#at least I say it does. not that I've got to any of them chronologically yet but I just wanted to fix them up a li'l
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Heads Up Seven Up #13
@writingamongther0ses tagged me for this one!! Thanks!
So these aren't the last seven lines I wrote, I just. I just really like Kaua's entrance ok. She deserves this.
Llinos grabbed her knife and pushed forward, running towards Selene. “Run!” she yelled, and then screamed as she stumbled, falling forward and only barely getting a hand up to stop from slamming her face into the stone path.
Selene started towards Llinos.
“Get the fuck away from her!” someone else roared.
Selene blinked – it was almost as if the words were visible, sharp edged and fleeting in the rain – and there was… a bird-person, all slick black feathers and a giant sword in their grip slamming into their assailants.
Together with the fox – who’d leapt clear as the man fell – the bird-person attacked with unhinged ferocity until the four men were running down the path away from them. The fox chased after them, barking, until it deemed that they were far enough away not to be a threat.
“Gods, Kaua, I’m going to marry you some day,” Llinos said, propping herself back up.
Llinos, in any situation where Kaua makes an appearance: hey that's my girl she's a fucking badass we're gonna be married some day I love her so much
to be fair, Kaua is very much the same.
Anyway.
@zmwrites (I almost went for your old handle lmaooo), @tracle0, @fields-of-ink if y'all feel like it?
#tagged and bagged#the soul of the party#Kaua Burai#Llinos ferch Rhydderch#Selene Taskeral#Mist Worlds#Kaua also has some very funky magic going on bc Feral Mage. their post-meld magic is. interesting#mostly elemental but then you get some like Kaua who are like ''nah I'm gonna make my words a physical threat''#anyway. very pleased with myself bc I managed to catch up on nano#ok so like *technically* I was rewriting scenes I'd written before nano. but. it counts.#at least I say it does. not that I've got to any of them chronologically yet but I just wanted to fix them up a li'l#we'll go back to where we're supposed to be tomorrow#I just wanted to get back up to speed with some fun stuff bc PACKING oh boy#fucking PACKING takes it out of you huh#I don't have much more to do but HOLY SHIT#also I ran out of boxes again lmao#welp back to the libraries to steal some more I guess
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I think I remember you making references to Fire Punch in a few analysis post so I assume you've read that one, but have you read Goodbye Eri, and if so do you have any particular thoughts you want to share on it? It might be my favorite, although it's hard to rank Fujimoto's works because there's something different I like about all of them.
Hi Yuta! or is it Fujimoto?
2022, Goodbye Eri is released and I'm in for a huge slap in the face! I've finally got the chance to talk about it, so thank you!
It's hard to come after the war after this one-shot has been the subject of so much analysis, interpretation and criticism. But I think it's a work that's deliberately designed to be a trap, and the first mistake would be to try absolutely hard to determine whether Goodbye Eri is true or false.
Trying to detect the true and the false is futile, not that it's really impossible, but arguments could be several pages long and the theories put forward would remain mere hypotheses because no explicit confirmation is given. Quite simply because this is not the aim of the work, nor a satisfactory way of reading it.
For example, when Yuta's father seems to be getting angry with Eri, we understand from Eri's "And Cut!!!" that it was all a set-up. So, as a good reader, we can only assume that what follows is pure reality. However, the father, now an actor, if he should play his line differently.
As another illustration, when Eri is close to death and Yuta are talking, there are a few hints that they might have a relationship, but this is denied by Yuta himself, in a discussion with Eri's friend.
The film plays with this to such an extent that all sorts of theories are possible. It could just as easily be interpreted as there being only two films (on Yuta's mother and then on Eri's death), two films but in different ways: one about Yuta's mother and a second film about Eri, as a vampire, with the end scene played by Yuta's father and by Eri before her death.
This explains why, even after Eri's death, Yuta continues to film because the film isn't actually finished yet, the editing being there to reverse the scenes played chronologically, to make it look as if Eri was still alive, and so on. ..
As you can see, it all makes sense, and our preference is purely personal because they all work. But I'm not going to play that game, because it only shows me one thing, and that's that the plot surrounding Eri is deliberately obscure.
I've seen a lot of people describe Goodbye Eri as a work about dealing with death - the way we want to remember those we've lost, etc... It's about mourning, symbolically saying goodbye, hence the title. Which is true! But it goes further than that.
Eri's plot is deliberately obscure because the right way to appropriate the work is not through her. She's the character we know least about. Physically alone, we learn that she wore glasses and braces. Mentally, she was more annoying than she seemed in the movie. Eri is a mirage in which we won't find answers, so we have to learn to say goodbye.
The only reliable information given in this OS is that everything is filmed by Yuta's phone. And in reality, you know Yuta better than Eri, so it's him you should turn to...
Hi Yuta!
Yuta is almost never shown in this OS, as he is always filming. And when he is shown accurately, it's when he's inspired by other films by watching them with Eri, in other words, he's continuing to work on his own film by watching others.
Yuta's first film began as a result of his mother's narcissistic desire, as he was celebrating his birthday, discovering his gift, a smartphone, all of which was directly taken over by his mother, who asked him to film her until she died.
By keeping only the good sides of his mother, ignoring all the abusive parts of her, Yuta does not follow his parent's wishes, he does it for himself, showing what he himself wants to retain from his childhood, his story, in order to move forward properly.
But as everything is filmed, it gives the impression that the videos have been passively lined up without any sorting, without any choice. Yuta takes his revenge because he refuses to film his mother until the day she dies, stopping before then, preferring an explosion to conclude his film. It's brutal because it's as if Yuta's tastes, his little touch of fantasy, are suddenly surfacing, while the rest of the film is just as personal, just as him. So when his film is mocked, it's a work so personal that Yuta wants to die.
It's not insignificant that it's Eri who intervenes, whose only certainty was that she loved not only the films but also Yuta's, simply because she saw not only Yuta's mother in this film but also him, whom she considered to be the best character. She wasn't revolted by the ending, because she was aware of Yuta's touch throughout the film. The same ambiguity then resurfaces, we don't know if Eri is in love with Yuta, she corrects him to say that it's these films, the two are so linked, that liking Yuta's films is tantamount to liking the teenager.
Yuta follows Eri's desire to produce a film that is above all personal to him, to the point that when Eri sees her last moments narrated by him, she sees Yuta more than herself, because she is seen through someone else's eyes.
For me, there aren't two or three films, but just one from start to finish. Because you see, we've said goodbye to Eri, we've got out of her tricky story to reflect on Yuta, but we still haven't stepped back enough. Because you know who made the film, and it's not Yuta, it's Fujimoto. So, third stage :
let's salute Fujimoto.
The film we've just seen in this OS deals with a number of overlapping themes, the way in which a loved one is portrayed, the relationship with others, death, creation, but above all, the extent to which a work is personal. Goodbye Eri is a pretext for Fujimoto to show us the extent to which even the cutting is the fruit of reflection, is already a message.
In this OS, all the boxes are in the video format of a smartphone, each moving, static shot depends on Yuta, just as each shot is in the third row, drawn by someone.
People make the mistake, like the first audience of Yuta's film about his mother, of relating to works as linear stories to be trusted, even if they film his mother every day, Yuta's editing is his way of counting a story, it is certainly not the truth in all its neutrality. It's only at the moment of the explosion, which expresses the most of Yuta's personality, that people get upset.
This offbeat, absurd explosion is something that Fujimoto punctuates in his works, yet they are both thought out and personal to him. But they are often mocked as a way of poking fun at his work. What Fujimoto is saying is that the work doesn't become brutally personal for the controversial, offbeat moments, just the way he depicts a scene from life is personal.
