#we're here to show you who these characters are at their base level so you can watch them grow

[pastafossa]

Hey I just wanted to ask a writer question. I really admire your writing and the amount of work and dedication you put into your stories and characters. You are one of my favourite authors ever. I have been wanting to get into writing and I was wondering how you flesh out your characters? For example you have a character that you’ve thought out, do you have a template that you fill in? Or just write a whole bunch of points about the character in a Google doc? I know that question might not make the most sense but I have a few characters that I’ve given quirks and backstories in my mind but I have no idea how to transfer them onto paper? Like Jane from TRT, is there just a big template or doc where you randomly put points into or some other type of organization? I know it’s not an easy thing to answer on text or even something you might not want to answer but even one sentence of advice is much appreciated :) Thank you so much for everything! I appreciate you. I will also put this into the ask thingy if you want to answer on there instead of PM 😁

I've managed to hammer this out in bits and pieces over the moments I've been more coherent so I think I'll make sense. First, thank you so, so, so much! I honestly love these characters so I'm always happy to hear someone likes it, even if I enjoy the work! 😭

Second - I do in fact have a template in doc form that I use to keep things organized! It's one I've been using since I took a novel writing course years ago by a published author, and in one particular class we went over character development, which is where I learned the template. The way I was taught (and the way I develop major characters) - first, even before filling in the template, I figure out their archetype(s). What story role are they filling? Who will they be a foil for? I like to think of those as your foundation, because every character is an archetype of some kind, and you can use that to build them up. To use Jane as an example, she's an antihero archetype, yes, but I've also pulled elements from: the Unscrupulous Hero, the Sympathetic Murderer, the Combat Pragmatist, and the Ineffectual Loner. Compared to Matt's hero archetype, she's the Lancer. Archetypes can help you if you're struggling to build up from the bottom.

Once I have the archetype, I start filling in the Major Character/Hero template, which roughly looks like this (if you don't fill it all right away, that's fine, because there's a step after this to fill it in the rest of the way). I like this one because I feel like it covers VERY important things that a lot of online character profiles skip, and has much less of a focus on looks (which I find way less important from a writing perspective):

Name: Age: Family History: Career: Physical Description: (include things like scars, notable or unusual features) Preferred Style of Clothing: (instead of listing brands, try to instead describe their style of clothing as it relates to their character - ex: Jane wears upper-end pantsuits in muted colors when meeting clients, because they carry a strong emphasis on professionalism; when hunting things down, she wears what is practical over anything to do with aesthetic) Goal: (every character should have one; what are they trying to do?) Motivation: (WHY do they want that goal?) Big Secret: (if it were Jane, it'd be what happened in Los Angeles; so what are they hiding? Keeping to themselves?) Self-image: (How do they see themselves? Are they confident and secure? Insecure and depressed?) Internal Conflict: (what are they struggling with?) Game: (What's some little game they enjoy?) Pet: (if applicable) Temptation: (what's aaaalways going to lure them in?) Vehicle: (if applicable; alternatively, how do they prefer to get around?) What makes them unique: (our fake post-apocalyptic character we made as a class had his teeth sharpened into points to scare people; Jane is often fidgeting with threads; just anything that stands out) How do they speak: (do they speak very precisely? Use lots of slang? Do they have an accent?) Quote: (What quote sums them up, or what quote do they relate to most? I have an entire folder of these for Jane tbh, and some for Ciro as well) Lesson Learned: (All characters should grow in some way, rather than stagnating. So how do they grow? What do they learn through the story?)

Now, this is something I was encouraged to do after the template, and also something I was already doing on my own. Once you have the template as finished as you feel comfortable with, you might feel like you need to develop the character a little further to fill in the rest, or solidify what you already have. The way you can do that? Write something short with this character. It doesn't have to be anything you need to post; it can be based on a short scene, based on a prompt, things like that. I like dumping them into: humorous scenarios, angsty scenarios, and Action Oriented (TM) scenes. Those really help you get into the meat of the character (aka: how they react to teasing/flirting/jokes; how they react to strong emotion; how they react in situations that might cause panic). Basically, it's your way of introducing yourself to them and becoming more comfortable writing them, because often a character might act a certain way in a cold, rigid template, but behave entirely differently once you drop them into a scene. Alternatively, you might get to writing and realize you need to make an adjustment so that they have better chemistry with the other characters. Writing a new character's a dance, and you're both going to step on each other's toes in the beginning, but once you learn how they move, it gets easier. And it helps them develop and grow as you learn about them!

#writing advice #writing #character templates #this is the template i've used for most of my major characters and i love it tbh #i've tried some other ones and they just don't work for me #i feel like they focus WAY too much on appearance which is fairly minor in the scheme of writing #and not enough on things like goals and motivations and who the character *is* #because that's our job as authors #we're here to show you who these characters are at their base level so you can watch them grow #we are here to dissect them so readers can see their squishy insides #or as the author who led the class said: 'your job as a writer is to cause pain and suffering' #and you can't DO that if you don't know the inner workings #so i've used her template constantly since then because it makes that easier #it also emphasises growth which is something i LOVE #because i hate when everyone just stays the same in a story #ok i think that's everything #been writing this up in bits and pieces over the past two week and was finally coherent for long enough to clean it up a bit #now to keep seeing if i can start write writing again

[meggtheegg]

FNAF Movie Theory...

I'm pretty sure there's still one major plot twist in the universe of the movie that's been set up for a sequel but hasn't actually happened yet. Heavy spoilers under the cut:

After watching the movie in theaters and then revisiting a few scenes on Peacock, I'm still kind of convinced that Mike Schmidt is Michael Afton.

Here's my reasoning. A lot of the characters spend time acting like they know something the audience/other characters don't, and those things are...mostly resolved. But some of them just...kind of aren't.

The main thing that sticks out to me is William's whole storyline. Starting with the scene where he offers Mike the job, his behavior is almost explained by the movie's logic. He sees Mike's name, seems...kind of deeply upset, looks at him very closely, stands to get coffee, and has a moment of visible internal conflict. Then he instantly offers him the Freddy's job. The way the movie frames this, it seems to be saying that he recognized the name of one of his victims, realized this was the kid's brother, and decided to kill him right then and there. Which is passable as an explanation, but it has a lot of holes, if you look deeper.

Why would William so instantly recognize a fairly common last name as the brother of some kid he killed that wasn't even anywhere near Freddy's? Why did he kidnap/kill Garrett in the first place, in some random forest in Nebraska? Why did he see the name on the file, then immediately stop and examine Mike's face so closely, when Mike's memories/dreams pretty clearly show that they never saw each others' faces when Garrett was taken? Why did he send Vanessa to "keep Mike in the dark" if he purposely gave him the job to get him killed? Why not have the animatronics kill him right away? He didn't know that Mike was searching for the man who took his brother, and while he could have maybe guessed he was still actively haunted by what happened based on Mike beating up a guy that he thought was kidnapping someone, it still feels like a weird choice to go and hire him, then just have him do the job with no issue for a few days.

As for Vanessa, we see that she's been cleaning up William's messes for years. Why is Mike the one she changes her mind and stands up to her father for? There's no implied romance between the two and no particularly meaningful connection beyond them both having family issues. I guess she cares about Abby because she's a kid, but kids getting hurt clearly never stopped her from helping her father before.

And, on a more meta level, this is Scott and his storytelling style we're talking about. The man puts plot twists inside of plot twists and everything always ties back into the Aftons, somehow.

So, here's my theory: I think that Mike is William's kid, but Mike's mom left Afton when he was young and remarried the man that Mike thinks is his father.

It seems convoluted and maybe cliche, but if it's true, then suddenly there's an answer to all of those questions. "Michael Schmidt" isn't exactly an eye-catching name, unless you had a kid named Michael and your ex-wife married a guy with the last name Schmidt. Garrett's kidnapping, then, becomes an act of intentional, petty revenge rather than an extremely random coincidence. Giving Mike the job and sending in Vanessa suddenly becomes about piecing together how much he knows and figuring out if he's worth trying to reconnect with or is just a threat that needs to be killed. (It feels worth noting that William is as far as I can remember the only person to call him Michael in the whole film. He also very pointedly never says "Schmidt" until he's decided to kill Mike and suddenly announces his full name out loud. If he went by Michael as a little kid, that is what William would default to calling him, but if he took the new husband's last name, that would be like like salt in the wound that he wouldn't want to voice. By finally saying it out loud, it feels like he's making the decision to fully separate himself from Mike.)

As for Vanessa, if Mike is her brother, it makes sense that he would be the person she'd turn against William to save. It would be weird for her not to tell him, but she could also be trying to protect him, in some way. There's never any mention of her mother, and it seems like it's just been her and William for a long time. Also, ending the movie with her in a coma feels like a strange narrative choice, but it makes sense if she knows information that's purposely being kept hidden for the sequel.

Of course, it could just be that the movie has kind of messy writing and I'm trying to fix it because I want there to be a deeper reason for it. Maybe there is no Michael Afton in the movies, or maybe he's off chilling and doing his own thing somewhere and we'll see him in the sequel. Only time will tell.

