#rather than a pre-existing work

[butch4maryoliver]

the leftist sphere online and its insistence that nuance is critical while it completely waives it and transforms major issues into black-and-white is so….

#thinking of israel. the left (online) is so highly reactionary it’s absurd. the only thing that isn’t complicated is israel’s #documented war crimes against people within the near & middle east- particularly palestine of course #the military occupation isn’t complicated- though look even somewhat closely at any strain of its existence and that is complicated. heavil #leftism online with infographics and people “watching people learn and never learning themselves” is so frustrating #i am tired of people doing pop-research claiming to be authorities. you’re not on the ground. you have time in abundance. #do the hard work of giving justice to the stories of palestinians jews and yes even israelis since there #is a well-documented culture of revolt against the alt-right gov by its citizens- born and immigrated. #there’s so so much and so so much gets dismissed. if we were all on the ground this wouldn’t be an issue- but seriously. #we’re not. we only have time and conversation. and all of that is disregarded for easy reactionary targets #*this wouldn’t be an issue as in we would obviously have no ‘free time’ to divvy on research #i expect nothing from palestinian journalists and civilians but to do what they can even if that’s so bare as survive #it’s a hope rather than expectation #but if you’re in the west (if you’re reading this ik pretty much everyone following me is) you have an abundance of time to #remember nuance and history is real btw and especially that the history of jews and palestine pre-1948 is extremely intertwined #my one brief statement is you’re not decolonial if you want palestine to be drawn back to 1948. that’s quite the opposite really. #look into it man

[fiapple]

other early buffy bi-coding includes: both her heart & spirit being initially coded as gay/bisexual (the writers weren’t sure which till tara came into the picture, & according to a semi-recent article, of which label pretty much until willow came out) & were intended as such, as the writers always knew one of them was going to come out.

#buffy summers #btvs #this is why i don’t consider the use of willow (a lesbian) to convey elements of buffy’s (a bisexual) sexuality biphobic whereas i sort of #do when that lens is applied to faith. in willow’s case her lesbianism is important like i cannot understate that but the writing choice #itself was influenced by the notion on part of the creators that willow being written as bisexual was the original intent & they changed #their minds because the lesbian representation was important & they felt with the way people thought of bisexuals it would make willowtara #get taken less seriously. so until willow came out she was very much a bi-coded character (STILL A LESBIAN & STILL MEANS HER & OZ WAS COMP #AS SOON AS THAT WAS CONFIRMED) #up until she came out- and it was largely if not entirely that before that point (bar the coming out scene) where she is used in any major #way to convey that aspect of sexuality with buffy- it becomes more general in terms of paralleling relationship struggle after that point #so willow being bi-coded & willow being used as a buffy sexuality figure were near entirely overlapping which negates the view of #bisexuality genuinely being part straight part gay rather than having to exist in dual spaces due to the way sexuality is dichotomized #also shout out to willow’s lesbianism for still retroactively working very well as a narrative way to convey that dual space even before the #choice to definitively make her such was made. her complicated lesbianism does so much for the themes girlie is carrying. #like a lot of people complain about that choice because of the fact we later got confirmation that it was made for reasons which were i #inconsiderate to both bisexuals & lesbians but ultimately willow as a lesbian works better overall than willow as a bisexual on a #storytelling level to me based on how sexuality in particular is ultimately positioned in the story by the end of s7 #like when i talk about pre-coming out willow being bi-coded it isn’t to detract from her present lesbianism or say she should be bi- that’s #flat out lesbophobic & i don’t fuck with it- it’s just acknowledging a reality that influenced how she was written prior to coming out 100% #where as with faith that’s not present especially because she is fully meant to represent buffy (a bisexual’s) sexuality rather than any #sort of dual space struggle- she (darkly) mirrors buffy’s rather than playing a role in it #which then (to me) does start to play into the half straight half gay idea when considering again that she represents buffy’s sexuality #specifically the repressed aspect is positioning a bisexual’s repressed sapphic attraction as lesbian rather than… repressed bisexual #*ie positioning #attraction. like especially considering eliza said she thinks faith swing both ways it kinda does make me uncomfy & feels really reductivist #which is part of why i plan to make that post #blah blah people are entitled to their headcanons. in context the headcanon kinda has a biphobia issue when ignoring faiths bi-coding & word #of saint paul confirmation on top of her narrative positioning irt sexuality that’s all i’m saying

[orangerosebush]

Me when I see people espouse comedically inaccurate or shallow readings of a text that in all actuality just belie an even more profound trend regarding a refusal to seriously engage with a text's themes

#'haha Walter White is such a dumb man why would he let his pride allow him to turn down financial support so he could start a drug empire' #oh wow it's almost like the show is deeply invested in the American context of manhood and capitalism in ways that inform the tragedy #which is in and of itself still a simplification! but it's less of deferral of engagement #online media discussions are so bad #walt's feelings of emasculation and his relationship to violence/power are fairly par for the course in terms of analyzing patriarchy under #capitalism in the sense that 'the faustian bargain' poor men make is that they can go to work and be humiliated by their boss because #patriarchy at least gives them the seductive 'release valve' of being the Boss of the nuclear family #thus when you look at how patriarchal violence manifests in the USA -- rather than patriarchal violence in non-/pre-capitalist systems -- #that is something that informs the shape that the neuroses and peculiarity of the collective psyche of The Oppressor tm that then informs #the kinds of violence (systemic or interpersonal) you see play out #similar to how impoverished whiteness still allows the opium of a sense of superiority to exist that then is adduced as to why those white #people should fight to uphold white supremacy and all its economic facets #again it's the core idea that one is groomed into playing a role to uphold a system of oppression by the way the system is so unquestionabl #unquestionably built into the fabric of your reality -- as opposed to any idea of inherent and inescapable ontological Badness