People believed this version of the author's mother, otherwise they wouldn't be outraged by this disgraceful way of portraying this nice woman at the end, so in itself, Yuta's film worked. But all this is just a pretext for Fujimoto to point out that he is the author of all his other works, CSM, Fire Punch, Look Back, Just Listen to the Song... They are just like another film made in response to the positive or negative reactions of the others.
Fujimoto likes to trace the common ground between these works, which respond to each other. Each one, placed side by side, is an attempt by Fujimoto to upset his audience a little more, a second or third try.
The mistake is to separate the author's touch from his work, just as we are tempted to focus more on Eri than Yuta. Just as Fujimoto reminds us through this OS, who writes, draws Goodbye Eri. The first part of CSM was turned upside down by the fact that Makima was a demon from the start, abusive to the point of being the antagonist.
A violent and abusive maternal relationship. The design of the mother is also a bit similar. Mentions of the breasts, something that also went down quite a bit and left its mark on a lot of readers because it was so out of sync. The emphasis on cats... A rejected boy. A work focused on female characters.
Goodbye Eri is a work in which Fujimoto makes fun of himself, his works and the things that bring them together. Yes, there will be an explosion if the author so decides. Yes, Eri can live again, be a vampire, if the author so decides, but what's to stop him making his characters die, and then bringing them back to life a few pages later?
The characters' plots are the authors' playgrounds, whether you like it or not. You can't detach works from their authors, or read works as unrelated things because they were written by the same person. Talking about death, life, mourning, love, with a touch of fantasy is what Fujimoto does in each of them.
So if you're lost, remember that what you're reading isn't in the title but in the author.
#goodbye eri#sayonara eri#fujimoto tatsuki#eri#yuta#makima#csm#chainsaw man#fire punch#look back#one shot#analysis#my thoughts#credit to Reddit for the last image @/blackfish171
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Do you have any headcanons about how Vetinari ended up taking power?
Actually yes I do!
I wrote a fic about his first day in power that vaguely referenced this and while I don't have like, a fully fleshed out story, there are a few bits and pieces that I sort of bodged together from things in the books and what I personally find entertaining about him as a character:
There's a bit in Soul Music which says that there was a rat plague in Ankh-Morpork shortly before Vetinari came to power, and that his solution was "tax the rat farms". It's unclear in context whether this means he suggested it at the end of Snapcase's time in power or if it was one of the first things he did after he became Patrician. I've just gone ahead and assumed that the rat plague was the last straw for Snapcase and that actually having a good suggestion was one of the reasons Vetinari was in people's minds as a replacement
That then leads us to ask, well, what on earth was he doing there? He's been in power a fair while even by Guards Guards but chronologically must still only be in his early 40s by then, to have been in his late teens in the 30-years-ago bits of Night Watch (and he can't be older than that, because it's made fairly clear that he's in the Guild equivalent of secondary school at that time, and Vimes knows that the two of them are approximately the same age). Given his canonically hilariously long list of postgrad qualifications, he probably went straight from Assassins Guild grad school to the Oblong Office, more or less. Conclusion: he was the fucking INTERN. (or possibly working as a clerk, but calling him the intern is at least 500% funnier)
Given the running joke about him being this weird posh dude who doesn't seem like a threat until you remember where he was educated, I would imagine that his whole "ah capital jolly good here I go getting slang wrong again" bullshit started here. We know that among the Ankh-Morpork elite, pretending to be stupider than you really are is something that can both keep you safe and help you get away with a lot, because we see Vetinari and Vimes and Sybil do it. So this is where he got his practice. Bertie Wooster the FUCK out of your working day, quietly get on with the things that need to be done while nobody's looking, and nobody will realise because they just think you're Madam's weird nephew with the shit beard and the puppy
So, bearing all that in mind, picture this:
Snapcase is dead. The important people (at least, the people who think themselves important) converge on the palace. In a small room off the Oblong Office is a young man steadily working through a large pile of paperwork. Oh, yes, that's Madam's nephew, you know... Havelock, isn't it? They ask if he knows what's happened, and he says no, he has no idea, he's just been working his way through all these regulations, and gosh, they really are very dull. And... well... nobody else is here. And nobody else seems to understand the filing system, or the rest of the staff, or anything really. But he does.
This guy's had a few good ideas when he's been doing the minutes at various meetings, that makes him a plausible candidate surely? And he's so young, so he's going to need a lot of guidance from helpful, experienced folks, right? How useful. He's just smart enough not to be an obvious puppet. Very handy indeed.
And the cream of Ankh-Morpork society being what they are (truly the cream- rich and thick) they don't realise until it's far too late that this lanky goth weirdo they'd thought would do their bidding knows everything about everyone and he's been quietly furious about the result of the Glorious 25th for over a decade. And, whoops, they'd somehow forgotten that he didn't spend all of that time on Guild postgraduate courses doing resits. Oh dear. And now he's their boss.
#patricianblogging#i have wanted to go into detail about this for AGES thank you for giving me an excuse
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HEY RUI I'VE GOT A QUESTION
my sister and i are trying to come up with a conceivable LMK Nezha backstory which is... difficult, and you know more Nezha history so I was curious what you might think.
Nezha was a warrior in Heaven long before Wukong was born, and the whole Ao Bing happened almost a thousand years before Wukong came into existence, so Wukong probably never actually knew that much about Nezha's actual story- only bits and pieces. Yet at the same time, Wukong saying 'when did you stop being fun' implies that Wukong knew him when he was a rebel
and in actual JTTW, Nezha is still kind of a hotshot, so it comes to ask, how/why did Nezha become so much more serious?
JTTW: Wukong and Nezha beat the shit out of people together
in between the 8 years of JTTW: (apparently deeply traumatizing thing happens to Nezha that alters his whole personality)
the fire sealing: "well great job Wukong, you nearly got us all killed!"
which, honestly, doesn't make much sense?
of course, LMK is very casual with accuracy when it comes to characterization/chronological set up, so…
just interested in what you might think, if you have any thoughts. thanks! :D
Hello hello!
Ahhh this is something I’ve wondered myself and think about every so often. To be honest, I was very confused when Lego Monkie Kid started to use parts of Canonization of the Gods because it is so different from Journey to the West. The publishing of both stories is separated by nearly a full century and from two very different people.
It’s obvious from character dialogue that both Nezha and Sun Wukong have known each other for a very long time. At least within LMK Nezha had consistently been portrayed as overly responsible until the Season 4 specials came out. Honestly I liked seeing Nezha act with sarcasm and a snarky attitude, which is more accurate to how he’s typically portrayed anyway. Maybe being injured interferes with his serious attitude haha.
At least personally I believe a very severe type of betrayal may have happened between them. Again based on character dialogue Nezha used to trust Sun Wukong, probably back when he was still “fun” to be around. Even as a deity serving under the Jade Emperor (or Buddha) he’s responsible but still childish and can be very arrogant at times. As a whole LMK Nezha is confusing to me, as is the rest of the show. And like everyone else I also have to wait to see how this is explained, if it ever does get elaborated on.
This does make me wonder now just how familiar with Nezha’s background Sun Wukong actually is. It’s completely possible that Nezha never spoke to Sun Wukong about what happened at Chentang Pass. If I keep writing this answer I think I’d go into a rant about how LMK handles its own world building - so I think this is sufficient for now.
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I was just wondering kinda what your process for novel writing is? Please don't feel like you have to answer or spend any time or anything answering!