#fnaf movie #fnaf movie spoilers #five nights at freddy's #five nights at freddy's spoilers #michael afton #mike schmidt

[weebsinstash]

As much as I strongly dislike when a series kind of "cages" the self insert/OC potential of its audience, it's becoming pretty clear that there's a certain level of pre-determined-ness to Sinners and their appearances, almost to the point it's vaguely implied entire sections of Pentagram City are like, ethnically/visually distinct and that every character we see fits into some sort of category and resembles other people. There's an Overlord who's a giant raptor dinosaur and there are other dinosaur Sinners (and also she's like the club/rave based overlord and even has a business, Klub Kaiju, interesting). Valentino is a moth and there are other moths and different bugs like spiders. In the most recent episode showing flashbacks of Hell in Alastor's past, there was a past female Overlord who had the same multi-toned angular swirling hair as Velvette does. In Vox's studio in episode two, he has members of staff that are visually similar to his own aesthetic. Even up in Heaven, Angel's sister Molly still has her spider aesthetic with a halo and cherub wings

so, i guess, to go where I'm ACTUALLY going with this post.... Moth Reader who winds up catching Valentino's eyes because "oh wow we're both moths, isn't that cute" and it escalates into him seeing you as his property, ESPECIALLY if you also have weird drugging/pheromone powers like him

Like can you imagine it? You smack down into the city while he's like having lunch at a cafe or his limo is parked at a light and you're standing up all confused and helpless and cute, hugging yourself as you look around this loud violent scary new place, and you two wind up making exact eye contact and he can tell you're crying and scared, easy prey. Could you picture Reader's equivalent of his coat being that you're in a little hoodie or jacket or shawl and it just unwraps while you're sitting with him. Idk. You accidentally inhale some of his smoke and just give a cute little sneeze and your antenna and your wings are all just poofing out, you basically just equipped that shit from your inventory. On the fence if Reader would have chest fur but maybe your hair hair is really big and long and silky

Moth Reader having eye spots on their wings that can lull someone into hypnosis, or you have some sort of pheromone that makes people weak to your demands, maybe even horny for you, like some mind controlling queen bee ordering her drones. Val's in the bathroom and some creep grabs you and all of a sudden your antenna twitch and his face gets hit with a little puff of 'dust' and suddenly he's letting go of you, "oh my gosh sweetie I am so sorry, here, take all the money in my wallet, you deserve it, I'm so sorry queen, I'm gonna go jump into traffic, sorry queen, sorry, sorry, im a worm, sorry, sorry"

Valentino having unique reactions to your "pollen" as another moth or at least an addict with a tolerance. He buries his face in your neck so you "poof" him on purpose and he's just hotboxing your scent and getting high and horny while you're struggling and squealing. He forces you to use your powers on him and others so they can feel happy and high. At some point he may even force you to keep producing the powder so he can sell it as a drug or a product and at that point you're BIG INCOME for him, he might as well carry you around like his personal vape pen

Like. Can you even imagine "oh yeah Im super lucky enough that i have these powers to protect myself and potentially manipulate others" and you think you're safe and untouchable and this man is like using his fucking credit card to shift your powder into lines to snort it like a rail of cocaine. You can turn "normal" Sinners into your helpless pawns but it loses effectiveness the stronger the person is and this man is like HOTBOXING your shit, all but passing out on the couch with you in his arms in pure drug seeking unrestrained bliss. And then he fucks ya cause I mean, it's YOUR fault he's all hot and bothered now isn't it?

Just Reader not even knowing how much danger they're in because you just got here and have no idea who this guy is and you're just spinning around looking at your new appearance and flapping your little wings and maybe you can even float or fly a little bit, all happy, big big smiles, being all "oh my gosh this is so cool, I feel so cute ^^" and you don't even realize you're practically modeling yourself on a runway to one very, VERY interested customer...

#yandere hellaverse #yandere hazbin hotel #valentino x reader #yandere stuff #sinprompts

[howtofightwrite]

Do you have any thoughts on making characters like Kim Possible more realistic for stories aside from aging her up? While still keeping the spirit of her, that is.

You can't make Kim Possible realistic because the superspy genre runs on implausibility, the superspy aspect of her persona only works in the genre's unrealistic space. If you try to run a superspy in a realistic world, you either get a dissociative psychopath or Jason Bourne (from the books, not the films) who is still pretty close to being a psychopath rather than your regular spy. To write a “realistic” Kim Possible, you'd end up with your run of the mill, hyper competitive, adrenaline junkie cheerleader without any superpowers or supergadgets and a school board that's not particularly thrilled with her antics. We're talking Buffy levels of burn down the high school. (Buffy did burn down a high school.)

The imporant thing to understand about Kim Possible if you want to deconstruct her character and pul her out of the genre where she currently works is that Kim isn't a character aged up. She's a character aged down and reformatted for a tween to teen audience. If I aged Kim Possible up, I'd have Get Smart's Ninety-Nine or a member of the original Charlie's Angels (take your pick) or a non-powered variant of Shego. Her contemporaries are the girls from Totally Spies, which are also a Charlie's Angels riff, and arguably even more insane than Kim is. To fully grasp Kim Possible as a character you want to write rather than a piece of media you consume is you have to understand her archetype and where all the pieces of her character come from. Those pieces are derived by material that proceeded her in the superspy genre.

This is what author's call a Lit Review.

When you find a character you like and want to use, instead of trying to copy what you see you go deeper into deconstruction. Deconstruction is just a fancy word that means you break everything down to it's base components and take it apart to understand how it works and functions as a whole so you can rebuild it in your own image. In the case of Kim Possible, a simple deconstruction isn't enough because she isn't a character, she's genre loci. (It fun play on genius loci, it means she's a personification of the genre rather than a person or place. She is by nature a formalistic entity, which means she only exists as part of the formula. That's why you're having difficulty writing her as a “realistic” character. Formalistic entities do not function in the real world.)

To understand Kim Possible as a character, you have to understand Kim Possible as a formula. Worse, you have to study two different genres because she's fusion of two different formulas that are both equally unrealistic. Fortunately, the superspy and the superhero genre have enough cross-bleed that you only need one. You'll have to do a comprehensive review of both the superspy genre and the teen dramedy genre (Saved by the Bell, 90210, Boy Meets World, Sweet Valley High,you know, the John Waters version of high school. If you've been consuming mainly CW dramas like the current iteration of Riverdale you have the wrong era and will have to start all over.) For a comprehensive lit review, you have to go all the way back to the beginning with the original James Bond and watch them in sequence, then watch Get Smart (by the time you get here, you'll have the same degree of contempt for Bond as Mel Brooks so that works in your favor), pay special attention to Ninety-Nine the original avatar of the female superspy, and then watch Charlie's Angels, the original TV show not the movies. By this point, you'll understand all the pieces that went into Kim's creation and then you'll be able to independently pull them out keep what you want.

If that sounds like a lot of work, you're right. Picking one isn't enough because she has pieces of all of them, and they're all influenced by their predecessor. Ninety-Nine is a direct reaction to the treatment of women in James Bond, and Charlie's Angels are an adaptation of Ninety-Nine as James Bond. A lot of female superspies are direct references to James Bond (whether they want to be or not) and Kim Possible is no exception. The show is full of James Bond injokes and many of her villains are direct references to Bond villains. The old Sean Connery Bond villains. (Much as it's in the name, you don't need either the original Mission Impossible or the film remakes. If you want to watch the Peter Graves era for an even more comprehensive experience, go right ahead.)

You don't understand Bond? You don't understand Kim.

Teenagers don't make for good spies in a realistic world. They're not emotionally mature enough to do the job. That's not an insult. When you're a teenager, your brain is still maturing, you're halfway to being an adult, but you're still growing into yourself and a lot of what you're experiencing you're experiencing for the first time. Experiences that feel like the end of the world to a teenager, are just Tuesday to an adult. You don't feel emotions the same at sixteen and twenty-five, or sixteen and thirty-five, part of that is experience and part of it is the intensity of our emotions decays over time. Adults are also better at hiding what emotions they do feel. These are all reasons why adults seem so unfeeling to teenagers.

Worse, for the realistic Kim, she comes from a stable home environment. She's got loving parents, appreciative, supportive friends, and lives a happy, well-adjusted life even without saving the world. She doesn't have the cynicism, suspicious nature, mercurial adaptable behaviors, and survival instincts that broken homes and abusive environments train in young. In the real world, evil passes itself off as good. There's no colorful costumes or villainous laughs or soundtrack to point out who you can't trust. The friendliest, nicest people are often the first to stab you in the back. Appearances deceive and ingrained biases cloud perception. Spies are not well-adjusted people or emotionally healthy. It's a lot easier to talk someone off a cliff if you are also on a cliff. The point of a spy is that they're a bad person. The superspy genre is an escape from the realities of being a spy and it was originally written by a former spy.

The kid from the broken home learns early that people behave differently in different environments, and they need to be wary until they determine if the person they think they can trust is someone they can actually trust. Often the most well-intentioned people make bad situations worse trying to resolve conflicts they've chosen not to understand. At the same time, people wear masks and not all secrets are nefarious. To be able to determine the difference between someone acting supiciously (hiding a secret) and someone who is actually nefarious takes practice. This is even a common subplot in teen mystery dramas for teenagers (and adults) to be misled by their own prejudices and their inability to tell the difference between types of suspicious behavior. There's the secrets that don't matter and the ones that'll get you killed and they can be the same secrets. Understanding the faceted nature of people, fully analyzing their personalities so you can predict their moves without being a fully mature person with your own experiences to draw from? That's hard. It's a difficult ask for adults who are professionals.

You can't keep Kim's optomism and turn her into a traditional spy. The traditional spy needs to both be able to see the worst in someone and then use that dark nature against them. They collect secrets and vulnerabilities so they can turn the average person into an asset later. They can't do everything themselves, they need to be comfortable with using people and with the part where using those same people will get them killed. There's elements here that do mimick high school, but it's a much more dangerous game with much higher stakes and a lot less room for error. A teenager this manipulative this young is either a narcisscist or a sociopath, and even then they won't have refined their manipulation to the point they can carry it off like an adult. (If you hav e a difficult time comprehending this concept, you are stilll a child. Enjoy it while you can.)

You also can't really do Kim Possible in the CW mold while keeping her Kim Possible. The same problems as the spy to superspy genre apply. The Vampire Diaries approach to teenagers is antithetical to the John Waters high school. Someone's going to have to be the cynic, half the cast are lovable assholes, evil will prevail over good on a regular basis, and everyone in the CW's world will be varying shades of gray with dark secrets. CW teenage dramas are gritty (and not particularly realistic either, even if they are entertaining.) You can't put James Bond and Frank Miller's Sin City in the same place and play them both straight. Superman's ideals and morals don't function properly in The Boys universe. That optomistic view of humanity isn't supported. If you want optomism in your narrative, you need to fight for it.