[ablednt]

Something so autistic over me being disappointed that the unofficial portal 2 musical didn’t have suitable music and then spending multiple days working on writing a concept song for it and actually enjoying the process a lot and getting so fucking into it

#media cw #I'm only working on the melody after getting the initial hook and instrumentation down rn #but it's coming together really nicely I think! ^_^ #it's the scene Gl@d0s wakes up #since I was like why did the pre-existing song they choose have so little to do with that scene it BOTHERED me/lh #and I think it'll be somewhat short since that scene isn't particularly long and I don't plan on adding much more in terms of like. #what's actually being said yk? #anyway I think rather than trying to sing it (also I don't have a good mic rn coughs) I'm going to pick out a vocaloid that I think would be #suitable for performing her #I'm not sure right now maybe avanna? idk one of the smoother voiced ones I think #God I wish Ellen Mclain could do a Gl@d0s vocaloid collab though #it makes little sense and obviously the window of opportunity has long since passed but could u imagine the cultural impact if that happened #would have been a better timeline smh

[fionnaskyborn]

and TODAY ON "Songs Fionna can't listen to without them fucking her up immensely and remind her why she doesn't listen to them very often every time she listens to them", we have:

#logs #every time i'm like oh this song gets me in my feels i should listen to it and every time i end up hurting #something something proof of being alive yeah yeah but i really can't handle it #big shouts to trocadero for making songs that fuck me up every time i listen to them #i mean nothing comes close to contact in terms of how much a trocadero song fucks me up but you gotta admit‚ and i wonder where you are / #and i wonder what you wore / and i'm lost inside a bar / and i'm drunk inside a war / and i wonder where you are is also terrific #okay i'm gonna go cry about the tragedy of making a hyperspecific space opera that holds so much meaning and discusses so many things from #grief through moving on through learning how to live after having spent a significant portion of your life without any kind of autonomy #through reunions and learning how to talk with someone you haven't seen in nineteen years to‚ ultimately‚ having hope no matter what gets #thrown your way and that is ultimately about giving people happiness and closure but that loses a lot of its value by fitting into very #specific niches due to its nature as a work of fiction based on two works created by other people and having the centerpieces be not people #i have managed to come up with and whose stories i've written #but rather pre-existing persons that are mindchildren of a completely different individual #the worst part is that the story simply wouldn't work with different characters or using a different story as a basis. what i have created‚ #what i WANT to create is‚ by all standards that count... perfect. the story /works/ /because/ of the characters involved. but the overlap #between the people who enjoy the story the characters are derived from AND the story that serves as the setting is so comically small that #it's all but impossible to find an audience to whom the story would mean as much as it means to me. and there are a few people out there‚ #sure enough. but i am terrified to reach out because this is so personal to me. i'd love to share this story with people but spilling my #entrails out and having people turn away dissatisfied with what they see or saying it's ''not for them'' hurts me more than almost anything #else in this world. call me a coward‚ but my soul's aged too fast‚ and i'm tired‚ and i can't bear that risk. #one day‚ though... someone will listen. #black blank blah-blah-blah

[racefortheironthrone]

Hi- er, this is my first-ever writer's strike, how does one not cross a picket line in this context? I know how not to do it with things like Amazon and IRL strikes, but how does it apply to media/streaming?

Hi, this is a great question, because it allows me to write about the difference between honoring a picket line and a boycott. (This is reminding me of the labor history podcast project that's lain fallow in my drafts folder for some time now...) In its simplest formulation, the difference between a picket line and a boycott is that a picket line targets an employer at the point of production (which involves us as workers), whereas a boycott targets an employer at the point of consumption (which involves us as consumers).

So in the case of the WGA strike, this means that at any company that is being struck by the WGA - I've seen Netflix, Amazon, Apple, Disney, Warner Brothers Discovery, NBC, Paramount, and Sony mentioned, but there may be more (check the WGA website and social media for a comprehensive list) - you do not cross a picket line, whether physical or virtual. This means you do not take a meeting with them, even if its a pre-existing project, you do not take phone calls or texts or emails or Slacks from their executives, you do not pitch them on a spec script you've written, and most of all you do not answer any job application.

Because if this strike is like any strike since the dawn of time, you will see the employers put out ads for short-term contracts that will be very lucrative, generally above union scale - because what they're paying for in addition to your labor is you breaking the picket line and damaging the strike - to anyone willing to scab against their fellow workers. GIven that one of the main issues of the WGA are the proliferation of short-term "mini rooms" whereby employers are hiring teams of writers to work overtime for a very short period, to the point where they can only really do the basics (a series outline, some "broken stories," and some scripts) and then have the showrunner redo everything on their lonesome, while not paying writers long-term pay and benefits, I would imagine we're going to see a lot of scab contracts being offered for these mini rooms.

