri. Chapter 3!)

Hikari - ISFP Dominant function: Fi

Quiet, friendly, sensitive, and kind. Enjoy the present moment, what's going on around them. Like to have their own space and to work within their own time frame. Loyal and committed to their values and to people who are important to them. Dislike disagreements and conflicts, do not force their opinions or values on others.

Hiakri is another one whose type isn’t obvious, but maybe for different reasons than the other characters I hesitated about — we just don’t see enough of her. I think you can make a strong argument for her being an Intuitive type, but ultimately I think Fi represents her better.

Daisuke - ESFP Dominant function: Se

I know it’s reductive to say Daisuke and Taichi have different personality type, but that’s easy to understand if you see them as being in different stages of type development.

Miyako - ENFP Dominant function: Ne

I’ve always thought Takeru and Miyako are pretty alike, hence why I think they would both fit this type.

Iori - ISTJ Dominant function: Si

Again, Iori and Jou are pretty alike, although at different stages of their personality development. I could see Iori a ISTP/ISTJ, too — to be fair, I haven’t made up my mind totally about him.

Ken - INFJ Dominant function: Ni

Seek meaning and connection in ideas, relationships, and material possessions. Want to understand what motivates people and are insightful about others. Conscientious and committed to their firm values. Develop a clear vision about how best to serve the common good. Organized and decisive in implementing their vision.

I’m just going to go and give Ken INFJ, although I’m not entirely sure it is the best fit. Ken is incredibly complex, but Ni seems to describe him fairly well. And certainly, the “dark side” of Ni, Se, can very well explain why Ken developed his Digimon Kaiser persona.

BONUS

A brief summary of the 8 Functions:

Introverted Intuition (Ni) collects conscious and subconscious information, and then synthesizes it to produce convergent impressions, insights, answers, and theories. It sees deep causes, patterns, and laws underlying sense data. It is characteristically penetrating and insightful.

Extraverted Intuition (Ne) surveys and creatively recombines a breadth of ideas, associations, patterns, and possibilities. It is characteristically innovative, divergent, open-ended, and non-discriminating. Outwardly, Ne users may present as scattered, random, quirky, witty, and ideationally curious.

Introverted Sensing (Si) retains, consolidates, and recollects historical and autobiographical information. It attends to and draws on a concentrated body of past experiences, routines, and traditions (i.e., the “tried and true”). It forgoes the constant pursuit of new or broad experiences, finding safety and security in stability and consistency. It also surveys inner bodily sensations.

Extraverted Sensing (Se) seeks extensive outer stimulation in the “here and now”—new sights, sounds, tastes, experiences, etc. It is open-ended and non-discriminating with respect to new experiences. It can also be associated with image-consciousness and observation skills, displaying a keen eye for detail. Outwardly, it may manifest as a recurrent desire for activities beyond talking (“Let’s do something!”).

“Introverted Intuition (Ni) collects conscious and subconscious information, and then synthesizes it to produce convergent impressions, insights, answers, and theories. It sees deep causes, patterns, and laws underlying sense data. It is characteristically penetrating and insightful.

“Introverted Thinking (Ti) utilizes deep and nuanced logic to examine techniques, problems, concepts, or theories. It seeks self-regulation and self-optimization through the development of personal skills, methods, and strategies. It takes a skeptical and reductive approach toward knowledge.

Extraverted Thinking (Te) uses explicit logic, including standardized methods, measurements, policies, and procedures, to make systems and operations more rational, efficient, or effective. This often involves working as part of an institution, be it corporate, scientific, academic, etc. Outwardly, Te delivers opinions and directives in a firm, direct, measured, and unemotional fashion. It may at times be perceived as harsh, tactless, or unsympathetic.”

“Introverted Feeling (Fi) explores and refines personal tastes and feelings, contributing to a strong sense of personal uniqueness. It is self-regulating and self-controlling, working to maintain inner emotional and moral order. It may also emotionally invest in a limited number of love objects, be they persons, animals, hobbies, or causes.

Extraverted Feeling (Fe) surveys a breadth of human emotions, values, and morals. It strives toward interpersonal rapport, consensus, and continuity. It can also be associated with effective communication and social intelligence, facilitating growth and transformation in others. Outwardly, it delivers opinions and directives in a direct yet tactful way, often with a sense of emotional urgency and conviction.

in My True Type, A.J. Drenth

MBTI RESOURCES

A.J. Drenth. “My True Type”

Lenore Thomson. “Personality Type”.

A.J. Drenth. “The 16 Personality Types”.

The 16 MBTI® Types https://www.myersbriggs.org/my-mbti-personality-type/mbti-basics/the-16-mbti-types.htm

Naomi Quenk, “Was That Really Me?”

#series: typing the chosen #digimon #headcanons #personality types #mbti #sorry but Tumblr formatting is a MESS;;;; I hope it's more readable now!

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visionaxry · 3 years

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Emily in Paris is tres terrible

If for some reason you decided to check out the new Netflix show Emily In Paris, DON’T. Go watch The Devil Wears Prada instead. It’s practically the same thing, only in the latter you actually get good performances and character depth.

Coming into this show I was expecting a cute heart-warming story. 10 minutes in I thought how great it would be to watch a show about a woman figuring out herself and her work life in a new country. And then all my hopes went down the steaming bidet once Gabriel opened his door.

Emily in Paris truly tested my gag reflex, and here’s why.

First of all, the premise of somebody going to Paris – “a perfect romantic city” – is so overused and unrealistic. Paris sure is pretty but it’s also dirty, polluted, and has more than 29 thousand people sleeping in the streets. But of course Emily lives in some parallel universe where Paris is apparently Paradise. Idolization of anything, even a city is harmful. So this “perfect” Paris is not apreciated.

The Instagram followers ridiculousness. There’re actual people whose job is to promote Instagram accounts, you don’t become an influencer overnight by posting a pic of you eating un pain au chocolat (which is just bread with chocolate, stop creaming your pants, Emily).

On top of that, the abundance of French stereotypes is exhausting. Too hard to write complex characters and present actual reasoning for their actions? Don’t bother, just put every French cliche you’ve ever heard of.