An optomistic character can succeed in a cynical world and keep their optomism while making tragic mistakes, but they need to be supported by the author and story's structure. A careful balance has to be maintained between hope and darkness, and it is very easy to go past a character's point of no return. It's easy to become cynical, it's easy to embrace nihilism especially in the face of tragedy. Kim Possible is not a character designed around the idea of moral fortitude. She's not a character who has to fight for her beliefs in a dark world. She doesn't have articulated morals or a philosophical outlook, she just does what she thinks is right. A character doing what they think is right in a cynical story sets the stage for events to fall apart in a tragic ending.

The question is, do you want a realistic version of Kim Possible or do you want a version that you feel is going to be more serious, and literary, and will be accepted? As much as it's currently in vogue, cynicsm and nihilism aren't automatically better or more mature storytelling.

Kim Possible is accepted. Kim Possible being unrealistic is not a failure of the material. She's supposed to be a teenage comedy pastiche of the superspy genre. She works because she embraces both genres in all their corny cheesiness wholeheartedly and without irony. Even when Kim Possible is at its most tongue and cheek, Kim herself is never the joke. The mirror between Kim and Shego is intentional. It's good practice to have your villain be a jaded, cynical, dark version of your protagonist (with better comedic timing.) Shego is cynical so Kim can be optomistic.

Kim's ideals and morals are designed for a more hopeful world than the one we live in and that's fine. James Bond is one of the most iconic film heroes of all time. Get Smart and Charlie's Angels are both beloved to this day. Kim Possible and Totally Spies were successful media properties. A market exists for teenage superspies. While Harriet the Spy is probably the closest to a “realistic” Kim Possible you're going to get, I think you're looking for something else, something more adrenaline filled, something exciting, and that's okay.

You don't need realism. You need a world that feels plausible enough your audience will embrace it. That's just good worldbuilding and understanding your genre. You don't need to be the next Game of Thrones, you don't need to be (the new) Casino Royale. Don't be embarassed by the silliness, don't be worried if the story is serious enough, skip off into the sunset with your catchy theme song and naked mole rat. Tell the story you want, the story that you love.

And do your reading (and watching) because the more you understand, the better you write. If you can't take Kim Possible at her worst (Roger Moore) you don't deserve her at her best.

-Michi

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#Michi answers #writing advice #writing reference #writing tips #kim possible

[hlizr50]

I was shown a post this morning (I think it was from Tumblr, but I'm not 100% sure) where someone asked if maybe something was LOST IN TRANSLATION because so many Gwynriel shippers aren't native English speakers.

Now...

I'm going to give this person the benefit of the doubt and believe that they truly don't mean anything negative by the question, even though the implications are... harmful to say the least.

Here's the deal, guys.

There are Gwynriel shippers all around the world because there are ACOTAR readers all around the world. The ship is not localized to a region or a language.

When people read books, the words on the page send a message. Sometimes, if we're super casual readers, the messaging is limited or we don't read a ton into it. For other readers who choose to delve deep into how the author writes to try to understand what might come next, it is obviously a bigger investment.

But at the end of the day, we all read the SAME BOOK (and bonus content) and those words made us all feel different ways. Made us want or predict different things. And that's all well and good. The problem comes up when we try to explain why we feel the way that we do.

I'm an engineer. Even though I enjoy creative writing and art, my brain is practical. I like having evidence. I like being able to identify trends and make an educated prediction based on them. As someone who ships Gwynriel, I have never denied that there are canonical moments where Azriel and Elain have some level of... something. On page. It would be ignorant of me to say that those moments don't exist. However, for the most part FROM WHAT I'VE SEEN, when a Gwynriel shipper tries to use canonical evidence to support their ship -- WHICH EXISTS -- it's a constant barrage of 'that's not what that means' or 'how could you read that romantically?' or 'Gwyn is just a side character'. And then there are the blatant hypocrisies, like how Azriel saving Elain from Hybern is romantic but Azriel saving Gwyn at Sangravah should never be mentioned ever again.

I guess what this long-winded ramble is trying to say is that there's nothing lost in translation. We've read the same story, and we believe Gwynriel makes sense. We lean on canon and trends in the author's style to support the ship, and then we headcanon the hell out of it, because fandom is supposed to be fun like that. Some people read the story and believe that Elriel makes sense, and that's perfectly fine. But don't come at a Gwynriel shipper, attacking their textual evidence with your headcanon that Elain was barely existed in ACOSF bc she was apparently training to be a spy and she and Azriel were falling in love completely off-page with nothing to show for it.

And don't you dare make an implication so blatantly out of bounds like blaming it on some strange translation error that somehow miraculously makes Gwynriel makes sense, but only if it's not in English. Like... give me a break. And... think about what you're saying. For A SINGLE MOMENT.

#I'm just so tired #this is so dumb #read what you like #ship who you want #enjoy fanwork for your ship #and scroll past fanwork that isn't for your ship #gwynriel #fandom #sjm fandom #fandom ships #fandom fuckery #fandom bullshit #acotar #acosf #sarah j maas #sjm #acotar fandom

[satanghostface]

I was reading discourse on achilles yesterday and I'm still thinking about some people calling him a r*pist and others saying that other books they've read that are from a woman's perspective completely shifted the perception they have of TSOA's Achilles. And to me that makes little to no sense.

Here's what I come from: Achilles is a character from the Illiad, and the poem itself is pretty much fanfiction. I mean, the person and warrior that Achilles is based on probably existed, and it might have been called Achilles even, but i think we all agree that the rest is dubious.

Since the illiad is like the OG story, people tend to look at it as if it's canon and we'll go with that logic. You have the canon work and poets go off on their own versions of these characters writing tragedies, more epics, thesis, all sorts of stuff, and it goes on for centuries until we reach The song of Achilles and Percy Jackson and all the other 100s retellings coming out which are fanfiction of fanfiction.

And you're letting one fanfiction distort another fanfiction? It's bonkers to me because as someone who has to read the classics and grew up on fanfiction, I don't see that happening elsewhere. Between academics, if we're discussing a myth, we mention the different versions, and we can choose one to go on from, sure. But even so, I never saw someone sound so affected by different perspectives on the same character in class.

And if we're talking on the world of street fanfiction, I most definitely don't find people going "Oh this fanfiction of hermione betraying the order and marrying voldmort changed my perspective of Harry Potter's hermione" you know? -- if that sounds like a stupid example, it's because it is. It's just to show that my whole point is that it's insane to me to let a book ruin another book when the authors are creating different versions of the same characters, which basically turns them into different characters with the same names. Especially since you know, it's all made up. And this isn't real criticism to the people forming their opinions or the authors, respect to all of them.

But it’s a little maddening watching people roll into arguments to discuss what piece of fiction is more real and relevant when they're all in the same level of glorified AO3 works.

I hope this makes sense to someone else

#greek myth retellings #classics #greek mythology #tsoa #tsoa achilles #ancient greek literature #fanfiction #achilles discourse #patrochilles #mention of abuse #literature #mine #percy jackson #the trojans #trojan war #the illiad #odysseus #patroclus #history

[is-the-owl-video-cute]

Even if we knew absolutely NOTHING about Vivziepop and her background/associations, she would STILL be criticized for her awful writing and the way she handles sensitive content in her work. Hazbin Hotel is not a show with something to say, or messages to deliver, it's a show made for people of her ilk to get their rocks off to and chortle at the edgy sex jokes like "oh ho ho, the Normies certainly wouldn't approve of this one!" It's a show that barely cares about its own characters outside of turning them into gooey fanfiction tropes and it's only reached the status it has because the pilot was the first of its kind in a time where online people were desperate for a lick of queer media.

And like, it's incredibly obvious that the original concept of Hazbin was made by a teenager- group of overdesigned tragic-backstory OCs with very little in common shoved together by a loose leaf plot into a group setting, sure, right. That's where most writers start out. But the thing with Vivziepop is that she received that first batch of criticism and dug her damn heels into the floor and said I AM NOT WRONG AND I REFUSE TO CHANGE. So we're here now, what, a decade later? And she's still hanging on to that teenage writing and mentality and is only spurred on by her peers and supporters saying YOU ARE NOT WRONG, DO NOT CHANGE.

Sorry for word vomiting into your inbox but I've been following the situation for a bit now and it's just ridiculous how big the whole thing's gotten.

Honestly the level of disrespect she gives to Angel’s trauma in being tonally inconsistent on whether the audience is supposed to take it seriously or if it’s a joke. The music videos about Angel’s backstory (Addicted, Poison) being made in part by a guy who gleefully expresses thinking it’s sexually satisfying to them and posts about it often on twitter is one nail in the coffin, Angel being totally fine and everyone treating it like a joke after he enters a relationship with Husk is another.

There’s also the obvious issue with the fact many of the named characters in hell are rapists, serial killers, and abusers. This makes the entire concept of the show an issue because the entire plot line is based on taking demons and rehabilitating them to become angels instead. It’s a plot that could work if it focused on people unjustly being sent to hell for being queer or doing drugs or just not being devoted to god or whatever, but there’s a crisp three characters who could be redeemed that were even sent to hell, the other demons who are decent people are native to hell.

She had to make the leader of the angels a massive douche because otherwise the idea of them going to hell and culling some genuinely bad people wouldn’t be that big of a deal really. She wants to have her cake and eat it too, she emphasizes how evil the average inhabitant of hell is to be edgy and then at the same time you’re supposed to feel bad for them and hate the angels for rejecting the idea of a bunch of serial killers and sex criminals becoming angels. It’s one of those things that feels like it should be a metaphor for immigration/refugees but it falls flat when she actually makes many of them bad people rather than just having the angels unjustifiably prejudicial. By making them cartoonishly evil, it doesn’t really make the prejudice seem unjustified.