But for most of us, unless we're actively working as writers in Hollywood, most of that isn't going to be particularly relevant to our day-to-day working lives. If you're not a professional or aspiring Hollywood writer, the important thing to remember honoring the picket line doesn't mean the same thing as a boycott. WGA West hasn't called on anyone to stop going to the movies or watching tv/streaming or to cancel their streaming subscriptions or anything like that. If and when that happens, WGA will go to some lengths to publicize that ask - and you should absolutely honor it if you can - so there will be little in the way of ambiguity as to what's going on.

That being said, one of the things that has happened in the past in other strikes is that well-intentioned people get it into their heads to essentially declare wildcat (i.e, unofficial and unsanctioned) boycotts. This kind of stuff comes from a good place, someone wanting to do more to support the cause and wanting to avoid morally contaminating themselves by associating with a struck company, but it can have negative effects on the workers and their unions. Wildcat boycotts can harm workers by reducing back-end pay and benefits they get from shows if that stuff is tied to the show's performance, and wildcat boycotts can hurt unions by damaging negotiations with employers that may or may not be going on.

The important thing to remember with all of this is that the strike is about them, not us. Part of being a good ally is remembering to let the workers' voices be heard first and prioritizing being a good listener and following their lead, rather than prioritizing our feelings.

#labor #unions #wga strike #labor history #labor 101 #boycotts

[notherpuppet]

I know they’re probably not going to go into this (which i understand, there’s only so much time in an episode and they’re telling a different story) but I think about Al’s background a LOT. Get ready if ur in the mood for a read.

To be a mixed Black person in America is a…bizarre experience. You come to realize that due to the coincidence of your genetic makeup, white folks may divulge information that they keep so closely guarded from the ears of “more obvious-looking” black folks. Im gonna bring it back to Alastor, but lemme give some personal context. I’m mixed with Filipino, so I’m pretty obviously not white, yet my ambiguous ethnic makeup in a predominantly white suburbia seemed to make white peers and people feel much more at ease in relaying their criticisms or prejudices of black people to me. I would hear someone feel comfy enough to spew vitriolic racist shit with me, then toe the line like a circus acrobat when around someone a few shades darker in skin tone and a few coils curlier in hair texture. It was constantly infuriating and holding my tongue was a practice to both investigate someone’s true nature and preserve my own safety. I did abandon that method of navigating life in America, and experienced the switch-up white folks made when I started ‘broadcasting’ my blackness. (E.G. beyonce pre vs. post Lemonade). The criticisms and prejudice confessions just came less often, til I saw them being caged up completely after white peers experienced backlash from me. After they realized “OH this bitch is a n*****!?”

Now this is from someone who is brown, but i also wanna talk about my white-passing cousin with a similar racial makeup as Al, who is from the south and oh BOY. (Let’s call him J for this post’s purposes). J’s navigation though simple daily life is such a constant contradictory experience, of which he is still working through in therapy. I think of one moment when he was manager at retail gig and his boss told him that whenever a Black customer enters, it’s policy to give them “exceptionally attentive customer service”. Essentially, “follow that n***** around”. This is just one modern incident of when J would hear the quiet part out loud, despite his Blackness, because his appearance was white enough to make white folks drop their guard. Eventually, my cousin and I took to the same direction where we used our advantage of disarming white folks against them when the time came. We would keep note and record of racism and unlock a sort of “this you?” when the opportunity to expose that person’s true nature came. It’s pretty vengeful thinking ngl, but it is really REALLY hard to resist exposing an asshole rather than attempting to teach an asshole to change their ways. Especially given that such an attempt is an ARDUOUS uphill battle. The experience of KNOWING the truth about what someone thinks of your people, and being opened to opportunities and information that you would not have access to if the chance of your genetics was only slightly different is bIZARRE, horrific, and fuel for constant inner turmoil. (It sucks y’all)

Now back to Alastor; to have been a mixed person in the Deep South in 1930s America—it’s not too difficult for me to imagine how traumatic and convoluted that experience must have been. Especially when legally and socially, things were so much more Black and White. And when you’re on the line in between that, when society does not prepare a place for your existence, it can be SO isolating. You may consider the absurdity of such an arbitrary method of determining class, status, and/or caste much earlier in life than peers, which only further isolates you. You hold a resentment of society now that you know exactly how the other side is operating to ensure your oppression.

And then I think of Al’s weird ass moral code. How he arrived in Hell and (according to Mimzy) began killing overlords with reckless abandon. This is someone who likely had to develop the cunning to navigate 1930s Deep South America as a mixed, murdering, psychopath without getting caught by authorities who are already gunning for you. And now he is in Hell where the rules of society have gone up in smoke and he can fully embrace his rage, resentment, and vengeance. A desire to burn down the powerful people of the world can be accommodated and ANY previous inhibitions can finally be released. The morality of rising above someone by cutting them down (instead of developing emotional/spiritual healing) has become the easier and satisfying option. Finally the opportunity to show the power-secure villains of the world how easily you can tear them down when nothing is holding you back any longer.

TLDR; The trauma of racism in America is pretty sufficient cannon fodder for a severe psychotic break, the development of socially debilitating behaviors and isolation, and a quest for profound vengeance. So maybe that can explain some of the enigma that is Alastor.