Hi hi! Sorry this took so long to answer, the month has been crazy busy and flown by just like that! I've super been looking forward to answering this, though!
My process is actually pretty straight forward! When I get an idea, I write it down as a concept, usually one paragraph that just sums up the basic thought. I share a lot of these on Patreon, just as a side note! Then, when one of the concepts is a Big Enough Thought that I can't stop thinking about it, it gets pulled into its own file!
At this point, it becomes an outline! I use a bullet point method, breaking down all of the things I want to happen in the novel. Sometimes, I get super excited and will even have bullet-point conversations included, or set lines of description I come up with as I outline it!
Then the writing process starts! For shorter novels (25k-40k) I write them in a chronological order, starting with the first bullet point in the outline and working my way through. For longer stories (like Abyss, sitting at 115k right now), I pick whatever section of the outline I think sounds interesting at the time and that's where I start writing.
Now, for me the big key is that I don't start talking about it on tumblr until it's got at least 10k written for it. Otherwise, I would be throwing new characters up every five hours and y'all would never hear about them again, ever. So, once it hits about 10k, then I'm free to post whatever.
Another key for me is that while I have one Main Story I'm actively trying to complete, I let myself write down scenes and chapters out of other stories. This keeps me from getting super antsy if I hit a block. So, let's say I'm actively working my way through writing The Possession of Joshua Roe. I get an idea for a new crime thriller, I write down the idea and the outline and maybe even a chapter or two. Then I jump back to TPJR!
Once the first draft is finished, I let the book sit for at least three months. Not only does this give me time to get those New Idea Jitters out and do some fun project hopping, but by the time the three months is up, the idea feels fresh again!
So, I'll jump back in and start reading at chapter one, writing as I go. Sometimes, I'll only add about 1k or 2k words to the draft. Other times, I'll add entire chapters. (I Drowned In The Summer of 85 had 20k words added at this phase!) Then, I let it sit again. Usually for another month or so, and jump back in for another round. The focus of this round is the copyediting, so grammar and punctuation and the like. By the time I finish this third read through, I'll know whether the draft is complete or not.
If it's complete, I move on to making steps toward publishing. If it's not, then I wait a month, add in what needs to be added, and then do another round of copy editing on it!
Any novel that starts feeling like a real deal gets its own playlist! I listen to the playlist most of the time I'm writing for that book!
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HI ⭐️! (loved Droughtland, would love to hear commentary) :)
HELLO and THANK YOU FOR THE ASK and I'm SO GLAD YOU LIKED IT I loved WRITING IT ARGHH!!!! Also tagging in @catgrub who asked the same just a few minutes later -- HELLO and THANK YOU ZANE!!! Since there were two recs for Droughtland I feel like the extreme length of the following Commentary can be excused.
(For context: I realized I've got 0 idea of how to do a Director's Commentary except for ones I've seen where directors just rewatch their own movie and speak overtop of it, so, I did the same except with reading and typing. This is my read-along author commentary on Droughtland, arranged in chronological order--feel free to look at it with the OG, or not, it should stand alone just fine. Or ignore it entirely. My god it's fucking long, so sorry. Anyway, onwards.)
Okay close reading. Okay commentary. Engaging on this journey together yaaaay.
[Iowa, 1962]
Okay, from the first line, we’re invoking concerns of location, identity, belonging, otherness—Radar struggling to adjust to home because he senses he’s been changed by his experiences in a way that makes him incompatible with the life he used to lead. He’s good at his job, we sense that he’s well-respected, but he’s undeniably not entirely present. Everything he does, sees, thinks, remembers, ends up in service of the Project, which I think I’ve (maybe not obviously or even all that consciously) tried to imply has an element of spiritual or religious calling to it, given that we’re introduced to it in a church.
And retrospectively enjoying the complexity of Radar running the line between escapism and catharsis in his writing at the end of this first section. He misses the people he was close to, that much is clear, and writing is a way to feel close to them. And yet he’s also mentally returning over and over again to a war. A theme I’ve played with in the background of my BeejHawk fics, and more centrally in Droughtland, is one I sort of cribbed from Michael Herr’s Dispatches: Who are you after the most defining event of your life has ended?
[Iowa, 1952]
...And who are you when you KNOW the most defining event of your life has ended? That’s not to say the War Was A Good Experience and One To Reminisce Over. In fact the war being experientially horrific only complicates this idea more. I’m fascinated by how somebody goes about the rest of their life knowing with near-certainty that anything / everything they experience will likely never be as impactful on their sense of self and arc of life than a single past event. Anyway, this ends up concerning Radar greatly, who moves from that Defining Event—Drafted Into the Korean War—back to the rhythms of family and farm life, where he expects himself to be content with the life he’d always assumed he’d have. Actually I’ve read more and realized I had him state that concern textually, rendering this redundant. Ah well. Moving on.
Okay, something else—Radar and writing and fiction and voice. I wanted to get across very clearly that the driving force of his writing is a direct desire to communicate—his first attempt at beginning the book takes the form of an introduction (“My name is Radar O’Reilly”), and he states that writing lets a fellow talk to people who aren’t around. The silent implication being, then, that he’s got no-one real to talk to. Another important set of questions getting kicked around in this piece: Why do we write? Is writing still communication if it’s never shared?
I wanted to play with the idea specifically of writing in relation to loneliness. If you’ve got nobody to talk to, or no way to express yourself meaningfully, or nobody who is interested in understanding you, it makes a lot of sense to sink into the realm of the creative, which we see Radar do here very explicitly. He doesn’t have any close connections, really, or at least not ones he thinks he can explain his new sense of self to, so he turns to writing. Summoning the last people who really understood how he felt, in some ways, writing to communicate with people who are dead or gone from him. Making some record of himself, his experiences, the way he sees the world—an attestation of self, or something, in direct defiance of a landscape and life that feels flat, uncaring, inaccessible—he starts writing alone in a field.
[Iowa, 1959]
Next—mm, field fire section, which was my favorite to write. I’m clearly and obviously soft for rural concerns. I know it’s been pointed out that my voice is significantly different in this fic than in my others, and I’ll admit that I did dip into the author-voice I usually reserve for my personal fictionalizations of family histories, which largely concern, go figure, rural American questions of identity, place, belonging, family, fulfillment, etc. And yet the usual Vonnegut-y sensibilities aren’t wholly gone—the idea of Radar being a volunteer fireman was lifted both from Vonnegut’s life AND volunteer firefighters' positioning in his work as bastions of selfless humanity and civic duty. I like the idea of a latently lonely Radar doing all these very quiet upright civically-minded things. Frequently good people are dealt bad hands, and aren’t cared for by their communities, and still go on doing good anyway.
[Iowa, 1963]
Reading on—and the arrival of BeejHawk. It’s been long enough by this point that Radar’s sort of been subsumed by the Project. We see that tendency in him as he anticipates seeing ‘Dr. Pierce’ and meets Hawkeye instead.
And then—AH! At last! The title is Droughtland, obviously, and that’s a multivalent image, but here’s at least one moment and facet of relief: Sometimes, he thought, a fellow just needed words. Words and words and words like rain on a drought. And the good doctors Pierce and Hunnicutt had always known how to talk up a storm.
As much as it’s a relief, it’s also destabilizing to suddenly have people notice him after so long living almost entirely within himself—Hawkeye calling him Radar shocks him into silence—wow, I’m realizing belatedly just HOW MUCH this fic is about loneliness, actually. Funny the things you can catch on a reread. His name is important, that’s all, and Hawkeye would understand that.