[dirty-bear-rick-sanchez]

Episode thoughts under the cut

I loved Morty knowing Rick so well that he just straight up lies about the coffee lmao. Also the way he says 'hey buddy' like he's a dad entering his kid's room when they're in a depressive episode is so funny to me

Rick just literally saying 'family' to address the family

I thought the ghost/unfinished business joke was funny

I also love Rick being so petty (and Summer being petty back about the portal). It's so funny that he just calls the family 'stupids' as well. Devastating insult bro

Interesting that Gearhead was the first person he went to? He definitely needed someone to give him the courage to get the rest of his friends for an intervention (especially BP)

'Told you he wasn't dead' killed me

BIRDDAUGHTER. Funny name, love her being an emo teenage edgelord who just goes round killing Gromflomites. 'This is worse than prison'? Love it

Also I really liked that we got to see this side of BP's character this episode? He's so funny and I love getting to see him be a shit. Him trying to parent his daughter and just drinking wine? We love another alcoholic girldad

I really liked getting to see Rick/BP/Squanchy actually hanging out as well? I feel like it's a good insight into how they probably were back in the Flesh Curtains days

I like the 'birthday, birthday, birthday' gag

Also Rick immediately being like 'fuck this we're getting wrecked'

The honey scene was definitely for the Rickfuckers

Can we talk about the fact that Rick was definitely trying to impress BP by bringing up the fact that he hosted the Oscars? Which is definitely why he wanted that gig in the first place

Once again I love getting to see this side of Birdperson. Definitely makes sense why he and Rick get on so well

I liked the visual gag of Rick being high

Also BP and Squanchy playing the knife game lmao

Rick sits so fucking dramatically

Look at BP's face, he definitely wants to fuck that Predator guy

Son heist

I love that Rick can immediately identify Squanchy's shit based on the smell? Like he knows it's his and no one else's

BIRDPERSON PUTTING HIS HAND OVER RICK'S MOUTH

(You know Rick is gonna be thinking about that forever)

I like the recurring Squanchy tooth thing

'Why is this my thing' lmao

Poor poopy child

WAYNE

Them all just chilling together waiting for their drunk food? love it

I love BP leaving to collect his daughter from attacking a Federation outpost with the exact same energy as a parent collecting their child from school after they got suspended. It's so funny to imagine the GF having the same sort of vibe as they do with Rick and just texting BP like 'yo we got your daughter here' (I know that's not what happened but it's a funny mental image)

Lmao Squanchy

I did like the fading pill bit

Poor Gene

Overall I liked getting to explore this aspect of the dynamic between Rick/BP/Squanchy/Gearhead (+ the others of course but they're the OGs yk?) and also the concept of intervention/alcoholism. I think it's interesting to see that Rick does want to help but his support system is so fucked that this ends up happening and it makes a lot of sense when it comes to his own issues. I really like the way they handle Rick trying to get better and do the right thing but struggling so much to break out of unhealthy behaviours/habits. He's painfully aware of how fucked up he is and how much of a bad influence he is but he doesn't know how to fix the issue/be a positive influence and he definitely views abandonment as a good thing because he's removing himself from the situation. Very interesting way to explore this aspect of his issues, especially since all his friends are also alcoholics with that level of denial/refusal to get better

I had this discussion with @hazelnut-u-out before the episode aired but I do like that they're showing Mr PB directly suffering as a result of Rick's actions in canon? Considering that he started as a joke/meta character it's very interesting to show him actually shifting to more of a serious character who appears in the actual show and experiences real issues, especially since the show becomes less and less sitcom-y as Rick becomes more aware of the reality of how fucked up all of these things are.

#rick and morty #rnm #rick and morty spoilers #rnm spoilers #how poopy got his poop back #rick sanchez #birdperson #birdrick #mr poopybutthole #squanchy #gearhead #gene the neighbour #sorry this is all over the place #i really want to post/engage with fandom about the new eps but my energy levels are very limited and i have bad brain fog #so this is the best i can do 😅 #i hope to make a more coherent post about the oscars thing and also mr poopybutthole as a symbol of rick's view of his life as a tv show #but we'll have to wait and see

[crossdressingdeath]

Okay, I make a lot of jokes about Jason drinking poison just because Nico asked him to and drinking poison because someone said "If we're friends drink this poison" is a wild thing to do. But it's also like... this is kind of Nico's answer to Jason telling him to take a risk and trust that Jason really is his friend and really does want to help him? Jason says "If you want to belong anywhere you're going to have to take some risks and trust that people want to be your friends", Nico is now turning around and saying "If you really want to be my friend, prove that you trust me instead of just asking me to trust you". Nico's been burned before by trusting other people blindly! Basically everyone he's ever cared about has let him down in a really big way! But he tells Jason to trust him and Jason does without a moment's hesitation. And it's like... people usually don't trust Nico, the Seven in particular (Hazel aside) have been looking at Nico with nothing but distrust since he got out of Tartarus. And here's golden boy Jason taking this poison without hesitation because Nico told him to and in doing so saying "Yes, I trust you with my life, I have faith that you really do intend to help". That would mean a lot! Jason is willing to literally put his life on the line based solely on Nico's word that it's necessary! That's a level of faith that basically no one else shows in Nico, especially in this series! Even when characters do trust Nico, it's usually because there's no one else who can do what he's doing (no one else can lead the Seven to the Doors, no one else can shadow travel the Athena Parthenos, and honestly given he's not actually one of the Seven he's... kind of expendable as far as the quest goes). But Jason just... trusts him, without hesitation or reservation.

Just adkajf;lsdkjfl;daskfjdslkfj it's so much????? Jason and Nico's relationship is so sosososososo good whether you read it as romantic or platonic! It's honestly wild to me that Rick managed to make these two's very close relationship work and feel incredibly real with such a rapid development, because... yeah, there isn't actually a lot of time between Split and Nico leaving with the Athena Parthenos, but the clear affection and concern between them and how they worry about each other while they're separated and how delighted Jason is to see Nico again (and presumably vice versa but we're in Jason's head at the time) at the final battle and Nico actually letting Jason hug him still all makes sense. This is a friendship that is still in its early stages but clearly already means a lot to both of them just because of the circumstances they established it in and the way they mesh as people (and probably because neither of them have a lot of friends as it is, Jason is popular but I don't get the sense he has a lot of friends and Nico is Nico, but that's sad so let's not dwell on it), it's fantastic! I'm really disappointed that we don't get to see them interact in ToA and I really hope there are flashbacks to them interacting in TSatS (and/or Jason's ghost shows up) because I would love to see what their friendship is like after they've had a chance to settle into it in a non-apocalyptic situation. Clearly they stay very close post-HoO given how broken up Nico is after Jason's death and him missing Jason to an incredibly tragic degree in TSatS (assuming that doesn't get changed in editing), but I want to see them! Let me see them being friends, Rick!

#riordanverse #nico di angelo #jason grace #jasico #yeah i'm tagging it this is also why the ship is so damn good #i just. whether you read it as platonic or romantic they love each other SO MUCH i CANNOT with them

[mirroredmemoriez]

Amanda and Cecilia think thonks (THIS IS NOW GENERAL RANDOM SAW THOUGHTS)

“I grifted off his name. Shitting on his legacy was just a bonus I’ll admit that.” - Cecilia on her fathers work/legacy

“It is I who will carry on John’s work after he dies.” - Amanda on John, who basically is her father and his work/legacy.

Don’t know why these lines intrigue me, however I’ve kinda stated before how I find the comparisons between these two interesting. I don’t believe they are perfect mirrors but there are some similarities to look at, alongside their major differences as well. Cecilia uses her fathers name to benefit herself, she takes advantage of it and others to get what she wants. She is aware that what she is doing is wrong and if found out, would tarnish the Pederson name. Whereas if we turn to Amanda, she heavily dedicates herself to continuing John's work and the Jigsaw legacy. However, obviously throughout the Saw franchise, she begins to question his methods and goes against them. One takes advantage, the other is taken advantage of.

“I rob, I steal and I cheat.” - Cecilia

“I’m a murderer. He took my life from me, so I just returned the fucking favour.” - Amanda

They both admit what they're doing isn't correct to a degree. However, neither has or likely will stop what they're doing. Cecilia scams and Amanda rigs her traps to be impossible, in a way her own form of scamming? What I mean by that is, the whole point of the traps is to be a lesson- It's supposed to be escapable, any survivor of it will tell you that... Obviously, there are some places to question the tests/traps even outside of Amanda, but we're not looking at that right now. Anyway! She basically scams people out of a chance of surviving due to her own past experiences. Lynn Denlon in Saw 3 being a perfect example of this really? She died due to the shotgun collar going off yes, but she likely would have anyway due to Amanda shooting her- Which Lynn had already PASSED her test by that point really.

(Honorary Angel Trap mention) I don't think I have to go too in depth about how Cecilia scams people, but she doesn't just take their money. She also in her own way takes their lives- They leave thinking the treatment will help them, spending savings and such when really it's fake. We’ve also got the fact that Cecilia outright murdered Gabriela. This comparison of their characters and the reception to them by the fandom/audience is something I find fun! Yes, people dislike Cecilia for being a scammer, but the main cause of people's hatred that I've seen isn't even what she did to John? At least here on Tumblr, it's the fact that she killed Gabriela.... The reason I find this ''fun'' is because well, Amanda was the one who put Gabriela in that scenario in the first place and yes of course- We have to acknowledge that Gabriela was part of the scamming which is why she was tested alongside her being a drug addict, however at the end of the day I think it's agreed upon that base level, she isn't a terrible person. She did what she did to survive. So I wonder, if Gabriela had just died in her trap, whether there would be uproar about her death? Would people be angry at John and Amanda the same way they are at Cecilia? And to answer my own question, I don't actually think so. I believe this because of the circumstances of death, reactions and the reason why. Cecilia didn't just kill Gabriela whilst she was in her trap, she did it afterwards. She effectively stole her ''second chance'' because of how money hungry she was. Cecilia also showed no remorse for doing such. Then we have Amanda's reaction.