And this is just ONE facet of Al. I didn’t even get to bring up the isolation that comes with being an aroace nonbeliever in the 1930s Deep South. Like FUCK. I’m a mixed, aroace nonbeliever from a modern day conservative town and yall….what a weird experience for sure lol but anyway lemme get back to my life. Whole point of this was—-WHAT AN INTERESTING FUCKEN CHARACTER TO THINK ABOUT

#hazbin hotel #alastor #hazbin hotel spoilers #it’s an alastor analysis yalllll #character analysis gives my media and art engagement brain the wiggles #also I hate racism!!!! :)

[badthoughtsunhealthyhabits]

I’m never going to pass

#Early puberty + wide hips combo #It all goes to my thighs and I’m trying to lose weight but existing is fucking painful #still better than not taking t though #I’d rather not pass and be on t than not pass and not be on t #My hips have a fucking 120 degree angle to them #I have a picture of my skeleton and it’s pure ropefuel #I fooled myself into thinking I’d be fine bc I started as a teen #You idiot that only works if your genes don’t fucking suck #The only way I would’ve stood a chance is if I transitioned pre puberty

[sexybritishllama]

strap in folks it's time for another neopets drama update

some background reading before we begin: back when neopets wanted to introduce customisation (i.e. dressing up your pet) in 2007, they decided to 'convert' all existing pet art to align with a rigid body structure, rather than all having unique poses. it was just not feasible to create new pieces of art for hundreds of different pet poses every single time they released a new clothing them

customisation had been highly requested up until this point. however, the conversion was NOT popular. in some cases, particularly for basic colours, the change wasn't huge, but in other cases.... uh....

you get the idea. the more expensive colours like plushie, faerie, grey, royal and darigan got the worst of it because they had the more unique poses pre-conversion, and therefore it was largely agreed that the change to the stiff 'samey', frankly kinda goofy converted look did not look great

most users did not get a choice in having their neopet converted and it was done automatically, but if you had one of these colours where the change was huge, you were given the choice of converting or retaining the old pose (but not having the option to customise your pet). those pets that retained the old, pre-conversion poses are therefore referred to as 'unconverted', or UC for short

once a pet is converted, there's no returning to UC. you also couldn't create UC pets anymore, making UCs a limited resource that would only increase in value with time, particularly as people abandon their pets, leave the site, get frozen, etc.

i could write an entire dissertation on the drama that UC pets have caused for the pet trading economy, the neopet account black market, and general retention of the userbase, but to sum it up, people REALLY want UC pets. they are the single most coveted status symbol on the site

we skip forward now to 2023

the neopets team are planning to introduce UC pets back to the site, so that people will be able to create their own UC pets again for the first time post-converstion (legally at least)

they drip feed bits of information over the year about what this will look like. the main points are

changing a pet to UC will be done via some kind of item bought with neocash, the premium currency on neopets that you need to spend real money to get

putting this item on your pet will give it the UC art style appearance

so. not much really known. but expected release is set for january 2024

yesterday, they hosted an AMA focusing on the new UC pet system and how this was going to work. noticeably absent is any explanation of how much this is actually going to cost and whether it is going to involve any kind of gatcha mechanic, so that's causing our first lot of concern

second lot of drama is that the new UCs aren't actually going to be COMPLETELY the same as the old art, as they're making some small changes for style consistency, see below (old on top, new below):

the biggest drama, however, comes from how they're dealing with the 'original' UC pets. ALL pets will be getting forcibly converted on the 23rd, with anyone who has a pet that is already an original UC immediately receiving the UC neocash item. there's mention of possibly some kind of trophy or badge recognition for particularly old pets, but it's vague, and generally seems like it won't be possible to distinguish between the original UCs and these new ones

the people who already have OCs are not happy about this

people are allegedly pounding their pets, cancelling their premium, and quitting the site in protest. the boards are flooded with people complaining about the changes and laughing at the downfall of the 'neo-elite' in equal measure

it's t-minus 5 days until the second great conversion goes live. let's all pray for our souls

#eloise talks #neopets #neotag #this isnt even going into peoples displeasure at the fact you dont even need to be the og colour to make it oc #i.e. from what we can gather you can have a red kacheek #apply this nc uc item #and then it can look like an uc faerie kacheek? #AND the drama over this now destroying the uc market and possibly requiring people to get gift boxes for trading #i can keep going

[abnerkrill]

fantastic rebuttal to "writers don't deserve better pay because the stuff they write is terrible/unoriginal", full thread here

(to explain, the "Unknown" under his name is from a add-on bot detector; it usually can assign a percentage likelihood that a user is a human being and not a bot, but I think the blue check system disrupted the add-on so it says "Unknown" underneath his name now.)

[image id under the read more:

May 7, 2023 tweet thread from Tom Vaughan @/storyandplot

With #WGAStrong rightfully in the spotlight this week, I've seen some less-than-sympathetic comments focusing on the lack of originality in our projects. This is a fair criticism of the system, but not the writers. A quick history of how we got here (thread emoji)

The first thing to understand is that Hollywood has NOT run out of new ideas. The studio’s preference for I.P. has nothing to do with regurgitating ideas and everything to do with MARKETING.

The late 60s-70s is generally considered the artistic high of the studio system. Ironically, many contribute this to corporations buying up the studios! The corporations knew they had no idea how to run a movie studio, so... they put creative people in charge.

This is how you got the run of so many great films the studios would never make today. They also took bigger chances on young, promising talent (the first "film school generation" of filmmakers.)

