Okay, breaking my principles hiatus again for another fanfic rant despite my profound frustration w/ Tumblr currently:
I have another post and conversation on DW about this, but while pretty much my entire dash has zero patience with the overtly contemptuous Hot Fanfic Takes, I do pretty often see takes on Fanfiction's Limitations As A Form that are phrased more gently and/or academically but which rely on the same assumptions and make the same mistakes.
IMO even the gentlest, and/or most earnest, and/or most eruditely theorized takes on fanfiction as a form still suffer from one basic problem: the formal argument does not work.
I have never once seen a take on fanfiction as a form that could provide a coherent formal definition of what fanfiction is and what it is not (formal as in "related to its form" not as in "proper" or "stuffy"). Every argument I have ever seen on the strengths/weaknesses of fanfiction as a form vs original fiction relies to some extent on this lack of clarity.
Hence the inevitable "what about Shakespeare/Ovid/Wide Sargasso Sea/modern takes on ancient religious narratives/retold fairy tales/adaptation/expanded universes/etc" responses. The assumptions and assertions about fanfiction as a form in these arguments pretty much always should apply to other things based on the defining formal qualities of fanfic in these arguments ("fanfiction is fundamentally X because it re-purposes pre-existing characters and stories rather than inventing new ones" "fanfiction is fundamentally Y because it's often serialized" etc).
Yet the framing of the argument virtually always makes it clear that the generalizations about fanfic are not being applied to Real Literature. Nor can this argument account for original fics produced within a fandom context such as AO3 that are basically indistinguishable from fanfic in every way apart from lacking a canon source.
At the end of the day, I do not think fanfic is "the way it is" because of any fundamental formal qualities—after all, it shares these qualities with vast swaths of other human literature and art over thousands of years that most people would never consider fanfic. My view is that an argument about fanfic based purely on form must also apply to "non-fanfic" works that share the formal qualities brought up in the argument (these arguments never actually apply their theories to anything other than fanfic, though).
Alternately, the formal argument could provide a definition of fanfic (a formal one, not one based on judgment of merit or morality) that excludes these other kinds of works and genres. In that case, the argument would actually apply only to fanfic (as defined). But I have never seen this happen, either.
So ultimately, I think the whole formal argument about fanfic is unsalvageably flawed in practice.
Realistically, fanfiction is not the way it is because of something fundamentally derived from writing characters/settings etc you didn't originate (or serialization as some new-fangled form, lmao). Fanfiction as a category is an intrinsically modern concept resulting largely from similarly modern concepts of intellectual property and auteurship (legally and culturally) that have been so extremely normalized in many English-language media spaces (at the least) that many people do not realize these concepts are context-dependent and not universal truths.
Fanfic does not look like it does (or exist as a discrete category at all) without specifically modern legal practices (and assumptions about law that may or may not be true, like with many authorial & corporate attempts to use the possibility of legal threats to dictate terms of engagement w/ media to fandom, the Marion Zimmer Bradley myth, etc).
Fanfic does not look like it does without the broader fandom cultures and trends around it. It does not look like it does without the massive popularity of various romance genres and some very popular SF/F. It does not look like it does without any number of other social and cultural forces that are also extremely modern in the grand scheme of things.
The formal argument is just so completely ahistorical and obliviously presentist in its assumptions about art and generally incoherent that, sure, it's nicer when people present it politely, but it's still wrong.
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Okay my ‘why Kipperlily hates Riz’ theory: She handed out business cards first day, he handed out business cards first day, she’s tiny, he’s tiny, they’re both obviously overeager teacher’s pet type A rogues, they’re like male and female versions of each other and it’s obvious to everyone. What would most high schoolers do, in that situation, seeing another kid so similar to your friend on the first day that they somehow BOTH made business cards to hand out at school? AND they’re going to be taking classes together? You say “Omg, he’s literally the boy version of you, you’re SOULMATES, you’d be perfect together!” And what do you do when your type A tight-ass friend acts embarrassed by that? You tease her about it more obviously. You think it’s just good natured ribbing, and she KNOWS it’s just good natured ribbing, but for some reason she gets unreasonably angry any time she sees Riz after that. Maybe even uncomfortable? But she KNOWS she doesn’t have a crush on him, so why does it bother her so much?