It goes without saying she was likely rooting for Gabriela the entire time, she reminds Amanda of herself for one and she's also distraught because Gabriela did WIN. I see this as a catalyst to Amanda's future behaviour alongside deaths such as when she ''mercy'' killed Adam and then Laura from Saw 2.

I'm also going to drop this link to a previous post I made, which I think fits in to what I'm saying here and possibly adds to other points. (I have a tendency to repeat myself or ramble)

Almost nobody in the Saw franchise is either fully ''good'' or ''bad.'' That's what I like about it, they are people with faults- Some characters have more redeeming qualities/traits, others not so much. The most beloved characters are likely the Jigsaw apprentices (And Adam). At least the MAIN three ones. Which, let's go over their crimes!

Fun fact! These kinds of crimes are the type that would land you in PRISON. It goes without saying that the moral compasses of all 3 of these characters are basically broken or spinning constantly. Yet, as I stated before- Amanda, Mark and Lawrence are some of the fan favourites of the Saw franchise.... And don't get me wrong, I'm an Amanda fan myself for example! However, it's so interesting the reception these guys get compared to other characters in media and generally in the Saw universe. If we go black and white/narrow our views, they are actually the villains at some points. The crimes speak for themselves and generally whilst watching the movies, you're supposed to be rooting for the people to get out of their traps- Not always mind you, but a good percentage of the time. So many people justify their actions due to their backstories, a common thing for villains and or ''bad guys''. It's understandable, because the shit all of them have gone through would definitely leave anybody unhinged... At the end of the day though, that doesn't mean they should be excused. I think I'll end this here because I've gotten so sidetracked? As I always say at the end of something like this, these are all just my thoughts and opinions- Not fact or concrete either, I'm open to discussions with people who disagree with me for example! IF YOU'VE GOTTEN THIS FAR DOWN! THANKS FOR READING, ANYBODY WHO LIKES AND REBLOGS MY RAMBLINGS DO MAKE MY DAY. -MAL OUT

#the lines of Cecilia's are from deleted scenes #just a disclaimer #I mentioned way more characters than intended #cecilia pederson #amanda young #john kramer #gabriela saw x #lynn denlon #allison kerry #adam stanheight #laura hunter #mark hoffman #lawrence gordon #jigsaw #jigsaw apprentices #saw #saw x #saw 2004 #saw 2 #saw 3 #saw franchise #saw movies #sawposting #saw headcanons #saw character study #character study #headcanons

[simsbyali]

Sims 4 TV Family Legacy Challenge

My husband and I worked on this together... It's a Legacy Challenge based on TV families from shows... Of course I left out the families with horrible personalities (Such as the Cosby Show (Bill Cosby) and All in the Family (Let's face it, Archie was a racist... But, hey, if you want to add them into your challenge, that is entirely up to you!

TV Family Legacy Challenge: 

Rules are simple: 

Infants have to remain infants for the entire time. 

Toddlers can be aged up if they get level 3 in all skills, or level 5 on one skill. 

Children can be aged up either by completing their aspirations or by becoming an A student 

Teenagers can be leveled up either by completing their aspirations or by becoming an A student 

Adults must finish at least one level of aspiration before they die. 

Can be done in any order, and you are allowed to use cheats. I understand the game gets annoying without cheats. 

Generation 1: The Addamses 

“They’re creepy and they’re kooky, mysterious and spooky, they’re all together ooky, the Addams Family” 

Starts with a patriarchal household (Gomez Addams) 

Must have either Successful Lineage or Famously Wealthy Aspiration 

Must have Romantic and Gloomy traits 

Must have a partner with the same traits, but Soulmate Aspiration 

Inherited money, so you or your partner don’t have to work a day in your life (feel free to use the Motherlode cheat to become filthy stinking rich) 

Feel free to add Fester and Grandmama, if you’d like. 

Must have at least 3 children, and at least 1 of those children must be a boy. The youngest child will be the heir. 

Generation 2: The Munsters 

“The lesson I want you to learn is: It doesn't matter what you look like. You can be tall or short or fat or thin, or ugly or handsome, like your father, or you can be black or yellow or white. It doesn't matter. But what does matter is the size of your heart and the strength of your character.” 

After growing up in a family who was wealthy, you didn’t need to work. You had all the money you could ever need. Now you can focus on raising your family. Your story begins as a young adult. 

Patriarchal head (Grandpa Munster) 

Optional Pack: Sims 4 Vampires/Werewolves 

Must have Successful Lineage aspiration 

Must have Gloomy and genius traits 

Must have at least 1 daughter, and the daughter must marry a green man (who has the personality trait Childish) and live with you. 

Have 1 grandson, who will be the heir for the next generation. 

Generation 3: The Bradys 

“Here’s a story, of a lovely lady, who was bringing up 3 very lovely girls. All of them had hair of gold, like their mother, the youngest one in curls.” 

Growing up, you were sheltered and didn’t get to talk to people all that much. When you finally meet someone, it’s love at first sight. You settle down in a nice house and raise your family together. Your story begins as a young adult. 

Patriarchal Head (Mike Brady) 

Must have Big Happy Family aspiration 

Must have Romantic and Family-Oriented traits 

Must have 6 children, 3 girls and 3 boys. The youngest girl or boy will be the heir. 

Must have a maid. 

Optional Pack: Sims 4 Cats & Dogs  

Generation 4: The Partridges 

“We had a dream, we'd go travelin' together, We'd spread a little lovin' then we'd keep movin' on.  Somethin' always happens whenever we're together We get a happy feelin' when we're singing a song.” 

Growing up in a large family, you were used to being invisible, after all, you were the youngest girl. You meet a guy, have some kids. You then become the lead singer for your kids’ band, although at first you’re too shy to be in front of people. Your story begins as a young adult. 

Matriarchal Head (Shirley Partridge) 

Must have Musical Genius aspiration 

Must follow and max out the Singer occupation 

Must have Family Oriented and Outgoing traits 

Must have 5 kids: 2 girls, 3 boys (make sure the heir is a boy to continue onto the Full House generation, unless you want to skip to one of the optional families) 

Marry your soulmate and then lose him once the oldest son becomes a teenager. 

Optional Pack: Sims 4 Cats & Dogs 

Or 

Generation 4: The Ricardos 

“Lucy, you got some ‘splainin’ to do!” 

Growing up in a large family, you were used to being invisible, after all, you were the youngest boy. You meet the love of your life and together you move into a small house, and you follow your dream of becoming a lounge singer. Your story begins as a young adult. 

Patriarchal Head (RIcky Ricardo) 

Must have Musical Genius aspiration 

Must follow and max out the Singer career path 

Must have Hot-headed and Music Lover traits 

Must have at least 1 son 

Must have a wife that has red hair, and has the traits of Family-Oriented and Jealous traits 

Optional Pack: Sims 4 Dine Out- Open your own restaurant and become successful.   

Generation 5: The Tanners 

“Whatever happened to predictablity? The paperboy, milkman, evening TV? You miss your old familiar friends waiting just around the bend.” 

With your family being successful in music, you move into a big house and meet your partner. You get married and get a job working in Journalism. Your story begins as a young adult. 

Patriarchal Head (Danny Tanner) 

Must have the Best-Selling author aspiration 

Must follow the Journalist career path 

Must have Neat and Family-Oriented traits 

Must have at least 3 daughters 

Lose wife in a tragic accident 

(Optional: Add Joey and Uncle Jesse to your household) 

Optional Pack: Sims 4 Cats & Dogs 

Generation 6: The Winslows 

“It’s a rare condition, this day and age, to read any good news on the newspaper page. And love and tradition of the grand design, some people say it’s even harder to find. Well, there must be some magic clue inside these gentle walls cause all I see is a tower of dreams, real love bursting out of every seam.” 

After a long successful line of entertainers, you decide to take a different approach. After you move out, you fall in love with a non-entertainer, get married, and move into a house big enough for 8 people. Your story begins as a young adult. 

Matriarchal Head (Estelle Winslow) 

Must have Big Happy Family aspiration 

Must have Family-Oriented and Cheerful traits 

Must marry a policeman 

Must have a son who becomes a police officer 

Son (Hot-Headed and Family-Oriented traits) and wife must live with you after your husband dies. 

Have at least 3 grandchildren 

(Optional: Add Aunt Rachel and Ritchie to household) 

(Also Optional: Make Steve Urkel) 

Generation 7: The Banks 

“I pulled up to the house about 7 or 8 and I yelled to the cabbie ‘Yo holmes, smell ya later’ Looked at my kingdom I was finally there to sit on my throne as the prince of Bel-Air.” 

Inspired by your father, you decided to follow in his footsteps and join a criminal justice career. You worked from the ground up and became a successful judge, married a beautiful woman, and settled down in a mansion in the fanciest part of town. Your story begins as a young adult. 

Patriarchal Head (Phillip Banks) 

Must have either the Successful Lineage or Fabulously Wealthy aspiration 

Must have a career in Secret Agent (Base Game) 

Must have Foodie and Hot-Headed traits 

Must have a maid or butler 

Must have at least 4 children (2 girls, 2 boys) 

Nephew comes to live with you (Nephew’s traits should be Romantic and Ambitious) 

(Optional: Add Jeff as Will’s best friend) 

Optional Packs: Get to Work for Detective career or DIscover University for Judge career 

Generation 8: The Spellmans 

“What’s the matter? I have to be a witch, I have to be a mortal, I have to be a teenager, and I have to be a girl, all at the same time. That’s what’s the matter.” 

You have a good life, you’re living with your sister, and you have a good relationship with your brothers. You’re not too fond of the fact that one of your brothers married a woman who is so unlike the family, but, you love him all the same. You’ve offered to take your brother’s daughter should he end up dying. Your story starts when you reach young adult. 