But with the success of JAWS and STAR WARS, the corporations demanded more of those kinds of hits. The creative folks insisted such things were unpredictable, and the business folks said let's make them less so.

(Sidenote: This was also the same time a completely different phenomenon was happening. A/C was becoming the norm for theatres, making summer movie-going much more attractive.)

Over the next decade, more and more MBAs and marketing people gained influence in the studio system. Being business folks, huge hits were not a creative problem as much as a product/marketing problem.

The 80s is when the “high concept” became pre-eminent because it narrowed a sales pitch to one sentence, a trailer, and a poster. This made everyone a marketing agent for a movie because everyone could explain what it was about!

In the 90s, marketing became just as important as the film itself (reflected in their respective budgets) when Hollywood discovered they could profit from fifty years of pre-existing awareness for old TV shows and movies.

This allowed the marketing department to move away from pitching a movie and convincing you to go see it (lower success rate), to simple “audience awareness” and building anticipation. (higher success rate.)

The audience knew what THE FLINSTONES the movie was. They just needed to know the casting and when it opened. No one needed to have the remake of GODZILLA explained to them. They just needed to know when it opened.

The marketing department prefers AWARNESS over SELLING because awareness is something you can throw money at. Selling is harder, and it’s less predictable. This is why franchises are so valuable.

Whenever someone says, “That’s something I can sell!” It’s usually something that can sell itself. What they mean is, "I just have to let people know about this!"

Hollywoods's reliance on property the audience is already familiar with is 100% because... the audience is already familiar with it. It is easier to market the product and this increases its chances of success.

This focus on I.P. has become so pervasive, many, including executives themselves, have forgotten WHY it's valuable. They'll option an unknown comic BECAUSE it's I.P., forgetting that it's unknown and lacks the main asset of I.P.

Writers do love writing on an I.P. that means something to them. Every Star Wars fan who became a filmmaker would love to work in that universe. But we do not love it more than our own original work. We would always rather work on that.

So when you see another remake, or reboot, or adaptation, and think, "Can't they come up with something new?"

Remember, the answer is yes. Yes, we can. And we want to. You can blame the market or the marketing, but either way, the widespread production of truly original content is just not the studio business model we're in right now. #WGAStrong

end ID.]

#wga #wga strike #NOW WITH TRANSCRIPT PEOPLE REBLOG THIS ONE

[apas-95]

people who valorise some inherent value to the US constitution and legal system are wild to me. why the fuck should I care what your laws are, even if I did fall within their jurisdiction - it's as if these people believe laws exist pre-emptive of reality, and reality should be shaped to fit them; rather than shaping laws to fit reality.

like… when people invoke the second amendment to me, it has the same feeling as saying 'we as a free society cannot allow any exceptions to Section D § 8.2.2(a) of JRK 20800 Standard Specifications for Building Works of the Federation of Malaysia Public Works Department, or we are accepting a slippery slope to ensuring it will be completely disregarded in the future…' - except, really, I would consider the PWD's regulation on concrete grades more important than a 200 year old colonial state's policy on armament

[thewritetofreespeech]

Could I request the seven brothers who makes cute faces when she spaces out or is deep in thought?

Lucifer

He thinks it’s adorable.

Lucifer isn’t a very expressive person, so he finds it amusing how every expression is played on their face.

It’s also much easier to guess what they are thinking about when their ‘heart’ is on their sleeve.

Mammon

Couldn’t tell what someone was thinking or feeling if it was written on their forehead.

He of course notices that they make faces, but thinks it’s just a weird human thing and not unique to s/o

Typical Mammon puts his foot in his mouth by commenting on it often. Making s/o embarrassed, and then him out in the proverbial cold for a bit.

Levi

Also not good at telling what people are feeling, but he is actually good at reading expressions (probably from all those emoji games he plays).

Finds it helpful since his social cues are non-existent. He can sort of pick up on the moment this way, rather than just being totally awkward.

His success rate is only about 60% but he’s working on improving his stats.

Satan

Notices right away but chooses not to comment on it in order to deduce what it’s all about.

Being the inner detective that he is, Satan quickly learns what their facial expressions are about and what they signify.

Within a few weeks he almost has a full map of what they are feeling based on advanced physiognomy. He’s even written it down as a reference guide somewhere in his books; carefully hidden away as he would die if s/o found it.

Asmo

Everything s/o does is cute, but this is one of the cutest.

Every little furrow of their brow, purse of their lips, crinkle of their nose, sends Asmo into an emoting fit of love. He just can’t help how adorable it is!

He does feel the need to comment on making sure they relax their face, lest they get pre-mature wrinkles.

Beel

Beel hardly notices it.

Unless they tell him they are thinking about something, their facial expressions go right over his head.

The super cute ones make it through, as Beel has a soft spot for cute things, but they have to be really cute for him to notice. We’re talking instant cavity sweet adorable here.

Belphie

He’s not the detective that Satan is, but Belphie is pretty observant. He has to be to make sure he doesn’t run into walls half asleep.

He notices the expressions but doesn’t comment on them as he’s scared that they would stop if he mentioned it.

Like Satan, he uses them as a gauge for how they are feeling or thinking to respond accordingly. Oddly enough he has the highest success rate of guesses. Although, he participates in the guessing the least. So there is that.