And that chambre de bonne is just ridiculous. Who knew that maids used to have such big apartments? (By the way, you can see a more realistic room that you could get in Paris in the movie Monte Carlo. Ah, such a good movie.) The creators were going for an aesthetic, thus missed an opportunity to show Emily struggling to adjust to her new life. It’s quite impossible to believe that Emily’s going through a rough time when her life is seemingly perfect, and any inconvenience doesn’t affect her at all.

The ex. It’s very typical to introduce a romantic partner of the protagonist at the start of your story and not give them enough depth, so that the audience doesn’t get attached to them and the inevitable break up brings relief. Now they can root for the protagonist to get together with the planned love interest. Yay.

However, this structure might work for a movie, but when you have 10 episodes to flash out your story and therefore the protagonist, wouldn’t it be better to use this opportunity to develop the secondary characters? Not for their own sake but to develop the main character through them.

Every character you spend some time on should play some important role, right? Otherwise why should we bother watching their scenes. Shouldn’t the current boyfriend of the main lead tell us something about the protagonist? Like, why did the main character choose to be in this relationship, what do they see in their partner and therefore what qualities do they value in people? How do they act in personal relationships? What role does their partner play in their life?

The main character is dull and unrelatable with zero character development. A conventionally attractive privileged white woman whose biggest struggle to overcome is her coworkers not being nice to her straight away. We’re constantly told that it’s hard for Emily to adjust but it’s never shown. In fact everything solves itself rather smoothly, carrying no repercussions for her.

With such an unlikable selfish protagonist you find yourself more interested in secondary characters. It actually feels like we get to know Mindy and Camille more. Compared to them, we know nothing about Emily’s family relationships or literally any backstory on her. Who is Emily? Why are we following her? Why should we care? What is her inner conflict? Oh right, she has none. Because by the end of the show she stays the same exact character that we met in the beginning. If Emily’s experience does not influence her at all, why should it matter to the audience? And what is the point of telling this story?

Feminism: the lost potential [episode 3]. “Non, Antoine. Sexism isn’t sexy. Shut the f*ck up.” That’d be enough for me from such a bland show. But no, we’re left with an ambiguous conclusion, when Emily doesn’t disagree with Antoine’s perception that women enjoy men’s unsolicited attention. And then this topic is not discussed again. Thanks for that, Emily in Paris. How about next time (which will hopefully never happen) you either have the bravery to actually speak on the issue and educate people or at least do not cause more damage.

Finally, the most annoying plotline that decidedly ruined the show. Did you ever watch a movie, and there’s a couple that you love, but you feel like something’s missing? So, you just think “I wish some cheating was involved”. If you actually do think that sometimes, media content has tricked you into thinking that cheating is sexy and exciting, when it’s actually destructive and disgusting. THE CHEATING. Stop normalizing it!!! Enough. It always takes away from a relationship. And we’re tired of seeing it. Give us some healthy couples. And if you think they’re boring, you just don’t know how to write them. If you get rid of the cheating plotline, the show becomes slightly bearable. It’s still boring and irritating, but at least it’s not as problematic.

Anyway. Similarly, to how “Enola Holmes” should’ve been a series, this show should’ve been a movie. There was no point of dragging out this – I want to say – story. Because nothing happened. Was there a big revelation in the finale, that we were led up to? No. Did Emily learn anything thanks to her “journey”? Nope. Was it just 5 hours of her hooking up with unremarkable men who all look the same, while being a terribly arrogant person? You decide.

#emily in paris #tv show review #tv show rant #netflix tv shows #netflix emily in paris #worst tv show #shows i hate

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traincat · 4 years

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I like MCU Spider-Man, but I agree with nearly all of your critiques. The 3rd film will have the same director and writers, so I don't expect the problems to be fixed, but I'm curious: do you think MCU Spider-Man is salvageable? If you could be completely in charge, how would you write the story and fix the problems?

Yeah, I don’t really expect the problems to be fixed in the third film, no matter how many times they promise it’s going to be something “different.” If I’m honest, besides the incredibly weak scripts, I think a big part of the problem is that Jon Watts is a bad director for a Spider-Man project. Which, to be fair, I think is actually why he was hired – he’s got a pretty short list of credits under his name. I mean, “Cop Car”? “Clown”? Nothing about his repertoire suggests he was going to give the studio the kind of artistic pushback they have a history of receiving from their more experienced directors. He’s basically the director version of Jell-O – easy to mold and bland to boot. The perfect guy to direct a car commercial I mean mainstream superhero film.

This is actually part of the reason I’m disappointed that the Sony-Marvel rights deal ended up sticking after all. I think that if the film rights had reverted entirely back to Sony, there might have been some damage control. We know that they intended to keep Tom Holland, if not the whole cast, for at least one more movie even if the rights had reverted entirely back to Sony so I don’t really get what the raising of arms was about. The rights reversion would’ve cut the apron strings with the rest of the MCU which would have been good, forcing both this Spider-Man to stand on his own two feet within his own narrative and also forcing the movie to focus solely on Spider-Man and on his cast. Sony’s recent Spider-Man films as of the time of writing this (I no idea what the hell they’re gonna do with Morbius and I don’t really care) have dealt with some element of “corporations are evil” – Oscorp pulling the strings in TASM/2 and Venom’s whole entire deal – and I would really like to see this version of Spider-Man be thrust into a plot where that’s the reality and that’s something he has to deal with and where he’s actually forced to defend normal people not just against a costumed villain with a grudge but against an entire system that is set up to exploit and abuse the vulnerable. I think that would have gone a long way towards if not fixing the damage inflicted upon the narrative, then at least course correcting it for the future. But that’s not happening now so whatever.