Matriarchal Head (Zelda or HIlda Spellman) 

Must have the Big Happy Family aspiration 

Must have the Neat and Ambitious traits (Zelda) or Childish and Slob traits (Hilda) 

Must work in some sort of Science field (Zelda) 

Must be good friends with both of your brothers. 

Take in your niece when she’s a child and raise her after her parents’ early demise. 

Optional Packs: Realm of Magic and/or Cats & Dogs 

Generation 9: The Gilmores 

“If you’re out on the road, feeling lonely and so cold, all you have to do is call my name and I’ll be there on the next train. If you need me, I will follow, anywhere that you tell me to.” 

Losing your parents at a young age and being sent to live with your aunts wasn’t exactly something that you were thrilled about. Which is why you become a wild child. Your story starts when you reach teenager.  

Matriarchal Head (Lorelai Gilmore) 

Must have Successful Lineage aspiration 

Must have Cheerful and Ambitious traits 

Must be in the Management branch of the Business career path 

Get pregnant as a teen 

Have at least 1 daughter 

Must not date until your heir is a teenager 

Generation 10: The Prouds 

“You and me will always be tight. Family every single day and night, even when you start acting like a fool, you know I’m loving every single thing you do. I know that I can always be myself around you more than anybody else.” 

As a young adult, you begin to resent your mother for having you way too young and you begin to put a rift between you and your mom so you move out and get married to a swinger. Your story begins when you turn into a young adult. 

Matriarchal Head (Suga Mama) 

Must have the Successful Lineage aspiration 

Must have Family-Oriented and Lazy traits 

Must have 1 son with the Master Chef aspiration; Foodie and Ambitious traits 

Your son gets married and has 3 children 

After your husband dies, you move in with your son and his family 

Optional Pack: Cats & Dogs 

(You can either end it with the Prouds or you can continue with other generations) 

Optional Generations 

The Stephens (Bewitched) 

Patriarchal Head (Darrin Stephens) 

Must have Soulmate aspiration 

Must join the Management path of the Business career 

Realm of Magic: Must be married to a Spellcaster (Optional) 

Have 2 children 

The Bundys (Married... with Children) 

Patriarchal Head (Al Bundy) 

Must have Party Animal aspiration 

Must have Slob and Mean traits 

Must have 2 children (1st child when you’re a teenager) 

Get to Work: Own your own retail store (Optional) 

Marry the mother of your child 

Wife must have Materialistic and Lazy traits 

The Taylors (The Andy Griffith Show) 

Patriarchal Head (Andy Taylor) 

Must have Angling Ace aspiration 

Must join a career that involves Law Enforcement (Special Agent – Base Game, Detective – Get to Work, Judge – DIscovering University 

Marry and have 1 son 

Lose your wife 

The Arnolds (The Wonder Years) 

Patriarchal Head (Jack Arnold) 

Must have the Big Happy Family aspiration 

Must have Hot-Headed trait 

Must join the Management branch of the Business career 

Must have 3 children 

The Taylors (Home Improvement) 

Patriarchal Head (Tim Taylor) 

Must have Nerd Brain aspiration 

Must max out Handiness level 

Must have 3 children 

Must have Outgoing and Family-Oriented traits 

#sims 4 legacy #sims 4 challenge #sims 4 gameplay

[randomthefox]

I do like the interpretation that Raditz was basically toxic masculinity The Character. Even moreso than Vegeta, since the prince honestly seems like he was just born broken and had to be pieced together very slowly. Goku getting amnesia and becoming a sweetheart does seem to suggest that the tabula rasa for the sons of Bardock is to be decent people, and it's the culture of the Saiyan species that turns them into what they are.

Raditz was a low class warrior, and the son of a low class warrior. His species was wiped out and his planet blown up. And the only Saiyans left in all of existence were two Elites, who constantly looked down on him for being garbage who was barely as strong as literal vegetables (the saibamen). They probably only barely tolerated him because he was also a Saiyan, but especially considering this is Vegeta we're talking about here that tolerance probably didn't extend very far. Raditz might have felt the urge to prove himself to his superiors, to show himself worthy among these Elites, by overcompensating and amping up how ruthless and brutal he could be so that he could earn their respect.

And then one day they find themselves having difficulty conquering a planet. Even these two Elites would be challenged by it! But then Raditz remembers, he has a baby brother. Another low class cast off just like him! Surely Kakarot will be enough to tip the scales in their favor, and if he does maybe these Elite's will see them differently. They'll see that they have value as Saiyans despite how low class they are, he and his baby brother will finally earn the respect of his (male, violence obsessed) peers.

So when he finally meets his little brother Kakarot again and finds out what became of him, you could read quite a lot into his reaction and what must be going through Radtiz's head. Based on the way Raditz talks to Goku, it's clear that Raditz EXPECTS Goku to remember him on a personal level. They MUST have interacted before Kakarot was sent off to earth to at least some capacity, otherwise dialog like this doesn't really make sense.

Raditz and Kakarot KNEW each other before the calamity that befell their planet. They've been separated for decades and a lot happened during that time, but Raditz still expects Kakarot to remember him. He seemed genuinely shocked that Goku had suffered from amnesia, and his demeanor was pretty flapped. His only family left in the entire galaxy, his fellow low class Saiyan and kin the only person in the entire galaxy who is on his level. And those memories of their childhood as brothers was erased. Read this panel with that in mind.

Raditz WANTS his brother back. But he has also had 20 years of living with Vegeta to sculpt him as a person, and this is where the Toxic Masculinity creeps in. The desperation and confusion he let drive his interactions with his little brother thus far is put under control, and Raditz starts playing the aloof and bemused monster. He puts on the mask of being the ideal saiyan warrior. Someone who laughs off the destruction of their home planet

Someone who relishes in the thrill of carnage and bloodshed. It's the very reason they became the most powerful race in the galaxy. It's the very reason they are both still alive.

He's TRYING to wake Kakarot back up. He's TRYING to get his brother back. He's overcompensating, he's playing it up, he's EMULATING VEGETA because he thinks this will rile up the Saiyan inside of Goku that has laid dormant.

When Goku rejects him it must be crushing, but he hides it under a confident veneer. Because he's still confident that he can make this work when he notices Gohan. If Goku won't be motivated by the promise of battle and wrecking death, MAYBE Goku will be motivated by the paternal instinct to protect his son?

Think about this given what we know: Saiyans aren't supposed to CARE about their children. At least that's what we've been told. And yet Raditz is trying to wake up Goku's Saiyan instincts by threatening his son. It's almost a Catch-22, Saiyans are supposed to only care about strength and fighting and killing over everything else, and yet Raditz is hoping to stoke those flames by tugging on Goku's love and protective instincts for his child. It's like Raditz is blending what he knows about his own family with what is expected of Saiyans - if Goku was a "real" Saiyan then he shouldn't care about Gohan especially considering he's such a weak child, but Raditz is COUNTING on Goku caring enough about his son that he'd be willing to slaughter a hundred earthlings.

He hopes that if he's FORCED to kill for the sake of his son, that experience will bring Kakarot back out and he'll remember what being a Saiyan who lives to fight and kill is like again. And the only reason he'd think that plan would work is if he assumed, BASED ON NO OBSERVABLE INTERACTION HE'D HAVE WITNESSED SINCE ARRIVING ON THE ISLAND, that Goku cares about his son. THAT'S the true Raditz, the Raditz who assumes based on nothing that his brother would love and value his son more than one hundred random strangers. It's the toxic masculinity of living around Nappa and Vegeta his whole life that makes Raditz think that "a real man Saiyan" SHOULD only care about battle that makes him think that engaging in senseless slaughter will wake Kakarot back up.

He's trying to impart this onto Goku because he wants Goku to join him. He's trying to turn Goku into a monster because that's what Raditz thinks he is, thinks that they both should be, so that they can fit in and be seen as worthy by the only two other Saiyans left in existence. He wants more than anything for Goku to join him so they can both go back to Vegeta and show those Elite's what they're worth. And Goku is rejecting him, rejecting his very nature as a Saiyan, CHOPPED OFF HIS OWN TAIL just so he could fit in with these weak earthlings?

Rejecting his family, his species, his heritage, and for what? So he can be a weakling who isn't worthy of standing next to the Elites?

So that he can leave Raditz alone with those two Elites who he can't possibly measure up against? Again?

He HAS to try and convince Goku to become a monster. That's the only solution, truly. Surely, once he sees how fun it is to commit genocide, he'll come around and be his brother again, right? After all that's what Saiyans are all about. He's a Saiyan, just like me, and we Saiyans HAVE to be this way otherwise we're not worthy, that's what those Elites have always said and they should know because they're the creme de la creme of Saiyan society! I have to be ruthless, I have to be obsessed with strength and power and nothing else, I have to be willing to kill my own brother and nephew otherwise I'm not a real man. And maybe, just maybe, if I show my poor brain damaged little brother that that's what we Saiyans are all about, maybe he'll Wake Up and come back to me and we can be a family again. A family of monsters.

The poison drips through.

#raditz #dragon ball #saiyans #dragon ball z #don't mind me just overthinking about this incredibly minor character that is never mentioned by the story ever again after he dies #and is considered a joke by the community at large #why is he my pet character lololol #blame the fact that he's always the first fight in every single Dragon Ball Z game and damn did I play a lot of those as a kid

[izunias-meme-hole]

Since you’ve been doing a fair amount of Batman posting, mind if you list your favorite members of the Gotham Rouges?

Okay. I’ll list about 10 of my faves, though we’ll be counting backwards here.

Also I'll be listing the variations of my faves whom I like the most to make things clearer.

Number 10. Poison Ivy (B:TAS) - If we're talking about character alone, this is the blueprint for literally every present day version of Poison Ivy, however this specific incarnation of the character has aged pretty well. She's every bit the dangerous eco-warrior that she makes herself out to be and will gladly turn someone into a tree for bulldozing a forest, but there is still a level of humanity to her character much like half the villains in the show.