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one thing about the withywoods years that drives me a little crazy is the fact that fitz is living that life as if he is a 80 year old retired man living his last years wanting nothing more than to spend time with his dear wife, completely ignoring the fact that he is a middle aged man who is not aging. not only he is still relatively young and could have been doing more with his life but he also pretends the not aging situation is simply Not Happening and he continues living in this little fantasy in which he will grow old and die by molly's side. and it was painfully obvious that he was going to outlive molly and continue his life without her but he simply never thinks about that. he never prepares himself for that loss and for a life beyond her even though, as painful as it is, that would have been the healthiest thing to do in that situation.
and all of this only adds to the fact that he was indeed living fully immersed in this fantasy and illusion of Absolute Normalcy that he created in his mind and he would not let anything else about himself and his life that was Not Normal to even touch that fantasy. but then he loses molly, the illusion crumbles, and the boredom and unfulfilling nature of that life becomes obvious. and, to me personally, it gets clear throughout the trilogy that that illusion he creates, his protectiveness of his life with molly and his inability of letting reality touch it, him cutting all these parts of himself and his life away, it's not only because he wants a life of normalcy and peace but because, above all else, he wants a life of being loved by molly. and he can't really see anything beyond that, the thought of not having that is unbearable, so he will continue to lie to himself, he will keep living an uneventful and unfulfilling life, he will pretend he's not really aging, he will lock all those parts of himself away in his little study, because that's what he thinks he has to do in order to have that life and feel loved by her.
and fitz thinks no one else loves him like that, and after he loses her, he thinks that no one else ever will. and to me the soul crushing tragedy of all this is that this comes almost directly from beloved's abandonment of him which not only reinforced his already existing abandonment issues, but also it meant being left behind and feeling used and unloved by the person he loved and wanted to be with the most.
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If it's okay with you, could you write a drabble about the hypothetical aftermath of Amane getting attacked by Kotoko?
Welp thank you pal for making me absolutely insane with this request 👍 I ran through a few hypotheticals and realized I had to shift some things around since there were so many absolutely tragic outcomes. I worked something out but damn if it didn’t make me emotional to think about how uniquely rough Amane has it. Even making sure she's in a good place at the end, this got pretty serious, so warnings for child abuse and cult references.
(So in canon, Kotoko goes in order and attacks Fuuta, but Kazui steps in. Then she attacks Mahiru while he’s distracted with his injuries. She’s about to attack Amane, but Mikoto gets in the way (my hc that he did it on purpose survives!). By the time they reach a draw, Kazui is back, and the two of them can prevent Kotoko from any further action against Amane. Sticking to this apparent system of three attacks and one rescue, I’m just shuffling around the injuries for this story. Fuuta’s attack went unnoticed, and he’s in the same state as canon Mahiru. Mikoto steps in before Kotoko can fight Mahiru, so Mappi’s the one who get out physically unscathed. While Mikoto checks on Mahiru, recovers himself, or discovers Fuuta, Kotoko is able to attack Amane next. Kazui comes to help, but not before she leaves Amane looking like canon Fuuta.)
Mahiru could practically feel her heart shatter into a million pieces when Amane finally cried in front of her. She hadn’t shed a single tear yesterday – it was the shock, Shidou said. Mahiru was skeptical. After all, she had been shocked, too, and cried plenty.
Amane woke as she came in with breakfast. She took a moment to survey herself, bandages peeking out from beneath her pajamas and an eyepatch securely over her right eye. As calmly as one might say “good morning,” she started to cry. Mahiru might have missed it, if Amane hadn’t wiped at her good eye with her sleeve.
“Oh, sweetheart…!” Mahiru rushed over to her. “It’s okay, I’m here.” She wanted nothing more than to wrap the girl in a secure embrace, but she remembered the mass of bandages that were around her chest. Shidou had mentioned broken ribs and bruises. It took everything in her not to cry along with Amane, at the thought.
“I can get you another ice pack, if you need. Or more medicine.” Her mind spun with ways to help with pain. Many of the first aid supplies had been used to keep Fuuta from the brink of death, but surely there were extras to spare for Amane.