I find it kind of hard to think of what I would do if I was handed complete control of MCU Spider-Man with the caveat that I had to go forward using the two previous films as my background just because I dislike so many of the choices they made so much. On the other hand, I do like money and inflicting my own opinions on a captive audience, so. I think I would want to scale back the stakes a lot – keep Peter in New York for the entirety of the movie’s plot and film mostly there if at all possible. I would want to cute the ties to all Iron Man cast members so sorry, Jon Favreau, but you’re out, while at the same time redirecting the film’s focus into something more oriented in Peter’s civilian community. Bringing in a character like Leo Zelinsky, a Holocaust survivor who works as a tailor specializing in super-clients, would be a really good way to give Peter and the audience a personal connection to Peter’s Queens community while also tying this Peter back to the Jewish subtext of Spider-Man, and it could work in a plot where cut the Iron Man cast – this Peter isn’t an experienced craftsman when it comes to creating his own costume, so bringing in Leo Zelinsky would make sense, and a costume created by the both of them could be quite meaningful if it was played out well.

I would definitely want to give May Parker much more screentime and rework her relationship from the “big sister” role (the writers’ words, not mine) to that of Peter’s mother, someone who realistically worries about the dangers of Spider-Man but also provides a strong moral backbone for him. I’d want to establish the exact circumstances of Ben’s death – I don’t know exactly what I’d do, but given this Peter’s development has failed to track with most other Peters I would definitely want to switch Ben’s death up somehow to kind of shed some light on that. Peter and May would have to talk about him. I would definitely want to bring Peter’s classic college friends group closer together, starting with Peter and Flash since I really like Tony Revolori as an actor. I find this MJ to be an incredibly inscrutable character, and not in a good way, so I’d want to shed some better light on her, her family circumstances, and what makes her tick. I’d bring Liz back and give her some of her comic counterpart’s fire (perhaps literally, given Ultimate Liz’s Firestar status) and also I’d get Betty’s actress a brunette bob stat. There would definitely be a bigger focus on women and on Peter navigating complicated friendships with women, not just letting him have a romantic interest and that’s the end of that. I’m very conflicted on what to do with Ned Leeds because I think Jacob Batalon has some of the best screen presence of that cast, but I find it hard to get past the “Ganke Lee with a minor Peter antagonist’s name pasted on him” aspect of the character. Honestly? I might rework Ned’s role to go full villain, skipping directly to the Hobgoblin with the shadow of the Green Goblin and the Kingpin behind him. That would solve my problem of wanting to give Batalon massive amounts of screen time and a big role but absolutely detesting the reworking of Ned Leed’s into the best friend sidekick position. I would say I’d want Ned to then have a romantic subplot with a young Richard Fisk, who would be here for some reason (it’s not like it’s the worst continuity crime the MCU would have ever committed) but I don’t want yet another Disney’s first ever gay character spotlight moment to be given to the villains, so. It would take some finangling. Maybe I would reinvent Aunt May’s one time fiance Nathan Lubensky as a woman so we’d have some nice balance.

And we defend not one single bank within the movie.

Alternatively, I go mad with the power and reveal that this entire cast is made up of clones created by the Jackal, thus explaining all the Ben Reilly-inspired costumes, and subject everyone to my five movie Clone Saga adaptation dreams.

What I would really want to do given full creative control and being told I could wipe the slate clean and restart Spider-Man within the MCU, no questions asked, would be to have Peter as a retired superhero who was active underground years and years before Iron Man or the Avengers were ever on the scene, and have his daughter Mayday be the young teenage Spider-Man of the MCU, someone fresh and new who carries her father’s legacy while living in a world saturated by the Avengers legacy.

Or I’d just kill Peter and bring in a great team to do a Miles movie. I maybe think about this theoretical where I can get my claws into things a lot.

#*replies #traincat talks comics #traincat talks homecoming #mcu critical/#Anonymous

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battlestar-royco · 5 years

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let’s talk about tropes

here’s a little (little?!) post on tropes, as promised!

some tropes i hate and why i hate them

love triangles: this one’s pretty simple and obvious. love triangles are unrealistic and toxic. they romanticize emotional cheating, and they cause nasty ship wars in fandoms, especially when two of the points in the triangle are women. often, the “losing” point of the triangle is a one-dimensional throwaway character who either gets killed off or accepts their fate and steps back for the “winner” to take over. this dynamic can get especially problematic when the “loser” is a woc and the “winner” is white, when the “loser” is an lgbtq+ character, and/or when the “loser” has no purpose other than to create drama for two other fleshed out characters. the character often ends up being hated for bad writing and “getting in the way” of the endgame ship. yikes. the only valid resolution to love triangles, imo, is a polyamorous relationship!!!

girl hate: it’s rare to see nice friendships and romances between women, and often this trope is used to drive an unnecessary wedge between two female characters who would have otherwise been great friends. i don’t mind when two women/girls are in conflict with one another for an interesting reason, but i absolutely hate when the conflict is based on something stereotypical and boring. the “girl hate” conflict is always based on something misogynistic, unrealistic, and/or stupid--like a man, looks, sexual practices, or a contrived competition. this is especially gross when the men in the story act as the voices of reason in the conflict, patronizing the women and teaching them how to be nice and use logic.

“strong female characters”: many writers mistake “strong” characters for characters who employ violence, sassiness, and masculine attributes to get what they want. I’m so over it. all I want is nuanced representation of women that doesn’t reduce them to a love interest or a sex object who looks down on other women. strength comes in many forms, and everyone defines it and identifies with it differently.

miscommunication: this has to be one of the laziest forms of prolonging drama, when two characters are fighting because of something that could easily be solved if they were locked in a room together for five minutes.

incest/incest-adjacent romances: this should go without saying, but we’re for some god-awful reason going through a period where incestuous relationships/fake-outs (ie, you’re in love with him? too bad he’s your brother. oh wait, it’s revealed that he’s not!/you two are blood related but you either never met or you went through a period of separation, so that means you can fall in love) are heavily romanticized or used to create extra drama, and it’s just unnecessary and not cute. i think authors use this to add some sort of edge or uniqueness to their writing, but it’s just so toxic and a complete turn-off for me.

aesthetic oppression: (term inspired by and similar to “aesthetic conflict,” thanks kat) when an author throws in some sort of oppression that is experienced by people in real life, but they either don’t address the oppression thoroughly or they only use it to add some sort of edge to their story and further a character’s romance, death, redemption arc, etc. for example, the homophobia in GOT season 6, which reduced loras to a walking stereotype of a gay man before he was subjugated by the church sept and blown up, and the patriarchy in ACOTAR that only exists to show how feminist rhysand is.