Number 9. Mr. Freeze (B:TAS & Batman Beyond) - I feel like this is a "to the surprise of absolutely nobody" moment, but come on! Mr. Freeze here not only was made into a more tragic character compared to his early comic counterpart, but he actually had a whole arc across the entirety of B:TAS which ended at Batman Beyond. Victor Fries was a scientist trying to save his wife, Nora, from a rare disease, so he put her into a cryopod to preserve her until he found a cure. Then he and Nora were almost killed, but Nora was still kept on ice, while Victor got turned into a literal cold hearted monster. Even after Nora was finally cured, Victor was forever unable to be with her due to his own condition worsening to the point where he was just a head in a jar, angry with the world. A couple of decades later, and he is given a new body by the Wayne Powers CEO, Derek Powers, and while things were finally going well at first and Victor was reforming as soon as he had the chance, things went horribly wrong again, resulting in Victor dying as Mr. Freeze. I may have missed some details here, but yeah that's a summary of this sad ice man.

Number 8. Dr. Crane/Scarecrow (Nolan Trilogy) - Crane wasn't a big villain in the grand scheme of the trilogy, but my god Cillian Murphy does a great job with the character. Like I wish that his supervillain outfit wasn't just a bag over his face, but Scarecrow manages to be quite the dangerous loon with a mask of sanity in Batman Begins, an active member of the underworld in The Dark Knight, and the guy actively sending folks to their deaths in The Dark Knight Rises. Could we have had more of him? Yes. Did he use up his screen time well? Absolutely. Though his fear toxin could've been infinitely wilder.

Number 7. The Phantasm (B:TAS but movie) - The Phantasm is the literal best darker counterpart to Batman a lot of levels.

Number 6. Harley Quinn (B:TAS yet again) - The minor side villainess turned breakout character of the show. If anyone has seen B:TAS and then seen the rest of the media she's in, then you know why this is the best version of her. A good amount of things about the character being based around her actress (R.I.P Arleen Sorkin), her interactions with half the cast, Peak HarIvy content, the best representation of how bad her situation with her abusive ex was, and the perfect mixture between being a not-so-great-person and a precious lil' thing who deserves better.

Number 5. Harvey Dent, Two-Face, & The Judge (B:TAS) - The first well developed Two-Face, and the definitive. I mean he was never a bad villain, but the character was never utilized to the fullest like he was in B:TAS. Harvey Dent was a good guy with an other half that was the literal manifestation of his bottled up anger, an anger that turned into something else entirely after the left side of his face got blown off. Now Harvey and his other half start their own crusade to eradicate organized crime by taking it over from within. In other words, Two-Face here wanted to originally wanted to achieve something good through something bad, and yes a lot of it is due to a fair coin flip. However Harvey began to disagree with some of the shit his other half was getting up to, and as a result developed a third personality that was so separate from both himself and Two-Face that it tried killing both of them and, by extension, himself. This third entity would end up being The Judge, a ruthless, wraith-like vigilante with a judge's attire. So after being detained in Arkham for good, all three Harvey's are literally stuck with each other, and in a spin-off comic set directly after that whole situation with The Judge, Two-Face was given another double headed coin that would constantly come up on the "good side," and spent a lot of time dismantling his criminal enterprise, before doing (another) suicide attempt. This take on Two-Face was something else.

Number 4. Oswald Cobblepot (Gotham) - If I were to list everything that this smug snake has done, along with some of the shit that happened to him, we'd be here all day. However, this is the most well characterized iteration of The Penguin that we've ever had, in my humble opinion.

Number 3. Catwoman (Batman Returns) - I'm dying on this hill gentlemen. Despite not being... anything like her comic counterpart, outside of name, confidence, etc, Michelle Pfeiffer's Selina is something great in her own right.

Number 2. The Riddler (The Batman 2022) - Turning the Riddler into a a catholic, terrorist, cult leader that looked up to a young and angry Year-Two Batman, while also keeping the core elements of his character the same is something I'll never stop praising. He's still intelligent, he's still creative, he's still on the verge of breakdowns when his ego is badly damaged, etc.

Number 1. The Joker (B:TAS & Batman Beyond) - This is a "to the surprise to absolutely nobody" moment, though in this case I cannot be blamed. B:TAS understood the assignment and provided the definitive iteration of The Joker, completely inspired by his early comic appearances and some elements from Jack Nicholson's take on the character. An ex-mafiosi turned Clown Prince of Crime that lives to only spread misery across Gotham in the most creative way possible with a smile on his face. That was the idea that Paul Dini and Bruce Timm ran with when conceptualizing this bastard, and they just explored the concept for all its worth. Not only that, but this was the first time that Mark Hamill ever voiced this bastard, and it was just perfect casting. Overall, nostalgia got me to re-examine this take on the character, and I can easily say that without a doubt, this is the best Joker.

#the joker #the riddler #edward nygma #edward nashton #catwoman #selina kyle #oswald cobblepot #harley quinn #harleen quinzel #andrea beaumont #the phantasm #two-face #harvey dent #jonathan crane #the scarecrow #mr freeze #victor fries #poison ivy #pamela isley #batman #dc #dc comics #ranking #(one behind the mask) Mun Izunia

[utilitycaster]

You nailed why I'm having trouble with Laudna. Another moment for me is her shortness with Orym when pleading to FCG, some of it potentially explained by Marisha in 4SD: how fucked up the lack of intervention + nod were, Laudna's feelings on it all, potential conflict down the road, etc. But when you see the episode itself, Marisha is pretty clear Laudna isn't really aware of her friends at all, that nothing was going to stop her from killing Bor'Dor. 1/2

I usually don't mind inconsistencies at all, because as people we are never realistically consistent 100% of the time, we aren't always in character, so to speak. But some of this feels inconsistent with what has actually happened and is happening, with the text itself, so it feels so jarring. Anyway, I understand if you don't want to post this, just happy you can put to words what I have trouble articulating myself. 2/2

----

Hi anon, thanks! Yeah...I don't actually mind Laudna having conflicting feelings about Bor'Dor, but she doesn't know Orym's underlying motivations (I don't actually find the lack of intervention to be remotely fucked up. Nod kind of is, but I think that's the other thing. We're just guessing at who she's lashing out at, if anyone in particular.)

I think. if I may, the reason all this discussion of Laudna's weaknesses as a character is coming up now is because it was always an issue, but between how much stronger her concept seemed during the Team Issylra arc, the return of Delilah (always a weak point) and the fact that the story itself has hit its stride and a number of other characters have sharpened their focus while she's in many ways taken a step back, conceptually.

I think as others have pointed out, it's 65 episodes in and Marisha's answer in 4SD to any questions about the character concept is still "nightmare about creepy girl." Like, that's fine as a starting point, but what is Laudna trying to achieve? What are you exploring with this? What is she going to do about Delilah now? Will we get any sustained payoff of her grappling with the fact that not everything is fine, or will proximity to Imogen continue to act like a rapid dose of sedative?

What did she do in 30 years, because all we have is "made Pate", "got kicked out of a bunch of villages but also this hasn't been consistently backed up by people's responses to her during the campaign so it feels off", "and got to Marquet" (NO understanding of how she got here, which is pretty egregious). Again, the comparisons that keep being drawn in a matter intended to bolster her relationship with Imogen constantly keep detracting from it - Fjord and Jester had known each other for a few weeks or so prior to the campaign and it felt like it, as did Caleb and Veth's several-month friendship, as does even FCG and Ashton's vague cohabitation of convenience. There is simply no sense of knowing each other for two years. I talked about players who are masterful with negative space recently, and this is the opposite - the missing pieces do not suggest a shape we cannot fully discern. They just fall unused onto the floor.

Even the mechanical build feels mostly designed around a directionless aesthetic. Like, genuinely, why is her base level warlock if she showed signs of magical talent prior to Delilah possessing her? It's not even particularly mechanically superior for her to have done this! Warlock/Sorcerer isn't a strong multiclass anyway, and leaning into sorcerer in a party with a different sorcerer whose engaging with that thematically far more, and not really doing any other work into her opposition of Delilah makes it worse. When you add in that Pate is both one of the more recognizable aspects of the character but Marisha at one point said she had no original intentions of taking that third level in warlock (the one that granted him existence), it all becomes more baffling. And to be clear, characters can take unexpected turns; but there wasn't work done within the story that indicated a level of warlock would make sense (and in fact it would have made more sense to have fought it harder!) There's such a passivity to her warlock side - it's not even an open embrace of darker power, despite what she's said, it's just losing control, which to be honest destroys everything interesting about it, while simultaneously making the stakes of her breaking that pact low. Like, oh, you lose 3 levels and you still have 7 levels of sorcerer? Why haven't you done it then. You were level 7 like a month ago. You'll get better.

I know this all sounds harsh but I think the most recent episode just showed that, pun unintended, there is a hollowness to the characterization and when significant changes to the status quo or thorny philosophical conversations occur, there isn't a solid enough foundation to support the improvisation. There's no sign of intentionality beyond the initial "be spooky." Like, why bring in Whitestone and never consistently explore what it was like living under the Briarwood occupation as a commoner, or what it means to have Delilah in your head? Every piece of the arc feels like it's dropped and picked up when convenient and stops existing when it's not. Like...I don't dislike Laudna, and she has good scenes with characters other than Imogen, and there have been characters I have disliked either for a stretch of episodes early on, or for their entire run, but it just feels like an unprecedented lack of thought into how this character will actually exist and do things for a full campaign. I can't dislike her for her personality or ideology because there's not enough of it to dislike.