Meanwhile BeejHawk as a unit are very clearly sensing something wrong—not wrong, maybe, but not all right, either. Radar’s Restaurant Allegory is key here as he admits that ‘enjoyment’ is absolutely meaningless in the context of his life—it doesn’t matter if you like the restaurant if it’s the only option. It’s not that he likes or dislikes it—it’s that forming and expressing an opinion would be pointless. This is a stand-in for his opinion on life, which Hawkeye finds distressing, though I think he’d agree with Radar to a degree on his related idea that happiness, delight, joy are intentional practices more than consistent feelings (another idea cribbed from elsewhere: Ross Gay’s Book of Delights, which I am coming to realize sunk way more deeply into my psyche at age 19 than I thought. I may elaborate someday if there’s ever an interest in Parker Creative Nonfiction because the story’s sort of ???, but also, maybe not).
Anyway, Hawk at last manages to drag a bit of real sentiment out of Radar: writing, and the Project, where so much of his internal life is focused (Hawk makes a Lot’s wife joke, because of course he does, but also I like him invoking a story where somebody looks backward on something terrible and suffers for their inability to turn away).
And from here Radar takes the plunge and finally gives all that lonely writing an audience. Terrifying, but it pays off—Hawk affirms that he’s very good (important to me that Radar’s very good as a writer coming from outside a formal academic context. Everybody has the potential to create resonant art, and I wanted to be clear that Radar’s interest in something like the Iowa Writer’s Workshop isn’t the need to be Validated by the Institution or to Escape some sort of poorly-informed or condescending vision of Rural Nonintellectualism (bad themes!!! I hate them!!! NOT at play here, or at least consciously attempted to subvert) but as an extension of the desire for artistic community. To be seen and heard, instead of all the silent listening he’s been doing for years.)
The tradeoff of communicating, by the way—Hawk is a good listener, and picks up on a number of things maybe Radar wasn’t even aware he was revealing in his work—loneliness, vague dissatisfaction, a focus on finding interior fulfillment when the external world fails to provide. Scary, destabilizing, embarrassing… but eventually very, very good. For Radar, at least, who’s suddenly feeling like he’s allowed to want something.
Moving on. Hawkeye’s reaction to learning he’s a part of Radar’s Project. Obviously he’s worried about how he’s going to come across. I think it’s a very scary thing to be the object of cameras, of writerly gaze, all of it, because it creates an image that exists entirely outside the object's control. How horrifying/enticing/awful/fascinating it’s got to be to be able to find out how you exist in another person’s mind… and when that image was formed in the lowest years of your life… of course Hawk’s apprehensive. And clearly it rattles him—but maybe in the way any really, really resonant art rattles us, based on his next-morning response.
Hawk comes downstairs and we get this baffling little kiss scene, which I’ll be honest I wasn’t entirely sure what it meant when I was writing, only that it felt right. But now I’m thinking it’s clearly an exchange of seeing—Hawk feels he’s been thoroughly Seen in Radar’s work, for better or worse, and comes downstairs to communicate in this abstract way that he sees Radar, too—and affirms what he sees.
So we end with these moments, finally, of communication and understanding and connection. Very obviously there’s the Hawk-Radar connection, which is so intense and emotive it’s basically psychic (what's good writing if not successfully communicating an idea or image with all original emotive force and vividness from one mind to another?). There’s also Beej, who isn’t Hawk’s brand of incidentally clairvoyant, but is all around a very bright, kind, warm person who’s able to give Radar the sort of horrendously necessary everyday sort of conversation and care that makes life bearable, the kind it’s so easy to take for granted when you’re experiencing it regularly. And then there’s BJ stepping in to hold Hawk even if he doesn’t fully understand what’s transpired between Hawk and Radar, because he knows Hawk and knows that he needs a second of support, which is sort of psychic in its own way.
And that's the end. So, overall, I’d say the thing is very directly related to the title—drought of the soul which is only starting to lift by the end of the piece. One storm doesn’t solve a drought, after all—you need consistent rain, and time for ecological repair. And still the first few drops of rain after a dry spell feel awfully good.
#THANK YOU BOTH FOR THE ASK!!!!!!#and. i'm soooo sorry for the length of this I was having Fun. do not feel obligated to Actually read it it's Excessively Detailed#anyway. ouuugh#droughtland#fic commentary
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Ok so like, are there any transformers comics that you like that show how Megatron got from point A to point B? Like how do you go from workers rights to genocidal conquest? That would be a good story. I apologize if I'm being rude, I just think that fall from grace would be a good story and would like to read it
No worries, thank you for asking! :) <3
Off the top of my head, I would recommend the following issues/arcs for more context on IDW 1 Megatron's overall character development!
It's worth noting that a lot of Megatron's backstory was released somewhat out of order in terms of comic release dates, but below are chronological in terms of Megatron's in-universe personal timeline.
So reading them in this order may not make sense in regards to any larger overarching plot points, but in terms of covering Megatron's backstory, this is more or less a good order to read things in, if you don't mind missing some of the surrounding context for other stuff going on! :)
There is also some skipping around that happens, as MTMTE for example had concurrent release with some other relevant titles, so things are a bit staggered. I've tried to list the below in a reasonably coherent order, as much as possible, but it's unavoidable that there may be some skipping around within the comic narratives as a result of the way some of the comics were released right around the same time as each other, or sometimes years apart! :')
I'm not going to include any of the Spotlight series, as those are one-offs with individual character focuses, but the Orion Pax/Optimus Prime one does touch on some of the early war period; Naturally, Megatron features here and there in a lot of the one-offs and short arcs etc., but the below are the issues/arcs which emphasise him more in the forefront of things and contribute more coherently to building his background.
Hopefully that all makes sense; Figuring out comic stuff can be hard, so I've done my best to provide a decent reading list below that covers the majority of the key IDW 1 stuff for Megs, although it doesn't include every single thing! <3
---Living Under Oppression---
Series: MTMTE / Lost Light
List of Relevant Issues:
The Fecund Moon
This Calamitous Life
Predestination: An Expert's Guide
The Becoming
Towards Peace
Chaos Theory #1
Births, Deaths, and Interventions
The Last Autobot
---Rise to Power---
Series: Megatron Origin
List of Relevant Issues: All Four
Series: Transformers Autocracy
List of Relevant Issues: All Thirteen
---Power Corrupts/Doing Bullshit on Earth---
Series: Transformers Infiltration
List of Relevant Issues: All Six
Series: All Hail Megatron
List of Relevant Issues: All Sixteen
-----
I hope that's a useful list for you; It's not perfect, and doesn't include everything relevant to Megatron's backstory, but this is a decent chunk of the stuff that's relevant to him! :)
(I also might have borked the order of All Hail Megatron and Infiltration at the end there, as I know that was their release order but I can't recall the actual in-universe order of the stories at the moment, lol)
There's a ton of stuff to read over that is Megatron-relevant, though, so I'd say you might want to scroll through the TFWiki page on IDW 1 Megatron here if you don't mind possibly coming across spoilers, to see which plot points are in which specific issues aside from those listed above! :)
If the sheer amount of IDW 1 stuff out there is overwhelming, I'd say just have fun and start with MTMTE if you need a jumping on point, then backfill with the other IDW 1 material as you go along and can better identify what context you might need. (This is what a lot of people did when MTMTE was first coming out, so no worries!)