boys/men fighting, having tantrums, or expressing themselves through violence: it’s fine for male characters to fight every once in a while, but i just hate that this seems to be exclusively employed with male characters and it is used as a solution or reaction to problems when realistically, men are much more nuanced. men cry. they might be alone or in front of others. they might cry into their pillow or on a friend’s shoulder. fictional men add violence and anger to their sadness because the authors don’t want to emasculate them, but that’s a stupid goal and crying doesn’t affect someone’s gender. smashing your belongings when you are upset is unhealthy and potentially dangerous, and so is physically fighting others over trivial or patriarchal issues (ie a woman) when conversation could be/is probably much more compelling and effective. it’s important to show men that anger isn’t always the first emotion to feel under duress and that they don’t have to express their feelings by punching walls or throwing their belongings across the room. (also?! practically? YOU’RE RUINING YOUR OWN FUCKING STUFF AND/OR YOUR ROOMMATE/FRIEND/PARTNER’S STUFF, YOU ASSHOLE.)

sexy immortals: immortality can be used in clever and entertaining ways, but i feel like a lot of the immortals i’ve been seeing lately run in the same vein as the twilight vampires, which is to say: unearthly beautiful (aka conventionally attractive), overly sexy (aka stalking a love interest for the sake of “attraction”), apparently 16-25 years old (aka accessible to grown women who read/write ya).

uninvolved parents or non-existent guardian figures: sometimes young characters don’t have parents and that’s fine; some of my favorite books are about characters with one parent or no parents. but i still feel like we’re coming out of a period where it was very popular to kill off the parents (especially moms) at the beginning or before the story starts. i really want to see more exploration of characters with parents, or at least see the characters without parents make significant relationships with adults or react appropriately to the loss of their parents.

one-off character deaths: when a character enters one chapter or episode of a book/show just to immediately die for cheap emotional manipulation. this character is also sooooo often a marginalized person, and it’s super predictable and tired. try harder, author/screenwriter!

some tropes i love and why i love them

special snowflake/chosen one: I can’t explain it. I know it’s so cliche and one of the most hated ones out there, but I love when this trope is done right. I’m not a big fan of the chosen ones who have a special destiny, especially if the mc is a white boy, because that’s been done a million times before. but I’m a sucker for that one character who comes upon an unexpected special ability/object/creature or connection to a force of good/evil/nature and has to contend with that. They’ve been Chosen and they’re completely unprepared, and it’s gonna change their life trajectory and relationships and maybe even political climate.

woobies!!!: I feel like this trope is so underrated and it’s one of my favorites of all time. I absolutely love rooting for that one character who’s too good for any of the shit they’ve been through and Deserves Better^TM, but they manage to survive and grow against all odds.

found family: i love that authors are expanding the concept of family and unconventional narratives about love. the found family trope is so charming and relatable to many readers, and it’s great to see seemingly contrary characters come together to find a loving home together that isn’t necessarily romantic.

soft characters: it’s rare (though increasingly less rare, fortunately) to find soft boys, aka male characters who are compassionate, funny, kind, pensive, and/or quiet instead of brash, loud, violent, and angry. i know so many boys and men who fall all along the spectrum of masculinity, and it would be great to see more characters who represent that, especially because male characters are typically forced to express their masculinity in one way. i also absolutely love seeing women being equally as soft and kind--with the exception of ASOIAF!sansa, i feel like this kind of character has been cast aside for the sassy, rebellious, empowered^TM female character who isn’t like other girls and wields a bunch of weapons. i’d really like to see more female characters whose strengths come from empathy, intelligence, and emotion.

unique relationships within a friend group/ensemble: this one is marginally related to my love of found families. not only do i really like tight, strong friend groups, but i also like when each of the friends within that group has a different and compelling dynamic (hostile, romantic, friendly, tragic, whatever may have you) that can carry a scene or an arc. unique relationships between all the characters in an ensemble adds so much dimensionality to a story.

complex guardian figures: this mostly applies to ya, but i think it can also be said for many adult books and tv shows. adult characters often get flattened or sidelined for romance or action plots when in reality almost everyone has parent/guardian relationships, and these relationships are the source of so much complexity. that complexity may mean love, found family, anger, patronization, manipulation, and more, and all these things will be expressed differently based on the characters in question. for example, look at the difference between eleven and hopper from stranger things and harry and dumbledore from harry potter. hopper and dumbledore are so different and each of them carry darkness and baggage that comes out on the kids for better and worse. bonus points if the guardian is a woman, because these types of relationships between girls and women are relatively rare to the ones between boys and men.

anti-heroes/anti-villains: i think this is another one that goes without explaining. we’re all the hero of our own story, after all. if an author can successfully convince me to root for a character who i know is wrong but believes they’re in the right, or for a character who does the wrong things for the right reasons, there’s a good chance that i think very highly of that author.

stoic, bitter, angry characters: if there’s one character in the ensemble who has any of these traits, there’s a good chance they’ll be my favorite, especially if that character is a woman. usually this character’s journey is about what makes them vulnerable and how they become close with the most unlikely companions or form a special relationship with a foil character. it makes the audience feel like we’re being let in on a secret, specifically about that character.

and that’s about it! my inbox is always open to talk more in depth about any of these and more, so let me know. thanks so much for 700, you all are great :D

#maxine talks tropes

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blinkingstardust · 4 years

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thinker

[tw: death, suicide? idk how tws work]

i'm a thinker, so i used to think that thinking is the solution to just about everything.

it makes sense. the more you think, the sooner you'll find a solution that makes sense, a solution that has most pros and least cons, a favourable solution. and most of the time people end up in a completely horrible situation that could've been avoided, had they choose to stop for a moment and think out the entire situation. then again, for people who aren't just natural thinkers, like i am, they'd say that "everything is easier in theory than in practice," which by theory i am sure is true, but i have never tested myself in practice.