The girl just shook her head.
She muttered, “I can’t… I…I’m going to be punished, I’m going to be punished…”
“No! You’re safe now.” Mahiru placed her hands gently on Amane’s arms. “Kotoko’s not coming back. We’re all watching over you. You’re safe. She’s not going to hurt you anymore.”
“That’s not…” Amane pulled away. Her voice stayed level, despite hiccups interrupting her. A hand reached up to her eyepatch. “It’s this. It’s all of this. It’s sinful. I took it off last night, but he must have…” She started unwrapping it. “They’re going to punish me...”
With a careful motion, Mahiru held it in place and took Amane’s hands into her own. She’d been picking up on the signs ever since they arrived here together, and a final wave of understanding washed over her.
“I can’t let you do that.”
Amane’s expression twisted, though words came out far more frantic than fiery. “Let me go.”
Mahiru didn’t. “I’m sorry. Amane, you need this treatment.”
“That is not your decision to make. That is not any human’s decision to make.”
Mahiru pressed her lips together. “I know. But I can’t watch as you… I can’t sit by again while someone…” She was careful not to apply any pressure, but she could no longer fight the urge to gather Amane up in her arms. “You don’t need to be afraid of those people, anymore.”
“I’m not afraid.” Amane hiccuped. “They love me, and I love them. I need to be good for them.”
“I love you, and I don’t want to see you in pain.”
“You just pity me because I’m young.”
“Why does your age matter? You are a lovely young woman – you are my friend – and I can’t bear to see you in pain.”
The two sat in silence for a moment. Mahiru doubted she would take that as an answer; Amane had refused to call any of the others her friend. At least she didn’t argue. In fact, it seemed she was leaning into the embrace a bit more. She sighed a shaky breath into Mahiru’s uniform.
“Listen, Amane. Can you do me a favor? I’m trying to be a good girl, too. To make up for something awful, I need to make sure you’re alright. Can you help me? Can we be good together?”
A long pause followed. Amane’s voice spoke up, ever so gently.
“I suppose I can consider it.” She added quickly, “for the sake of your redemption. Of course.”
“Of course.”
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drawing of Maria, daughter of Doaa
allah grant patience and strength, I wish her to have a happy birthday this year <3
[her birthday was in november last year, her mother Doaa threw her a birthday party in the midst of it all, Doaa was then killed days afterwards, as of yesterday Maria is still alive and out of gaza, she misses her mother greatly]
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see, the thing is that (up until countdown at least) there’s no symmetry in jay and bruce's respective ways of grieving.
jay is perpetually trapped in the bargaining stage of grief, trying to reach out to bruce from beyond death.
bruce is way past this. he has settled into a quiet, passive type of mourning, devoid of hope for a reunion. and to stay in this state, he had to necessarily disregard jay’s true image – an image of an earnest, bright child, his son. the memory of jay has been reconstructed in his mind a thousand times and sealed in a folder labeled as “soldier” (or even just a personal failure). it's ugly. it's unfair. it's a coping mechanism.
so to me, the issue isn't that bruce wants his dead, sweet little boy back – the issue is that he barely remembers him. if he did, maybe he would be willing to take a leap of faith and search for that person in jason who came back. but he's not even trying to reconcile the image of 15yo jay with red hood – or rather, maybe the image of a volatile kid that he created in his grief fits with the red hood a bit too accurately. maybe it's a bit too convenient. it works perfectly well for his own self-preservation and sanity, to think that jason has been doomed from the beginning.
jason, on the other hand, is cursed with remembering. one of the very sparse concepts that i found interesting in rhato was when in #3 (2011) jason chose to give up on his happiest memory – skipping patrol to watch a movie with bruce. maybe it's because recalling these tender, sweet moments is what gives him hope, and motivates him to keep bargaining and trying to reconcile with bruce. and bargaining with reality is exhausting. the readers and jay know that it's a lost cause – both because neither bruce nor jay are the same people anymore, but also because, ironically, batman, the symbol of hope, doesn't have any left when it comes to getting his son back. bruce, in his grief, essentially closed the door. jay, in his grief, is banging on them.
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