I know this is a super long answer LOL, but it can be daunting to sort out comic stuff, so I hope this is at least a little useful for you! :) <3
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Thess vs Overtime, Day 3
Well. Not really Day 3, because I got through about five minutes before body and brain both rebelled and I just went, "No, fuck this".
On the plus side, I did get us to the queue being only 24 hours. The negative side? For ... I'm going to say about an hour and a half or so, I was doing it alone, or at least so it seemed.
First thing I noticed was at about half-past three, a half-dozen reports from Wednesday afternoon got tossed into the queue. Possibly more; I was working too hard to check timestamps for awhile. That's a Goblin trick - take some typing out of the queue to show willing, do something else (actual work or not) until she can more or less say, "Oh, I won't get these done; it's too late now", and then toss them back into the queue for some other poor shmuck (usually me) to deal with. Of course, these ones were relatively short, so she would have had plenty of time with a 4pm departure time (that's when her workday ends), but ... that's Goblin for you, especially when Scruffman's away.
(I should note that there were still ones from late Wednesday afternoon when I logged in this morning, but those were long and complicated ones, or ones from the new guy who is really bad at these, and in some cases both. Temp avoided those and got started in on the stuff that she likes better. She did that most of the day, as far as I can recall, picking and choosing so specifically that there were little gaps in the typing queue but the whole timeline of the queue went further back than it should have. I know why she doesn't take things in chronological order, but I am fed up with her entitled attitude about it.)
Anyway, when I finally got those done, I started noticing that the number of reports was going up with no corresponding down-tick of "someone else taking stuff out of the queue". That was around 4pm. Which makes zero sense, because Temp works until at minimum 5pm. I mean, it's possible that one or two got taken out while I wasn't looking, from somewhere in today's typing (not urgents, though - I was the only one who touched those, too), but I somehow doubt it. So I had to work basically on my own for about an hour and a half, with the only bright side being that we seemed to only have one person reporting towards the end of the afternoon. But despite only having today's typing left in the queue, we have more bits of typing now than we did when I logged off yesterday - somewhere to the tune of 260 reports.
I thought about clearing some of it; I really did. I just could not make myself do it. I got through about five minutes getting to the point of "Okay, it's only today's typing; we're only 24 hours behind now, at least" and ... well, I've been working at a pace that I shouldn't be working for days, I've been working hours that I shouldn't be working, also for days, and I am already suffering for this. But I also know that there will be people reporting over the weekend and it'll get stupid and my colleagues will still lounge around doing the bare minimum on Monday and I'll come back on Tuesday to a horror show because none of them fucking care. I have to pull a double-duty that physically cripples me because they won't work to any reasonable standard unless the manager is breathing down their necks.
I swear, people like them give those of us who work from home a bad name. They're the ones people point at and say, "Look what happens when employees are away from managerial supervision! This is why we need them in the office being monitored at all times!" And then there's me, who does work from home and doesn't need to be hovered over to do my damn job.
Part of me wants to do something fun, just because I've had so few spoons to do anything fun lately. The rest of me just wants to be a duvet burrito until Tuesday morning because I am exhausted, in no small amount of pain, and fed the fuck up. Well, not literally, because once again I was too busy working to actually get any food into me and this time I didn't even have cookies to shove into my face so I'm running on coffee and am honestly not in good enough shape to even contemplate food right now.
On one hand, it's the weekend, so at least maybe I can get some rest. On the other hand, I have a whole other week of this. Still, at least after that I have a week off. I'm going to fucking need it.
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Ik this is kind of an impossible question lol but in your opinion top 5 succession episodes or top good girl episodes. Episodes that you would rate a 5 star ⭐ or eps that you'll never get tired of rewatching
Ooo, I've done Good Girls a few times, so let's go Succession. Honestly, I think I've rewatched every episode a zillion times at this point, and it's so hard for me to not go with real 'event' eps like What It Takes, DC and Argestes where the show's firing on all cylinders politically, but at the end of the day, I'm here for the family drama, so my Top 5 are going to be centred around that.
Also let's not include s4 since it's so recent, annnnd let's go with them in chronological order as opposed to fave orders, because that might literally be impossible for me, haha.
1.07 - Austerlitz
I've talked about it before, but the one-two punch of 1.06 and 1.07 is really what hooked me on the show. I'd been enjoying it, but these two episodes are such a perfect bait and switch and an incredible encapsulation of what it is that makes the show so good. While I love the absolute heart pounding anxiety/adrenaline rush of 1.06, nothing beats the family therapy episode for me. It's got everything - Connor's house in the desert, forced family bonding, subterfuge, relapses, collateral damage in the shape of famous family therapist's teeth, Shiv cheating on Tom, Shiv calling Logan out on leaking stories about Kendall, Roman picking Kendall up, Kendall defending Shiv, the reveal of Logan's own physical abuse. Literally a perfect episode of TV, I love it so so so much.
2.01 - The Summer Palace
I wasn't sure whether to put 1.10 here, which is absolutely showstopping, jawdropping TV, but if I only have five slots, I think The Summer Palace slightly ekes it out for me? I think I've rewatched it more at the very least, and in particular the scene with Logan and Shiv where he picks her is one of my favourite of the entire show. Sarah and Brian are both just on fire in that scene, and for a moment - just a moment - you can see them both really believe that she's it. The thing about the show, is that I really think one of the reasons it works is because Logan himself believes his bullshit at least some of the time, and I know there are people who disagree, but I do think he loved them, and this episode reveals both the highs and the lows of that love for all four kids.
2.04 - Safe Room
The show always balances humour and tragedy well, but I don't think it ever balances that in one episode as well as it does here. The fallout of a gunshot in the office is the sort of catalyst moment Succession's always done well, but seeing Greg and Tom scrambling (Greg's 'An attack child!" line is maybe the funniest he's ever been to me on this show), contrasted against the very human drama of Logan clearly worrying something's happened to Kendall, and Shiv not understanding the full implications, are just the best sorts of human family drama to me. Also Roman's management training is one of my favourite B-plots the show's ever done. Also-also, we've had a few great hugs on this show now, but Shiv and Kendall's in this episode is literally everything to me.
3.07 - Too Much Birthday
Look, I don't make it a secret that I'm a Kendall girl, haha (although I really do love all four of the Roy sibs), plus a group sibling scenes fan, plus a big fan of Lorene Scafaria's directing, so this ep was pretty much tailor-made for me. The art direction, the pacing, the energy, the - to quote Jesse Armstrong - straight line down of it all is pretty much pefect, with the golden trio all being their ugliest, messiest selves in the way they only truly are with each other, even or especially when they're on the outs. It just gets to me in all the best ways.
3.09 - All the Bell's Say
Literally an episode of all time for me, of any show. I don't think I've ever experienced the level of catharsis from tv that I did the first time I saw Kendall tell Shiv and Roman what he'd done at her wedding in the s1 finale, and I think I've watched that episode, and that scene, a million times at this point. It's etched into my brain, it's everything to me, and I know we're in for a bumpy ride this season, but as I keep reminding myself, we'll always have Tuscany.
Ask me for my Top Fives
#thank you!#i'll probably change my mind on some of these tomorrow#the whole show is just amazing#and these were just the five that immediately fought for real estate in my head#now i'm curious what other people's favourite episodes are haha#top five ask game#hbo succession#welcome to my ama
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Your tags reminded me that I've been meaning to ask you about Kagepro. Where do you recommend starting? I'm kinda confused by the whole thing, tbh. It's a band but also an anime/manga/light novel series?