then again perhaps that is also the case when it comes to these seemingly avoidable catastrophes in life—perhaps it is because i have never faced such a conflict, that i have never for a moment believed that not everything can be solved with thought. i'd like to think that it's the reverse—i have never ended up in such situations because i use thought, but even i know as a thinker that the theory isn't valid; so much factors come into play in regards to how irregular, out of the ordinary situations occur in our lives. in other words, there are many external factors contributing to the situations i end up in, not merely my thought processes.

so my current stance in life seems to be that i just haven't been hit with a large enough force to truly test the hypothesis that problems can be avoided by thorough planning. regardless, being the semi-realistic person i am, i spend my life planning to avoid these so-called disasters. i learn about everything—from science to humans, to understand the things that pose as risks into my life, so that when the time comes where i have to face something threatening my safety, i'd be able to fight it off. i know how to spot the right people to hang with, so i don't end up being betrayed or being heartbroken by some worthless man. i know what to do to prevent common diseases, and i know to resist impulses such as binge shopping, so i can save money, and drinking, so i don't die early in life. most of all, i learn how others live, so i won't have to repeat the same mistakes people made. and in comparison to these lives i've read about, 17 years is a considerably long period of time to have lived without facing a major disaster caused by my lack of thought.

i'm not quite sure, though, whether 17 years is an extremely late period of time to realise that i haven't been alive at all.

according to some accounts of science, you begin to die right after birth. biologically, the average lifespan of our cells is about 7-10 years, but the shortest lifespan of a cell in our body can be about mere hours. scientifically, the official age our bodies are considered to start dying begins at 25, because before then the rate of cell growth exceeds cell death. by this standard, me being at the age of 17 means that i haven't officially started dying.

but lately, it's been starting to feel a lot like i'm dying, even to a physical extent. and it has little to do with the coronavirus lockdown. in almost every aspect of my life i'm doing fine—i have no major health issues, i have a pretty content family, a decent amount of friends to rely on, grades that i can get by with, and beginning recently, regained freedom to roam around the country, meaning a nice, independent life. with the gadgets i have and the money i save, i have enough to entertain myself during the holidays. but even so, it feels so empty. i spend my days lying on my dorm bed, which feels so much more like a deathbed these days, thinking of how to remain alive, but not doing any of the things i know i should be doing.

and by this i mean: i should be cleaning my room, at least once every two weeks, windows opened, laundry done, taking care of my hygiene, and subsequently, my health. but i haven't touched the vacuum cleaner in two months, the furniture's piled with dust, as if no one's lived in the room for years, the laundry basket overflows with clothes worn without being washed in weeks, the window never being opened that it's killed even my resilient succulent, the bedsheets as it were months ago, never been changed. by this i mean: i should be taking care of my food intake, eating as much vegetables and fruits, taking vitamins, and watching my carb intake, exercising regularly and sleeping at the right time to maintain not just my physical, but mental health as well. but i order takeout every other day, and when i don't, i eat instant, processed food, consume an abnormal amount of caffeine and milk day and night, never touching the vitamins placed on the nightstand right next to the bed, eating too much at once then some days, not at all, sleeping more than half a day then, in a day, less than three broken up hours of sleep, and when awake, never moving the body other than to go to the toilet. by this i mean: i should be maintaining an active daily routine through which i continue to pursuit mental challenges, and artistic endeavours to keep my brain alive, making use of the free time i have to take some classes to reduce the study load of the future, to read the books i don't have time to read in school, to write stories of ideas i think in the shower, to sing and dance, and even rap, the songs i listen to daily, to draw the people i love, to speak of the things people need to hear, to even design a house, or dress up avatars, feeding off my favourite aesthetics, anything to keep the brain alive. but i do none of these, even when i have my laptop, my ipad with the corresponding apple pencil, my papers and pens, my phone, my newly and impulsively bought nintendo switch, my books, all placed around me, i don't make an effort to open the apps i need, don't make a single effort to use my brain, use the creativity, and keep it running, instead i lie on my bed for hours, just thinking, thinking of what i should do and what i shouldn't do and not actually doing it, and looking at the full length mirror next to me and realising just exactly how brain dead i look, and that it's only about time that the body follows suit.

and many of the times i spend just thinking, i find myself conjuring ideas in my head, wishing for myself to be not thinking. i find myself wishing to feel, without thinking of the consequences, without considering all pros and cons of the situation, just going with what i feel. i want to fall in love with the wrong person so wholeheartedly, even if everyone around me argues that said person will inevitably break my heart. i want to go to the club and dance like there isn't a tomorrow, sing my heart out, drown my throat in burning liquor and perhaps in someone's tongue, only to wake up with no memory of the previous night in some good looking stranger's bed. i want to waste my money on a good camera, plane tickets to countries in various continents, take beautiful pictures of the scenery and of friends who may not stick with me for more than a year, and feel the pride off the pictures i take, and have pictures taken of as well so i can post them in my social media and have people see how beautiful of a life i have. i want to be openly rude to people who disrespect others, look down on condescending people, and land myself in prison for confidently leading a movement standing up against prevalent derogatory beliefs, and again for hacking into rich people's accounts to redistribute the wealth. i want to spend the nights in the beach, regardless of curfew, staring at the starry expanse of black, with people i care about and people who care about me, shouts echoing over the deep blue, gathered around the blazing red and orange of the campfire, pouring every feeling we've ever felt, in laughter, in tears, in anger, in fear, as humans. i want to be struck by lightning, hit by a bus, fall from a building, faint from the heat, shot by a bullet, and land in the hospital, few seconds from death, and be given a stronger reason to appreciate the life i have. i want to feel human. i want to live for once.

i keep waiting for something, or someone out there to bring about these changes to me. i'm tired of waiting. i want to start feeling instead of thinking. but as much as i want to do something about it, it's too late—my brain has eaten out most of my heart, and i don't know if there's anything left of it. i can't cause myself to feel anything anymore, the only feelings i feel left are fatigue, tiredness, emptiness. a shell of a human.

i'm starting to think that the only thing that'll end my endless train of thought is when i finally stop breathing—but i don't feel scared. i can't anymore. if anything, i await the day.