#;ask and ye shall receive (request answers) #obey me #obey me nightbringer #obey me headcanons #obey me hc #obey me shall we date #obey me belphie #obey me asmodeus #obey me mammon #obey me beel #obey me beelzebub #obey me lucifer #obey me levi #obey me mammon x mc #obey me lucifer x reader #obey me levi x reader #obey me satan x reader #obey me satan #obey me beel x reader #obey me belpie x reader #obey me asmo #obey me asmo x reader #lucifer #mammon #levi #leviathan #satan #asmodeous #beel #belphegor

[artbyblastweave]

I think about Star Wars a lot more than I post about Star Wars, and I've had some free time recently to type up some thoughts on Episode 7 that've been swirling around in my head for a couple of years. There were a few ideas and plot beats, and moments of apparent self-examination in Episode 7 which I thought were fairly compelling, even though they ultimately paid no dividends:

First was Finn’s character concept. “Star Wars as experienced from the perspective of a Stormtrooper undergoing a crisis of faith” is a rich hook; humanizing and giving a face to what's basically the platonic implementation of the faceless mook. Unfortunately, the potency of the arc was undercut by the pre-existing textual ambiguity as to what stormtroopers actually are. Star Wars extended canon has settled on the idea that each trilogy features an entirely novel cohort of white-clad mooks, each with a fundamentally different underlying dynamic. The clones and the First-Order forces are different flavors of slave army; in contrast, the stormtroopers are more frequently portrayed in the expanded universe as military careerists, stormtrooper being a thing you work up to rather than a gig for a fresh conscript. A slave-soldier who defects is a very different character from a military careerist who defects, and they invite different analysis. There's a bait-and-switch going on here, in that Finn gestures in the direction of the familiar OT stormtroopers but can't comment on or examine them because he's actually part of a novel dynamic invented for the new movies. And there's one final nail in the coffin here, signaled by the number of times I've had to invoke the expanded universe so far. When Finn debuted, the racists were of course, legion, but I also ran into a number of people who were sincerely confused as to why they'd recast Temuera Morrison. Going off the seven films that existed at the time, it wasn't unreasonable to read the prequel trilogy as an origin story for where the OT stormtroopers came from. Going only off the nine films that exist now, it still isn't unreasonable! It's muddied from so many different directions by their failure to establish the ground rules in the mainline films before they tried to put on subversive airs about it. I am still irritated by this.

Next up is how Han Solo was written. I actually liked the tack they took with him quite a bit. Because initially, right, his role in the movie is just to be Han Solo. He's back, and he hasn't changed! He's still kicking ass and taking names, he's still the lovable scoundrel you knew and loved from your childhood- and the principle cast members react to his presence with the same reverence the film's trying to invoke in the audience, they've grown up hearing the same stories about him. Except that episode 7, at least, is also very aware of the fact that if Han Solo is still recognizably the same guy thirty years on, it indicates that things have gone totally off the rails for him. We find out that the lovable rogue routine is the result of him backsliding, his happy ending blown up by massive personal tragedy rooted in communicative failures and (implicitly) his parental shortcomings. It feels deliberately in conversation with the nostalgic impulse driving the entire film- here's your childhood hero back just as you remember, here's what that stagnation costs. And it also feels like it's in conversation with what was a fairly common strain of Han Solo Take- the idea that Ep. 6 cuts off at a very convenient point, and that Han and Leia's fly-by-night wartime relationship wouldn't survive the rigors of domesticity. Obviously, that's not the only direction you can take with the character; the old EU basically threaded the needle of keeping Han recognizable without rolling back his character development gains. But it felt like they were actually committing to a direction, a direction that was aware of the space, and not a reflexively deferential and flattering one, which at the time I appreciated! The problem, of course, is that for it to really land, you need to have a really, really strong idea of what actually went down-of what Han's specific shortcomings and failures were. And given the game of ping-pong they proceeded to play with Kylo Ren's characterization, this turned out to be. Less than doable.

Kylo Ren is the third thing about Episode 7 that I liked. His character concept is basically an extended admission by the filmmakers that there's no way to top Vader as an antagonist. Instead, they lean into the opposite direction- they make him underwhelming on purpose. Someone who's chasing Vader's legacy in the same way any post-OT Star Wars villain is going to, pursuing Vader's aesthetic and the associated power without really understanding or undergoing the convoluted web of suffering and dysfunction that produced Vader. It's framed as a genuine twist that there's nothing particularly wrong with his face under that helmet. Whatever it takes to be Vader, he doesn't have it, and he knows that he doesn't have it, and the pursuit of it drives him to greater and greater acts of cartoonish villainy. The failure to one-up Vader is offloaded to the character instead of the writers, and it was genuinely interesting to watch. For one movie. The problem, of course, is that if the entire character archetype is "Vader, but less compelling," you can't try to give the bastard Vader's exact character arc. You can't retroactively bolt on a Vader-tier tragic backstory when you spent a whole movie signaling that whatever happened to him wasn't as compelling as what happened to Vader. You can't milk his angst for two more movies when it's the kind of angst on display in "Rocking the Suburbs" by Ben Folds!