Ah Yes Kagepro.... the most confusing thing to get into ever <3 i personally think its best to start with the manga cuz its chronologically the earliest routes and it also just. makes the most sense?? after that id say the light novels, although i havent finished them myself, or the songs. the songs kind of provide more insight to the characters and how they feel about things,,, and then lastly u would watch mekakucity actors. i made the TERRIBLE mistake of watching mca first and literally nothing made sense <3<3
i think the easiest way to understand kagepro is that its a multimedia project and each media is a different route, kind of like how undertale has different routes. the manga has a split in the middle where a new route starts, so its mildly confusing but it makes more sense as the manga goes on. mca is all one route, and its the Last route, and the songs that come after that are summertime record and lost day hour, which kind of explain more of harukas whole. Deal and how he feels about being back,, remind blue Also takes place after mca but its more of shintaros perspective... never lost word kind of jumps to the future at the end of the song and shows how kidos life went but other than that the songs mostly just explain the characters
i think its Very important to have tws for kagepro So here is a list of what i remember: suicide (toumei answer, lost time memory, additional memory, some parts of the manga talk about it briefly, most of ayanos character so just watch out if shes There) death/blood (konoha's state of the world, kagerou days, outer science, end of manga route 1 and very prominent in manga route 2, i think near the end of the light novels from what ive heard... pretty much just watch out whenever saeru shows up... ayano haruka hiyori and hibiya too just Watch Out) guns (again just. whenever saeru shows up he loves his guns) epilepsy (a lot of the mvs move fast and have flashing, especially outer science) grief (every main character has lost at least one important person to them so its deeply intertwined with the whole story, especially shintaro ayano mary and azami) feel free to ask if u have any more specific questions about whats in it cuz there is a Lot
theres also this very good video which thoroughly explains kagepro!! its very helpful from what ive heard,, ive never watched it But i do know that he has the best translyrics and does have very good analysis about kagepro, so id recommend watching his videos if anything stays Really Confusing,, id also say if u wanna listen to english covers u should check out will stetson!! he uses breadboxs translyrics and they all sound very nice :) the wiki also has a lot of good information!! i know plenty of the people who work on the wiki and theyre very helpful when it comes to understanding the kagelore
my personal favorites are shintaro haruka and saeru as im sure u have noticed :) shintaro is very flowey esque so i love him,, haruka has got so many issues........ and saeru is. oh he is such a guy. i just GOTTA analyze him what is wrong with that guy
#THANK U FOR ASKING ABOUT KAGEPRO THIS MADE ME SO HAPPY!!#i love kagepro despite how unbelievably hard it is to understand#asks#kagepro#suicide ment
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High Fidelity, by Nick Hornby
(The book, not the movie or the show, but I'm not passing up a chance to post a picture of Jack Black)
“What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?"
High Fidelity is a book about (and for?) music hipsters. It’s a pretty lighthearted read about a pretentious dipshit who works in a record store, published in 1995 by British author Nick Hornby. Rob Protagonist spends his days working in his mysteriously empty record store in London and making top-five lists of everything from movies to breakups, and, of course, albums and songs for every conceivable scenario.
Right away this concept starts to show its age - how is a record store, in London of all places, not swarmed? But this was 1995, I guess, before any secondhand record that wasn’t Englebert Humperdink got instantly snatched up by online parasites resellers. But that makes the whole thing shine with a bit of nostalgic fantasy for the modern post-hipster. This is a story from another time. That's not an issue if you don't make it one. More noticeable, though, is that books centred around pop culture tend to fall out of interest as the pop culture does. Book Rob will always be a music hipster looking at music from a 1995 perspective, and what's even the point of a music hipster who chronologically can't know Neutral Milk Hotel?
Fortunately, the book isn't really centred on pop culture, so much as it uses its narrator's pop culture obsession as a mirror for its centre, which is looking at Rob's relationships, outlook, and maturity. As mentioned at the top of this review, he's actually kind of a dipshit, but in a subtle, redeemable, even moderately charming way. The focus of the story, as Rob tries to move on from a devastating breakup that he's trying without much success to convince himself isn't that devastating actually, is his evolution as a character and his learning to value other people beyond their usefulness for reinforcing his own cultural-consumer acumen. This bit is well done and believable, and that's what saves the book.
High Fidelity was adapted into a movie in 2000, which moves the action to New York and casts John Cusack as Rob. I'll probably review the movie separately on this blog, but it's worth mentioning here just because this is one of those exceptionally rare cases where I think the movie is better than the book. For one, the extra five years put it on the other cusp of the millennial indie revolution, so it feels remarkably more modern just for the tip-over into a new century. This Rob listens to Belle and Sebastian! I know them!... better than underground '80s British rock bands at least. A movie also has the advantage of actually being able to feature music instead of just name-dropping it, which can be frustrating when you don't know what the songs in the book actually sound like. The biggest change, though, is that Cusack is just more likeable than Book Rob. Having a bit of distance from the inside of his vaguely misogynistic head makes it easier to actually root for the guy. And the book doesn't have Jack Black. There was also a 2020 Disney+ series starring Zoë Kravitz as a gender-flipped Rob that I haven't seen, but ought to get around to. I've heard it's good. Disney cancelled it after one season, so that's a good sign.
But we were talking about the book. Right. And I'd say the book is worth reading, if only because it's pretty breezy, short, and funny, so long as you don't mind a narrator who rides the edge of likeability.
I give this hipster book three and a half vintage 45s with rare b-sides out of five.
Project Hipster is a futile and disorganized attempt to dive into the world of things that the internet has at some point claimed "are hipster," mostly through ListChallenges search results.
This review comes from the first list, Hipster Lit: If You Haven't Read 'em, Pretend You Have.
Stay deck.
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I've noticed (while I've been entirely absent, my fault there's too much going on) that people (on Reddit) seem to think that there are certain characters that are going to appear this year on Duel Links, mainly Sherry LeBlanc, Spectre, Akira, Mizar, Vector, and Celina (predictions about Varis and Shay have already come true). Obviously Varis and Shay start off the beginning of this year, with Sherry, Spectre and potentially another Arc-V (or ZEXAL) character poised to come in the middle of the year, and a ZEXAL character (Mizar generally) as well as Atticus (who's been absent for so long I honestly don't think he's coming) and Celina ending the year.
While some of these predictions have been pretty accurate - and I know that at least two of the above will be released sooner or later because they already have IDs - I noticed that there is some opinion that Mizar is going to come into the game before Alito. It could happen, theoretically...but here's why I think it won't.
I know that with ZEXAL, Konami have been a bit strange; they ended up missing out entirely on most of Yuma's classmates (not that surprising) as well as Vetrix (kind of surprising) and Christopher (VERY surprising, especially because both of his brothers are in the game) - and yet Anna Kaboom somehow made the cut. I still think she was just a popular character who had good cards, so that was why - but I'll never understand why Thomas and Michael got in but Chris didn't.
In any case, despite that, they have been somewhat (loosely) chronological with the appearance of the characters. They brought in Rio quite a bit after all the other characters came in (I think she was the last character unlock before Girag), which does somewhat line up with the storyline of the show.
And we've just had Girag (whose event is rerunning soon), which means the next ZEXAL character to be unlocked is pretty much guaranteed to be another Barian.
The reason people are now saying that Mizar is the next Barian to come is allegedly the popularity of his cards; so Konami will basically end up releasing a new box for him and other Galaxy-Eyes support etc, and Alito would then come after him.