—

//broke my writing streak (and, simultaneously, my animal crossing streak, and my normal functioning life in general) and have been so... lifeless in a week so maybe writing this may bring about something

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cam-the-orange-cat · 4 years

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A Master-Guide for Overcoming Writer’s Block

Writer’s block is the woe that befalls every writer at some point. To overcome writer’s block, however, you must identify the source of the blockage. This guide will go over common reasons writers find themselves stuck and will offer some simple suggestions that can help. Although suggestions are catered to each problem, don’t hesitate to mix-and-match possible solutions; everyone is different.

The Common Blocks We’ll be Overviewing:

Problem vs. Solution

Fear & Doubt

Perfectionism

Boredom

You Have No Ideas

You're Easily Distracted

Procrastination

Problem vs. Solution

You’ve crafted an incredible conflict, a far-reaching problem that your protagonist must solve. Then you realize: you must solve it. Or you’re making progress in your first or second draft when you discover a plot hole. It’s not something easy you can cover over with a rug, it’s something you wonder you didn’t see sooner and are now overwhelmed with how to fix it and still preserve your progress. You have “painted yourself into a corner” and now you have to paint yourself out.

How do you overcome this block?

Take a shower.

Take a nap

Go for a walk.

Or — as Margaret Atwood recommends — iron some clothes.

Repetitive, mindless activites seem to work best for stimulating the mind. Most writers can testify that taking a shower is a magnet for interesting ideas. The more mindless, the better.

Exercise gets new chemicals flowing through your brain; showering stimulates new senses; ironing is a hands-on-activity with a bit of danger involved — these are palate cleansers for your mind.

Sometimes this sort of block requires doing additional research for your story.

Maybe there’s something in mankind’s military history that can help you solve how your protagonist’s army is to cross the uncrossable river. Maybe there’s a modern-day cure that would work against the disease you made up, and it has humble origins your protagonist can discover. Maybe your protagonist will lose this battle, but go on to win the war in a way you hadn’t considered before.

Fear & Doubt

The blank page mocks you. And the mockery hits a little too close to home. You’re afraid of criticism, you’re afraid of not doing the story justice, you’re afraid you’re not actually a good writer at all — you’re afraid you’re a fraud.

The sucky part is, some of that is true. First drafts do tend to suck. There will be people who don’t like what you write. But what is absolutely, definitively not true is that you’re a fraud.

You’re a writer.

You are a writer.

Say the words aloud. Say them again. Say them louder.

You are a writer.

Now, how do you overcome this block?

Free write

Write stream of consciuosness

Brainstorm ideas in bullet points

Work on a writing-prompt for five minutes

Try your hand at a whole new genre or category

Whatever you do, write. Practice makes perfect, and practice is also the best way to conquer Fear and Doubt. Refuse to give Fear and Doubt power and soon Fear and Doubt will stop pestering you.

Interestingly, the antidote for Fear and Doubt are similar to the antidotes for Perfectionism, writing’s most infamous villain. The next subheading, however, will go over this particular monster in more detail.

Perfectionism

You’ve been crippled by your own standards. Your story just doesn’t make sense. Your characters don’t feel right. Your writing sounds atrocious.

At least, that’s what you keep telling yourself.

Perfectionism is a choice. We choose to criticize ourselves until we’re beaten to a bloody pulp and have no will left to go on. We run ourselves through the consequences of this headspace and, despite how painfully frustrating it is, we don’t let ourselves escape.

Fear and Doubt grow from perceiving unrealistic expectations of perfection from others and being afraid of not measuring up to that standard. Whereas Perfectionism is not a fear of external criticism, but is a person imposing an unrealistic desire to be perfect unto themself. This is why Perfectionism is a cycle that cannot be broken by friends and family reassurances that you are, in fact, a great writer. You, and you alone, are holding yourself back.

In order to break free from Perfectionsim, you must accept that your writing will never be perfect. Let go of the ideal of perfection. There is no such thing as the perfect story. Writers are imperfect people as is everyone else — even the holy god of fantasy Tolkien was human. And because we are imperfect, so too is our writing.

Acceptance is not begrudging. Acceptance is contentment with the present.

So, how do you find contentment in imperfection?

Read bad books. Make fun of them, laugh at them — enjoy them. See how beloved these awfully written books are and embrace the idea that you don’t have to be perfect. You, as you are, are more than enough.

Write badly. Do it purposefully. Research overused cliches and tropes and then write them as awfully as you can.

Then, share how bad it is. Laugh with your friends and family over it.

Most of all: don’t compare yourself with others. Admiring and learning from other creators and their work is healthy. Comparing yourself with them is never healthy.

Now that you’ve faced your fear of imperfection and realized how fun it can be, writing won’t seem so daunting. Free flowing creativity relies on realistic expectations.

Boredom

You are no longer excited about writing. You’ve been working on this story for too long. You’ve been dragging yourself through it. You don’t want to give up, but this is becoming a chore. Or you love this story dearly, however writing in general has become a chore. You’re just plain bored, but that’s something you don’t want to admit because losing your passion for writing feels like your first death.

First: it’s entirely possible you have moved on from writing. That is not a bad thing. Far from it, in fact! If you’re bored, your feelings are telling you this isn’t the right fit for you right now — so try new things! Maybe, after a while, you’ll get that zeal for the written word back. Maybe not.

Don’t become discouraged, though; your time as a writer is not invalidated just because you’re not writing currently. You were a lovely writer. You have written much. Don’t be hard on yourself, but give yourself a pat on the back. You have enjoyed a very turbulent and difficult hobby for likely many years! That is something to smile fondly upon.

If, however, the above sentiments don’t settle in your stomach very well:

What can help you overcome this unending boredom?

Hands-on activities are good at jumpstarting the creative battery:

Play — play a board game with friends, play an RPG video game, build a lego house, mold with Play-Dough.

Apply your creativity to a different outlet — follow a Bob Ross tutorial, cook a new recipe or decorate a cake, crochet a scarf.

Change is a good stimulus for your mind:

Change your environment. Try going to the park and writing. Go to the library. Go to a room on the other side of your house.

Change your medium. If you often write on your computer, try handwriting; pick out a nice notebook and use a smooth-flowing pen. If you often handwrite, try typing; explore different word processesors, like Microsoft Word or Google Docs.