There's a level on which I feel like Moff Gideon was a semi-successful implementation of Vader-Wannabe concept; he's the same kind of middling operator courting the Vader Aesthetic for clout, but he's doing it in the context of the imperial warlord era, where there's a lot of practical power available to anyone who can paint themselves to the Imperial Remnants as a plausible successor to Vader. Hand in Hand with this obvious politicking, Gideon is loathsome, which relieves the writers of the burden of having to plausibly redeem the guy; he's doing exactly what he needs to do and there'll never be a mandate to expand him beyond what his characterization can support. Unfortunately, the calculated and cynical nature of how he's emulating Vader precludes the immaturity and hero-worship elements on display with Kylo, which is unfortunate; the sincerity on display in Kylo's pursuit of authenticity is an important part of why he worked, to the extent that he worked at all, and it'd be worth unpacking in a better trilogy. As he stands Kylo is a clever idea, and that's all he is- he lacks the scaffolding to go from merely clever to actively good.

#and these are my unsolicited star wars thoughts #thoughts #meta #star wars #star wars sequel trilogy #kylo ren #moff gideon #han solo #star wars finn #star wars meta #sw sequels #the force awakens #analysis

[comicaurora]

A work had a controversial installment or arc, and it is widely regarded as bad for the story/franchise at large. Is it better for any future installment to retcon (hard or soft) and revert the status quo to pre-slump or to try to pick up the pieces without throwing the baby out with the bathwater, if one even exists?

Oogh. That's a tough one, considering how many questionable writing choices I'd personally scrub from existence if I had my way, but in general I think it's better to commit to the bit rather than constantly rewriting. Bad writing can be salvaged in hindsight - wasted characters can be strengthened in flashbacks, consequences of glossed-over tragedies can be explored later, dubious dialogue can be rendered profound through callbacks. Look at how Hayden Christensen's been playing Anakin lately and how much people like what he's doing - it doesn't make the prequels not lousy, but it does make them hold together a bit better in the grand scale. Half the fun of twists and reveals is how they reframe past plot points, and if a writer is careful they can add to a story in ways that reach back to the weak parts and strengthen them.

In contrast, the "never mind all that" school of writing makes it very, very obvious to the audience that the writers don't know what they're doing, or at least don't agree with each other, and spotting the hand of the author like that disengages the audience like nothing else.

Tbh I think Star Wars is a really interesting case study for this, since they've been playing both sides sidious-style for ages. Lucas kept digitally remastering the original trilogy and burying the version people saw in theaters, and nobody liked that - hence all the arguments about Han shooting first, because Lucas changed that after the fact to make him more uncomplicatedly heroic. Then the prequels were a mess, but accepting them as What Happened led to shows like Clone Wars (which overall slapped) and Kenobi, which wasn't perfect but did strengthen the characters, including Owen and Beru, who in the original were entirely flat spacefillers designed to die at Refusal Of The Call O'Clock. And bridging the gap between the prequels and OT gave us Rogue One, and then Andor, which are collectively the best star wars has ever been. But the sequel trilogy had AGGRESSIVE retcon-fights between Last Jedi and Rise of Skywalker, the most overt Never Mind All That I've ever seen - and NOBODY liked it.

Overall I think committing to the bit wins out, even if it's rough for the creators to look their past fuckups in the eye and find a way to make them feel intentional.

#asks #writing stuff

[audible-smiles]

eating salmon: an explanation

lox: thin cuts of salmon (traditionally the fatty belly meat) dry cured with salt, but not smoked. this results in a delicate texture and a very salty taste. lox originated in Scandinavia as a method of preserving fish prior to refrigeration, but the American English word is derived from Yiddish because Jewish delis in New York first popularized it as a bagel topping. since lox is a type of uncooked fish, it is not recommended for pregnant people, immunocompromised people, or seniors, due to the risk of contamination with listeria.

cold-smoked salmon: thin cuts of salmon brined (with less salt than lox) and then smoked below 90 degrees Fahrenheit. results in the same silky texture but a milder, more palatable taste. often called "Nova lox", referring to Nova Scotia but denoting a method of preparation rather than the fish's origin. this is usually what modern Americans are referring to when they use the term "lox". cold-smoking reduces but does not eliminate the risk of listeria.

hot-smoked salmon: salmon brined quickly and then smoked above 120 degrees Fahrenheit. results in a flaky, jerky-liked texture, a hard shiny surface, and a smoky flavor. (as a West-coaster, this is my preferred style!) hot-smoking eliminates listeria during the cooking process, but salmon can be recontaminated during the processing/packaging process if the facility is not sanitary. (really, this is true of all foods- vegetables, dairy products, etc).

salmon candy: a traditional Pacific Northwest hot-smoked salmon recipe where the brine is sweetened with brown sugar, and the smoked fish is glazed with a sauce containing birch or maple syrup.

salmon jerky: cured salmon hot-smoked for longer than usual or processed in a dehydrator until it is tough and chewy.

gravlax: a traditional Scandinavian raw salmon recipe where the brine contains sugar and dill. historically buried in the ground and lightly fermented. sometimes it is still pressed to give it a dense texture.

kippered salmon: thicker cuts of brined salmon hot-smoked above 150 degrees Fahrenheit. results in a texture similar to baked salmon.

salmon sushi/sashimi: completely raw fresh salmon. this didn't exist in traditional Japanese cuisine, where salmon was always cooked, possibly because the local wild salmon had a high burden of parasitic worms (anasakis nematodes). Norwegian fish sellers convinced them to try farmed Atlantic salmon raw in the 80s, and it really took off.

poached salmon: salmon cooked on the stove while submerged in liquid (often white wine with lemon). results in a moist, soft, cooked fish with a pale color. can be bland without sauce.