#answered #Anonymous #cr discourse

[professional-bulshitter]

so so I finally found words for it but there is no way Annie as a character is meant to be with Jeff,,, and yes this does come from a place of hate for anything even remotely related to JeffAnnie but it's also more than that and totally based on their behavior towards each other throughout the seasons but I just found the perfect moment that incapsulates it

and that is in 4x13 Advanced Intro to Finality wherein Jeff is ready to graduate and there's sorta paintball with the darkest timeline and all that (which just saying is such a cool fucking setup but this is not the post where I talk about it) and both the Annie's (from the normal and darkest timeline) are facing off against each other,,, what the evil Annie tries to persuade the normal Annie with is the fact that they (jeff and her) are sleeping together in this alternate future and normal Annie literally responds with, and I quote, "No-one is supposed to sleep with him. Not even me." let that sink in

Now does this seem like somebody who has a serious romantic crush/is in love with the guy? What it seems like to me is a case of admiration (as a person and a human being) which is further warped into her assuming it's love because that's what we're supposed to do and told to do by society... What is more she obviously views Britta as a woman who (might not be the smartest and I will always hate on how the show ruined her character) but is still recognised and acknowledged as a woman,, something that Annie feels alienated from since most people look at her and tend to infantilize her (which is also a part in her dynamic with Jeff which is just,, n o),,, so a lot of the tines she tends to look at britta's choice of partners to turn to, to fall in love with (obv this is something that I derived from the 6 seasons laid out before me but this is my opinion and yeah)

and yeah the question then becomes why didn't she do the same with Shirley,,, number 1. Shirley is obviously in a different place in her life with her husband and kids,,, number 2. Shirley and her also have quite a big age gap which is again only widened by number 1,,, and number 3, if you notice properly there are episodes wherein you can see her try to emulate Shirley,,, the easiest and most off the top of my head example being the one where they are the campus security together which does end with her professing that she wants to be a grown powerful woman like her.

Now, if we talk about her other main crush, talking about Troy here throughout the first few seasons,,, it's again based a lot on her admiration for him for being popular and again THAT'S WHAT YOU'RE SUPPOSED TO DO AND WANT TO BE especially when you're literally at the sidelines of the high school hierarchy so much so that you would busy your ass to score good and do good but still never be known by anyone or acknowledged for anything you do,,, and she technically knew nothing about him which at most i can grant her being infatuated w him and yeah

and most of her attraction to anyone feels very surface level,, in the this-is-what-i've-seen-people-do-so-this-is-what-i-need-to-do-as-well,, instead of being properly attracted in a,,, i want to be romantically with you sense,,, she's essentially creating a fairytale of her life and idealising it and all the models she has for them are heterosexually inclined,, so this is the kind of behavior she ends up adopting and emulating,,

so a large part of Annie's behavior I do chalk up to heterosexual compulsivity (or comphet) because there are moments throughout wherein she shows more admiration and love for women than men in a i-want-to-be-with-you kind of way (and it would be really interesting to look at her struggle as a difficulty to differentiate btw I want to be her,,, and I want to be with her)

a large part of her character is also so interesting to me because of the fact that it feels like she gets away from the writers quite a bit,,, because a lot of the instances you can see how the writers want her to be perceived vs how she ends up being perceived by us (but that's true for most things related to media concerning the expected reception vs the actual reception)

i didn't know this was going to end up being a lesbian or at least queer Annie post either,, but apparently that's my truth and I stand by it

(also I do acknowledge the fact that the part of all this (the part about her being queer) can be chalked up to my own desires and biases and a little bit of projection but regardless,,, in any case, JeffAnnie is still weird and bad and doesn't really fit for their characters regardless (technically for both of theirs but this too long already) and I'm a firm believer of that (anti JeffAnnie till the day I die fr)

#jeff winger #annie edison #what can i say? #guess im a (JeffAnnie) hater at heart 🤷‍♀️ #they deserve it #its weird #and both of them deserve better #(in the sense that somebody who complements them better) #they are still my emotional support blorbos #but just hoping praying crying that the movie doesnt include JeffAnnie #ik its unlikely #but one can hope #community #community tv #shirley bennett #really really hoping they dont fuck it up #troy barnes #britta perry #anti Jeff Annie #it should've never been canon #and i will die on that hill #lesbian annie #my beloved

[ussjellyfish]

Star Trek asks: 🖖, 🌀 and 👩🏼‍❤️‍💋‍👩🏾

🖖 First Star Trek Media you encountered:

We watched TNG on television when I was a kid (as it was airing the first time!). One of my earliest memories (I was 4) is of Will Riker getting sucked into the big black Armus pool and how freaky that was. I remember the face coming up from the bottom.

And they saved him! he was okay. (Tasha's death did not compute in my very small mind). Will being okay in the end was part of "Star Trek means we're all okay" which is my earliest opinion.

Often this still carries over.

🌀 If the Holodeck was real, what's the first thing you would use it for?

adventure fantasy RPGs. I'd love to be able to play something like Dragon Age. It would be incredible.

I would also use it to test out fic lines and positions and make sure they make sense. I have no sense of inner eye, so that would be helpful. Where do her hands go...

👩🏼‍❤️‍💋‍👩🏾 Do you ship any characters? Who?

Oh Georgiou.

I don't have any strong preferences about ships in some series. My levels of shipping are:

Ships I find cute on screen. (USS Enterprise-G)

Ships I would read fic. I would probably write fic for an exchange or a challenge. (USS Enterprise-D)

Ships I would write fic for, because I want the fic to bring myself joy and those are much more intense. (USS Voyager) I will land my starship on this planet.

Ships that are platonic for me and I adore them. (USS Protostar)

Ships where I want to read everything that has ever been written about them. I have saved all the artwork. I want to commission more artwork. (USS DIscovery) I will travel through the mycelial network for this ship. This ship is my home.

(under a cut for length)

TOS - no ships. Never really had any. TOS is not foundational for me though, I don't think I've seen the whole thing and probably never will. It's so much men talking.

AOS - I have a soft spot for Spock/Uhura. I really liked Uhura.

TNG - I shipped Deanna/Will so much as a child. They're in my very first fanfic. I liked Beverly/Jean-Luc (historical) later, but not until I was an adult. Deanna/Will I shipped as a very tiny human. I have witten fic for both of these. I also ship Beverly/Deanna, and Beverly/Deanna/Will in a very lighthearted way.

DS9 - Jadzia Dax/Lenara Kahn is gorgeous and tragic and I adore them. Kira/Dax in a very lighthearted way. They're fun. I shipped Jadzia Dax/Worf when the show first came out and probably would if I did a rewatch, but it's a very mild ship (I wouldn't read fic). I am very invested in Jadzia Dax.

VOY - Kathryn Janeway/B'Elanna Torres is fun. I've read some fic. I love how intellectual they would be together. I wrote and read much Janeway/Chakotay (historical) about ten years ago, but I'm not as into him now. (Robert Beltran makes it hard for me). Still love Janeway. I also like Seven/B'Elanna.

ENT - I enjoyed Trip/T'Pol when the show was on. I don't think I've seen all of it. I love T'Pol.

SNW - I have a passing interest in Una/La'An and Una/Pike. I've read some fic but haven't written any. I want nice things for Batel/Pike in canon. (he needs to be a better partner to her though). I ship Amanda/Sarek here simply based on how convince I am that Amanda loves him.

PIC - Seven/Raffi are wonderful and I adore them. I love their connection and their dear faces. Agnes/Borg Queen are fun and dark. Laris/Zhaban are fun. I wanted to ship Beverly/Jean-Luc again but they didn't give me much. Shipper brain was not engaged. Deanna/Will were so angsty. Will & Beverly might be my strongest legacy ship in this show. I wish Beverly & Deanna got to talk.

PRODIGY - dammit here I almost ship Janeway/Chakotay again. I ship Janeway/happiness here so much and if finding him will make her happy, okay fine. Gwyndala/Dal are cute and I want them to have nice things. Haven't wanted to read any fic though.

Crossover Trek - Beverly Crusher/Kathryn Janeway has held a special place in my shipper heart for 13 years. I love them so much. I love that they're still going and they show up in exchanges. They would be such a good couple.

Philippa Georgiou/Afsaneh Paris was such a fun thing.

Most trek crossover femslash is fun and I would try it in an exchange.

DSC - Philippa Georgiou (captain)/Katrina Cornwell. They'd be cute. They must have met. Katrina Cornwell/Gabriel Lorca (prime), Katrina sold me on that one. Katrina Cornwell/Philippa Georgiou (emperor), they have a handful of scenes and they would totally work.

Michael Burnham/Cleveland Booker are very cute on screen and I hope they get a nice ending. (I think they will). Hugh Culber/Paul Stamets are adorable and charming. Adira Tal/Gray Tal are so sweet. Saru/T'Rina are the regency couple of Star Trek and they're very cute. They're so happy in season 5, I love it. I think Joann Owosekun/Keyla Detmer are really fun, I hope they get a nod this season. I love how much the actors do with a look. Michael & Tilly are one of my favorite friendships ever and I adore them. Michael Burnham & Philippa Georgiou (emperor) variety is so complex and intense and I love how they evolve and grow together.

Michael Burnham/Laira Rillak are my top tier, own my soul, ship. I will read every fic that is ever published of them and reblog the gifs on repeat forever and memorize every nuance of every conversation they've ever had. They are the shiniest thing in my fannish heart at the moment, and I have watched their scenes together so many times.

For years I was this obsessed with Beverly/Kathryn, but they didn't have scenes together so I couldn't rewatch them.

Micahel/Laira have scenes together! They talk to each other! I have a whole arc that I can watch on repeat!! I have different episodes to watch for different feelings I need for fic!!

They're so niche and I wish I had more people to talk about them with because I love them so much and...it is a very lonely ship. People do write fic and read it and it's tiny and lovely. I am so grateful for all the interactions I ever have about this ship.

I often feel very out of step in my fannish Star Trek spaces because they are not a ship shared by many. I feel seen when someone acknowledges how much I love them.

#long post #star trek asks #watch discovery season 4 and come ship my OTP with me #they're wonderful