Listen to music or a podcast as you write. Or: if you often listen to classical, try rock. If you often listen to a podcast about true crime, try a comedy channel. Or listen to absolute silence.

You Have No Ideas

This is the essence of the blank page fear. It’s not self-bout, it’s not perfectionism, it’s not a plot hole you’re trying to fill. You simply have nothing to write. You are uninspired.

How to overcome this blockage:

Read good books. You could even study literature: follow along with Shmoop as you read Solaris; Sparknotes as you read Hamlet; or Cliffnotes as you read The Life of Pi.

Research writing: there are many books, websites, blogs, and services that offer advice and tips on writing. Whether you can afford the hefty $180/year subscription to MasterClass, or you’d prefer borrowing a book from your local library, learning something new about your craft could get your brain back to storming.

As a writer, it is your first and primary responsibility to live your life. Creating your own experiences is the best thing you can do for your writing. You write what you know — so try new things!

Spend time with friends: chat over the phone, play Jack-Box over zoom, or (when circumstances safely allow) get coffee at an obscure coffee shop.

Play with your pet; brush your dog’s teeth, or try giving your cat a bath (it will at least be entertaining for those around watching you).

Pick up a new hobby: painting, drawing, cooking, sewing, running, biking, hiking, gardening, dancing, guitar or piano, darts, soap-making, scrapbooking; here’s a list you can browse through.

Introduce yourself to a stranger (not online) — make friends with the person ahead of you in the grocery store line. Characters come from someplace real, so meet more people!

You’re Easily Distracted

It feels like there’s a toddler in your head, and the little devil is hell-bent on driving you absolutely mad. What’s that song on the radio? Let me look up the lyrics and follow along with them for an hour on loop. What’s a synonym for epitome? What’s a synonym for essence? — Extract is a movie? Let’s watch it.

I personally feel for writers who struggle with this block. We hear time and time again: just limit your distractions! Or try this new web-browser or add-on!

But I don’t have the money to spend on a weird looking typewriter or a monthly subscription for a browser add-on. And far from it will either of those options save me from the toddler in my own mind! The typewriter doesn’t stop me from feeling like eating some ice cream. The browser add-on doesn’t keep me from scrolling through Instagram on my phone.

I have Good News, though: We’re not a hopeless case.

And no, this isn’t a self-discipline issue. As someone who grew up with an impulse-monkey of their very own running rampant inside their head, I’m still an industrious and ethical worker.

So what’s the secret to overcoming this block?

Self-compassion.

Instead of shaming and punishing yourself for falling down the YouTube rabbit-hole, take into consideration the toddler when you first approach a task.

If the toddler often gets sidetracked by music with lyrics, try listening to classical music. There will be no chance then of wanting to sing along with the lyrics, and the toddler will be satisfied while you get some work done.

If the toddler often gets peckish, prepare some healthy snacks (like fruit salad, yogurt with granola, pretzels and peanut butter) ahead of time, get a large thermos of cold water, and the toddler will munch away happily while you work on your magnum opus.

Set up a dedicated space for writing:

Maybe you don’t have a spare room — or even a desk. But you do have a soft lap pillow and a comfy chair you can move to a quiet corner. Drag your writing supplies over and dedicate this as your safe space for writing. Only write here. Don’t eat breakfast here, don’t do homework here, don’t chat with friends here.

This may seem straightforward, but teaching the toddler is another story. To start, then, use this dedicated space only for a few minutes at a time. Spend fifteen focused minutes on a project while you sit here, then take a break. Overtime, you’ll find you can focus for longer and longer intervals in your writing space.

Procrastination

The Final Boss. The End-All Villain. Procrastination often doesn’t appear on its own. It’s inspired by something. Maybe it’s something we’ve already covered in this guide. The first thing you must do, therefore, is identify the source of your procrastination. Which may vary from project to project.

Once you identify what it is that’s deterring you from action, remember that you hold the power to break through this cycle. So when you put a plan into action, stick to it.

What are some ways you can beat procrastination?

“I’m overwhelmed by this big project.”

Prepare short-term goals: Long-term goals just about beg to be procrastinated. They’re far away and easily forgetable. Short-term goals, however, offer an opportunity to check something off a list. And boy — is that satisfying to do!

Make a list of what you’d like to get done. Prepare achievable goals; SMART goals are goals that are Specific, Measureable, Attainable, Relevant, and are set within a Time-frame. So, for instance, if you have a book you’d like to write, make it a goal to write five hundred words during the next hour.

“There is only one way to eat an elephant: one bite at a time” — Desmond Tutu

“This is boring.”

This kind of boredom which inspires procrastination is not necessarily the same as creative boredom. This kind of boredom exists because you do not feel challenged in your writing. Whereas the boredom we previously discussed is caused because you are not excited about your writing. So how do you challenge yourself? — Some previous suggestions can be applied:

Try your hand at a whole new genre. Do you write a lot of Fantasy? Try Science Fiction, Urban Fantasy, or go as far out of your comfort zone as you can, like Contemporary Romance. Or have you ever written NonFiction? Jog your mind with a memior prompt or an essay topic — just make sure it interests you!

Research writing: there are many books, websites, blogs, and services that offer advice and tips on writing. On Tumblr alone, some include: @writingwithcolor, @referenceforwriters, @ wordstuck.co.vu, @writing-problems, @thewritershelpers, @youreallwrite, and @fuckyeahcharacterdevelopment

Try throwing a monkey wrench into your story! You can try picking a random prompt to try and incorporate into a scene. You can kill a character. Add some spice into your writing to renew your writing zest!

If all else fails: archive this project. Don’t delete it — never delete what you write; put this project aside for now. Step away from it. You may be too close to it to see what about it isn’t working, or what about it is making it unattractive to you. Give it some time. When you feel ready to return to this project, it will be waiting for you. In the meantime, enjoy creating a new story.

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en241 · 4 years

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Friday, 27 March

WEEK 8: COURSE REBOOT & REVIEW: Treasure Island & the Maturation-Identity Problem

In this post I’m covering Realism, and Treasure Island as a Growing Up story focused on conflict, choices, consequences, and survival.