baked salmon: salmon cooked in an oven, often wrapped in aluminum foil with seasonings to retain moisture and flavor. can result in perfect, flaky fish (as long as you don't overcook it).

dishwasher salmon: look, sometimes white people wrap salmon in aluminum foil like they're going to bake it and then poach it in their dishwasher instead. this can work but is stupid because the temperature dishwashers run at isn't standardized, so you have control over the process and it's easy to over or undercook.

pan-fried salmon: salmon cooked in oil on a stovetop. I've never done this and frankly it sounds wrong, but I bet it makes the skin crunchy.

broiled salmon: salmon cooked under a broiler. as with all broiled foods, you will have to stare at it the whole time or it will burn to a crisp while your back is turned. results in a caramelized exterior.

grilled salmon: to grill salmon people often put it on a Western redcedar plank pre-soaked in water, which supposedly infuses the salmon with a smoky, aromatic flavor while it cooks. I've seen the technique variously credited to the Haida, the Salish, and the Chinook. it seems to be a modern variation of the traditional "salmon on a stick" style of slow-cooking salmon by spearing it on branches and leaning it over the coals of an above-ground pit fire.

deep-fried salmon: this sounds absolutely awful but I simply cannot stop thinking about it

#found this post in my drafts #from when I spent two hours #looking up lox etc #MONTHS ago

[thebibliosphere]

I saw your post about ingram, and out of curiosity, is there some advantage to going through the whole self-publishing thing with retailers when you're just starting out? like I mean the way that fandom zines work is that they don't even bother going through ingram or amazon or whatever. they just set up a social media site (usually twitter) to gain followers, open preorders (usually 1-2 months in length) to generate the costs of printing upfront, and then sell anywhere from a few dozen to several hundred copies of their books (usually artbooks, but anthologies exist too). I've seen some zines generate over a thousand orders. they're kind of like pop-up shops, except for books. maybe the sales numbers aren't so impressive to a real author, but the profit generated is typically waaaay more than the $75+ apparently needed for Ingram Spark, so I still feel like new authors could benefit from this method too, especially if they just need some start-up cash to eventually move to ingram if they want to for subsequent runs of their book. I think authors would also have to set aside some of the pre-order money to buy an ISBN number to have printed on their book, and I'm not really sure what other differences there are, but I just wanted to ask about it in case there's some huge disadvantage I'm missing!

So, popup zines work well for some people, and I know some authors who kickstart their work successfully. But for a lot, it's just not feasible as a long-term stratedy. Or even as a means to get off the ground.

Fanzines succeed primarily because an existing fanbase is willing and ready to throw money at something they love. They’ve got a favorite writer or artist they want to support. Supporting all the others is just a happy by-product. They also take a HUGE amount of short-term but intense planning that just doesn’t always jive with how some of us work.

I, for one, would never offer to organize a fanzine. I’ll take part in them as a creator, but I’d rather throw myself off a cliff than subject myself to wrangling that many people and dealing with the legal logistics.

When it comes to authors doing anthologies, it'svery much the same. The success of the funding often hinges on having other big-name authors involved whose existing fans will prop up the project. Or having a huge marketing budget.

Most self-pub authors have zero marketing budget. I’m one of them, and I’m under no illusions that my work would not be as popular and self-sustaining as it is if I didn’t have a large Tumblr blog.

When I thank Tumblr in my forewards, I am utterly sincere. Tumblr brought fandom levels of enthusiasm to an unknown work and broke the Amazon algorithm so hard, that Amazon thought I was bot sniping my way to multiple #1 spots and froze my sales rankings.

That’s not the norm. And while I could probably kickstart my own work as an indie creator, that’s because I’ve put literal decades into building up a readership. I’ve been doing this since I was 16 and realized people thought I was funny. I didn’t know what to do with it or if I’d ever actually write anything, but it meant the groundwork was already there (thank you, past-me). I basically fell upward into my success by virtue of never being able to shut the fuck up and wanting to make people laugh. Clown instincts too strong.

New or first-time authors trying to sell their work without that will find it infinitely harder.

All of that aside, even if an unknown author somehow gets lucky and manages to fund their work, there’s still the question of shipping and distribution logistics. Are you shipping everything yourself? Better hope you’re able-bodied and have the time for it. (for reference, it took me months to ship out 300 patreon hardbacks because of my disabilites. It damaged my back and hands. I couldn’t type for several weeks after I was done.)

Are you going to sell primarily at conventions? Better hope you’re able-bodied, have the time and don’t have cripling anxiety about being in large groups...

Also, will selling a dozen to a few thousand copies in one burst be sustainable in the long run as a career? Not for me. Doing things via Ingram and Amazon means I earn a steady trickle of sales for the rest of my life provided the platforms remain and so long as I keep working and can generate interest in the series, not just when I have funds to pay for physical copies to sell. The one-time (in theory) cost of $75 to distribute through Ingram gets paid off pretty quick that way. And it doesn't require the same logistics as doing the popup/crowdfund.

Ultimately, it comes down to what you are capable of but also the type of work you’re doing. If you’ve got an extended network of fellow creatives who will back you or you’ve got a large following elsewhere, doing it like a popup might work for you.

If you’re an exhausted burnout who can’t fathom the short but intense amount of organization that sort of thing requires, not to mention doing it over and over and over... Ehhhhh. No thank you.