But it makes a lot more sense for Alito to be the next unlock since firstly it just fits really well with the storyline in Duel Links. Think about it; Girag's recently come in, he's adjusting to everything, then Alito comes in - maybe to look for Girag and find out what's going on, which is kind of what happened in the show - and then has his own event. It just aligns really well with Girag, since that's his best friend. Alito would have the most reason to go to Duel Links after Girag.
Plus that would, like I said, (loosely) fit the chronological structure of ZEXAL.
If Mizar came in next - which is a dream that still has a while to come true, admittedly - it wouldn't really be relevant to Girag. Mizar would just have his own thing. And the fact that Konami brought Girag in first is kind of critical since it sets the stage for the rest of the Barians to come. By bringing in Girag as the first Barian when theoretically they could have brought in any of them just seems to hint even more that Alito is going to follow.
TL;DR: Alito is more likely to be the next Barian instead of Mizar because doing otherwise will hurt Girag's feelings, which are more important than, you know, wars and massive tragedies. And I want Girag's best friend to come hang out with him in Duel Links before the other Barians find out about the party they were never invited to and crash it anyway.
#ygo zexal#zexal#duel links#yugioh duel links#girag#alito yugioh#alito is coming next#but then what do I know
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I randomly decided to rank a bunch of FNaF animatronics based on how much I'd want them at a party. Backseat also did something like this but he used a number system and had a math system, while I'm using a tier list and am a dumbass who's never played a FNaF game and just knows about them from Youtube Videos.
I won't be doing stuff from Ruin since I haven't watched any videos on it(no spoilers), and if there's any new animatronics from HW 2 I won't be including them either for the same reason. I'm using an online tier list so if I miss any from other games blame Random Internet Used #37. I'll also be making this under the assumption that if the animatronics were murderous or otherwise evil before, they've been rehabilitated, and that animatronics will be operating alone. Also I'll only be using the pictures in the tier list and memory for visual reference, so if I say something about how one of them looks that you don't agree with, it may just be the image used in the tier list.
Starting with OG Freddy(OG in release order, not chronological order). He looks friendly, he can sing, and he's the mascot, and has lots of experience since he also entertained in an older location before FNaF 2(I think, it's been a while since I've watched a lore video but I'm pretty sure he's the repaired version of withered Freddy). S tier.
Next is OG Bonnie. He's got the same amound of experience as OG Freddy and presumably the same musical talent, but he uses guitar which, makes him more versatile since he can use the guitar to entertain without drawing attention. He would be S+, but he loses points for, at least in the picture used for the tier list, doesn't look as friendly, and doesn't get the bonus Freddy did for being the mascot.
OG Chica isn't nearly as good as the other OGs. She's an ugly shade of yellow, no musical talent, annoying in the kitchen(banging pots and pans together isn't evil, just annoying, so I'm assuming she still does that), and for some reason still thinks she belongs on stage. I do love food tho and I've always assumed she serves the pizza(since she doesn't seem quite advanced enough to actually cook) so she's bumped up to B tier.
The last of the OGs is Foxy(kinda, Golden Freddy's still left but they aren't really part of the main group). He's supposed to be a pirate but the eyepatch doesn't even wrap all the way around his head, and from what I remember his hook looks actually pointy. I doubt it's that sharp, but it still seems like it could easily catch and damage baggy clothing if you try to get a picture with him, so that's not a very good start. He's also heavily damaged, with most of his legs just being bare endo, but that's not really an issue since he somehow has no exposed wiring. C tier.
OG Golden Freddy may seem like an easy F tier since he can't even move, but he is shown to be able to teleport and create illusions(the poster), So even if he can't make any illusions bigger than a poster he could still be cool if you just give him some paper, he could just make a 2d character and communicate through them with speach bubbles. Even if he can't make them move he could make it more like a comic and change the illusion to new panels. S+ tier.
Onto the Toys, Toy Freddy looks friendly, can sing, plays video games, AND is shit at them, which makes him a good entertainer and relatable, but the voice is just way too annoying. I'm fine with him sounding cartoony, but he sounds like someone was mocking cartoon voices and going over the top, and then someone else mocked THEM. F tier.
Toy Bonnie's visual design is a bit much, but it's not nearly as bad as Toy Freddy's voice, and I'm assuming he doesn't also have the voice issue, but I haven't heard his UCN lines so IDK for sure. He's presumably good with his guitar, he's a nice shade of blue, AND he can recognize criminals, which I'm assuming he'll only act on when it's a bad crime and not fucking throw someone out the window cuz they stole a chocolate bar when they were four. S tier.
Toy Chica's pretty simple. She's a nice shade of yellow, has a cupcake despite not being associated with food anymore, and that's about it. She's pretty average, B tier.
Mangle is probably the most damaged animatronic in the series, but somehow doesn't have any exposed wiring. Because of that I'm assuming they don't have any wiring at all, meaning they're waterproof, so they'd work pretty well in a pool. Combined with the fact that they're two animatronics in one with the extra endo head(even if it isn't sentient on its own they could still use it as a puppet) puts them in S tier.
Withered Freddy is pretty good for the most part. I prefer his boxy shape over Freddy's more rounded one, and he has buttons which make his torso seem way less empty. He does have a bunch of exposed wiring, but that's not as much of a downside as it would be for someone like Sun who needs to get up close to do his job, since Freddy sings. Still a bit of a downside, putting them in A tier(somehow the first A tier)
I initially thought Withered Bonnie would be the first F tier since he's missing an arm, but a quick google search revealed that there are one-armed guitarists, so assuming Withered Bonnie could learn to play with one hand him missing an arm isn't actually a downside. He's also missing the covering on his hand, which while I haven't tried to play guitar with mittens on, I imagine it's easier to do it without them. I also imagine it's harder to play guitar with one hand, but OG Bonnie just has a better color, so A tier.
Withered Chica has a way better color than OG Chica, but that's about it. They're missing both hands so while they may be able to carry food with just their arms the long exposed wires could be dangerous, especially if the food's greasy. B tier.
Withered Foxy is pretty similar to OG Foxy and I don't think he even has any exposed wiring, though he looks cooler so B tier.
Puppet's kinda basic. They seem good for their role, but their role is giving people gifts, which is already what my friends and relatives would be doing for my birthday, D tier.
Withered Golden Freddy. Just normal Golden Freddy but he has exposed wiring and no illusions. D tier.
IDK enough about Shadow Freddy to properly rank him, but I'll do my best. I don't think he's real, meaning no risk of harm, but he's still visible on cameras so pictures are still an option, and him not being physical actually makes more options for pictures. He's also a nice shade of purple, but the glowing eyes and teeth don't really work well with the design and he presumably can't move, B tier.
Shadow Bonnie's just Shadow Freddy but they're a rabbit that's hard to see and it's unclear if they appear on cameras, but even if they do they're still D tier.
Balloon Boy has a repetitive laugh with no emotion behind it, may have only one balloon, but it may actually just be part of him, in which case he has no balloons. D tier
JJ is Balloon Boy but they don't even have a reason to have a balloon. They are a better shade of purple and I'm less likely to remember that I decided to have THEM at my birthday party out of all the animatronics. C tier.
Endo 2. IDK why they're here when Endo 1 isn't, or how they act, or if they act at all, or anything else. B tier by default.
Like I said I'm operating under the assumption that any animatronics which used to be evil are no longer evil, but Springtrap killed 6 kids(I think, maybe 5). I'm 13, I can't just have a party with someone who did that and not have it be akward, even if they're a good person now. Combined with the fact that they have a corpse inside them which may or may not still have blood they're the second F tier.
I'm assuming that none of the phantoms are physical, and I think Phantom Freddy has the best photo opportunities due to him not being nearly as damaged as some of the others while still being somewhat large. A tier.