Together, this week’s three posts are a review of everything we did in the first half of the term. Instead of doing it by discussion and discovery (my preference, always) I’ve been doing it by a systematic explanation (which is fine, just as good, I guess). Next week we’ll move on to The Secret Garden.

I hope you don’t find all of this too dull. Writing it up as a systematic explanation is a lot of work.

Now then, let’s set sail . . .

1. Realism

For purposes of this class, I’m dividing things into three basic types of narratives: Nonsense, Realism, and Fantasy. (Fantasy is a hybrid of Nonsense & Realism).

Treasure Island is a work of Realism. (Long John’s parrot talks because it has learned to talk, because parrots can learn to talk -- not because it’s a magical talking bird, or a human character that happens to look like a parrot

As I am using the term, Realism doesn’t mean factual or non-fictional; it means a story-world that largely seems to behave more-or-less the way we ourselves experience the world. If inexplicable things happen, there’s a reason behind them that we can figure out, provided we get the necessary information.

For this reason, Realism makes it easier to analyze a story and its meaning. It’s still a lot of work, because life is so complicated; but that’s a challenge we tend to enjoy and/or find reassuring.

2. The Realistic Growing-Up Story

A Realistic Growing-Up Story has a stable setting that acts as a foundation for the actions of its characters.

These characters are “round,” not “flat” -- or, more precisely, they are “dynamic” instead of “static.” This means that we actually perceive the process of growing-up in much greater detail and complexity than we do in Nonsense.

The plot of a Realistic Growing-Up Story is more complex and typically involves conflicts -- both external and internal. These conflicts tend to revolve around choices, especially ethical choices, not just arguments and swordfights. Nonsense stories, on the other hand, are usually episodic; no one event is more important than another; no one event actually needs to precede another.

3. The Realistic Maturation Plot: Choices, Consequences, Conflict, Problem-Solving

The choices made by characters in a Realistic Growing-Up Story determine whether they gain more knowledge, status, power, freedom, and so on. If they do, they become more mature; if they do, they survive. (If they don’t they remain in stasis, or they regress, or they die) .

The choices made by characters in a Realistic Growing-Up Story are not single, and not simple; characters are typically required to make lots of decisions, different types of decisions, and difficult decisions.

These choices all have consequences -- both harmful and beneficial.

Making choices means deciding which consequences we prefer -- but our preferences may be at odds with those of other people. Thus, in a world full of choices we inevitably have conflict

The Realistic Growing-Up story is usually a series of choices, each with its own causes and consequences, often centered around conflicts with others whose choices are different; a successful outcome is one in which we learn from our choices and make better ones -- ensuring that we survive.

4. Treasure Island as a Realistic Growing-Up Story

This is obviously a book about survival; it’s not just realistic -- it’s full of death.

Choices in this book center around questions of desire: wanting, gain. Success is getting and having and keeping.

Choices are also about who you align with.

Conflict between two principles: (1) get what you desire, get it now, get it often, get it any way you can, and don’t let anyone else get it; (2) what you desire is to see others get what they desire, because they will see that you get what you desire -- you may have to wait for what you want or even go without while others get, but it’s ok if you trust the others

principle 1 = a continual state of conflict: you vs all others; temporary alliances

principle 2 = a state of community; you, but you with other people; permanent alignments

you know, basic playground stuff

5. Treasure Island: Break it Down

I’m leaving out all the details because there just isn’t time; I’m just doing the issues. But if you think about the book, you’ll see how all this applies.

following principle 1 = immaturity and following principle 2 = maturity (duh)

principle 1 = pirates; principle 2 = professionals (duh)

but hey, it’s hard; we’re all a little bit pirate, aren’t we? who doesn’t want pickles and wine?

and principle 1 is short-term powerful AF

but the principle 2 people gots cheese (and when you come down to it, cheese is everything, amirite?)

what happens when we’re stuck on a rock with a bunch of people following principle 1 and another bunch of people following principle 2?

what skills and knowledge do we need in order to make the right choices again and again and again?

Can you follow principle 1 some of the time and principle 2 some of the time, so you can have cheese, pickles, wine, and live long enough to enjoy them?

Is it possible to steal, sneak off, lie, and even freaking kill someone and still be following principle 2?

Is it possible to be helpful, faithful, and trustworthy when you’re following principle 1?

And can you figure out who to trust and who not to trust; who to help and who not to help?

6. Double Perspective

In Alice we had a 3rd person narrator -- Lewis Carroll -- who told us everything about Alice but wasn’t Alice.

Jim is a 1st person narrator -- we’re in his head and we know what he’s experiencing first hand, because he’s the one telling us

Or do we? Because the story is being written by a Jim from the future of the story who is (obviously) older and wiser

Old Jim has (obviously) survived, so that’s good.

But can we trust Old Jim? Can Old Jim really remember being himself as a child?

Really, he doesn’t seem to like Young Jim very much.

But if Young Jim wasn’t young, he wouldn’t have done all those impulsive things that clearly saved the day, over and over again! Does Old Jim not realize that?

Again, this is the identity problem caused by aging: once we are older we can’t truly know the young self; when we are young, we can’t know our older self.

The only place they can co-exist, at least symbolically, is in a story like this. Wonderland is where the two aspects of ourselves can encounter one another, even if they can never be together

7. Didactic or Subversive?

Does the child reader want to read what the adult narrator is writing? Why would anyone want to? Old Jim is only writing the story because other people asked him to (principle 1) and would really rather be sorting money into piles.

Can the book have a double meaning? Excitement and enjoyment and lessons.

Can the book be didactic AND subversive at the same time?

Why does Long John Silver get away?

And come to think of it, why is Long John Silver famous and Jim Hawkins isn’t?

Jim = Alice, gone into have tea?

Squire, Dr = Alice’s sister?

LJS = Cheshire Cat?

Sooooo many questions, yes? But that’s what it’s all about. Questions. Sorry, not sorry. Survival = making choices based on information and knowledge gained from asking good questions. On behalf of the community. (And ourselves.)

now, how about a nice cup of tea? Or maybe, seeing as it’s Friday, something a bit stronger?

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