I don't remember Watermelon being damaged at all, but she also just doesn't really look good. B tier.
Phantom Foxy's damage actually helps him here. I originally thought that being less damaged would help but thinking about it I think they just have different photo opportunities, so they're sharing A tier
Phantom Mangle doesn't really look damaged like Phantom Foxy, they just look like metal spaghetti, though at least they could still look cool climbing around. D tier.
Phantom Puppet's just too skinny for any cool photos that I couldn't get with normal Puppet. Still way better than Toy Freddy and Springtrap tho, so D tier.
Phantom Balloon Boy is a lot like Phantom Puppet, no unique photo opportunities. D tier.
With the nightmares I'll be assuming they're physical since they are in UCN. I know they mention that they were "given flesh", presumably for UCN, but I'm just assuming they kept their flesh. Nightmare Freddy is kinda meh on his own, but he has three freddles which seem cute in the context of them not screaming at you and summoning a guy that kills you. S tier.
Nightmare Bonnie's just meh, B tier.
Nightmare Chica is kinda like Nightmare Freddy but only one little friend, and while nightmare cupcake is cooler they don't seem like they could do much other than sit there and chew stuff. Still cute tho, so A tier.
Nightmare Foxy just looks cool as fuck. His hook looks just as sharp as OG Foxy but with him it fits. S tier.
Nightmare Fredbear looks kinda cool, but not as cool as Nightmare Foxy, and his belly mouth's just weird, but not weird enough to bring him down a tier. A tier.
Nightmare no last name given is just Nightmare Fredbear but black and transparent for no reason, C tier.
Plushtrap is like Freddy's Freddles but it's just one and the one's an ugly shade of green. C tier.
Nightmarionnette would be C tier, but in Help Wanted I'm pretty sure they can make tentacles that reach out of dark areas somehow which gives them much better reach, but aside from that they're boring and don't look good, A tier
Jack-o-Bonnie and Chica are pretty similar. I'm assuming, based on Jack-o-Chica's mechanic in UCN that they only appear in high temparature which is just annoying. If I picked either of these I'd have to keep the heater on just for them to actually be there. Though them being able to clone themselves is nice, so both go in C tier.
There are quite a few more but I'm getting tired so I'll stop here.
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Fanfic ask game: B, F, G, H, K, L, O, P, S, T, W
Answers under the cut, it got long~
B: Any of your stories inspired by personal experience?
Always any fic that has a writer in it is inspired by personal experiences. A lot of kid fics I write also tend to have scenes inspired by things that happened in my childhood (which really just goes to show how neurodivergent and undiagnosed I was)
F: Share a snippet from one of your favourite dialogue scenes you've written and explain why you're proud of it.
He’s late?”
“You’d think prison would’ve fixed his punctuality,” Gaon snorts.
“How’d that work for you?” Hwang Junseok, leader of Alt-R’s former brother group MAX, sinks down into a seat opposite Gaon. His feet nudge against Gaon’s and Junseok gives him a wry grin.
“Can’t say it fixed any punctuality problems, but I get laid now.” Gaon shrugs and pretends he doesn’t catch Junseok’s jaw slackening.
“So it’s true? You and Judge Kang?” Junseok asks. Woojin sighs, a little louder, and scrubs his hand over his face. “Shut up, Woojin-ah, no one gossips with me anymore.”
“Should’ve admitted you stole that shit ‘stead of me. Maybe you’d have a boyfriend then,” Gaon adds on, a grin threatening to break the barrier of nerves digging its heels into his stomach.
“Though I’d hate to have to be the one to tell Eunbi you cheated on her with Kang Yohan of all people,” Junseok says.
“I think she’d get it. She was raving, last time she was backstage with us.” Woojin hits him, and even as Gaon rubs his chest, pouting, a softness warms his heart at the slight roll of Woojin’s eyes but the smile tugging at the corners of his lips regardless.
It had taken time, but they’d gotten there. Many late nights spent in a practice room, talking to each other had finally solved the rift between them, with Woojin’s guilt eating away at him and Gaon’s own uncertainty as to where they stood.
“Leave Eunbi out of this, you bastards,” Woojin says, shaking his head. “Ah, someone text him and tell him if he’s not here in ten minutes, I’m leaving.”
“Seven years and you still haven’t learned any patience, little brother?” The door slides open and the three of them at the table stumble to their feet.
I've been told I'm very good at introducing a number of characters and keeping voices distinct, and I think this is probably the best example of that in a fic that I've written in a while.
G: Do you write your story from start to finish, or do you write the scenes out of order?
Usually start to finish, but sometimes that does mean out of order (since my stories aren't always told chronologically)
H: How would you describe your style?
I think when I put in the effort, I have something closer to a poetic voice than anything else. I just... don't put in the effort a lot of the time.
K: What's the angstiest idea you've ever come up with?
TDJ - Yohan trades his life for Isaac's in the fire only to learn he had pulled Isaac from Heaven while he himself is trapped in purgatory for eternity.
L: How many times do you usually revise your fic/chapter before posting?
It depends on how much effort I'm putting in. Usually I'll do at least one pass for an edit/revision, but if I'm really putting in the effort, I fully rewrite it at least twice.
O: How do you begin a story—with the plot, or the characters?
A concept or theme, then tying the characters to the theme or concept, and then finally building the plot from there.
P: Are you what George R. R. Martin would call an "architect" or a "gardener"? (How much do you plan in advance, versus letting the storu unfold as you go?)
I'm more of a letting it unfold as I go type of person, but it does pain me a little bit when that means I have to rewrite later because there are gaping plot holes or I didn't seed some plot points as early as I wanted to.
S: Any fandom tropes you can't resist?
Anything angsty, I love a good redemption arc, love a good villain era
T: Any fandom tropes you can't stand?
Hanahaki, I can't stand anything that requires sex to happen in order to fulfill the trope in its entirety
W: Do you like more general prompts, or more specific ones?
Anything and everything is so fun to me~! Things almost always start with a "what if X-" and then it devolves into a full plot from there (ex. I think I messaged Noel with a 'what if Yohan was in politics and Gaon worked for him but didn't have a set title' and it devolved into a full blown politics au that we messaged about for nearly a week).
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[ sylo ] alrighty then, let's talk about the structure of the syloverse.
[ sylo ] the syloverse is split up into 3 main verses: the syloverse, the jumbleverse, and the dyroverse, with the wall separating the dyroverse from everything else.
[ sylo ] so, let's talk about the syloverse first, for obvious reasons. it's a sort of "perfect timeline" situation, where everything is in chronological order of events.
[ sylo ] it's split up into segments, with each maker having their own section (you'll learn about the makers in section 4C of the syloverse guide).
[ sylo ] so far, there are 26 makers, and 24 sections—though, this is susceptible to change.
[ sylo ] now, each section has stories that the makers write. that's where the makers' creativity is located. stories operate in a strange fashion; whenever a story ends, the maker can either add onto it, reset it sending the story back to the beginning to play again, or leave it be and have it play out past its original ending.
[ sylo ] in-between these stories is where the inhabitants live, located in what they like to call "the hub." it's filled with shops, restaurants, etcetera. but the maker in the section has the final say about what goes on in their section.
[ sylo ] of course, there is one section that is unclaimed by any makers, leaving the inhabitants to do and build whatever they wish without anyone telling them they can't. well, except for themselves.
[ sylo ] anyways, back on topic. the next one is the jumbleverse. now, the jumbleverse is strikingly similar to the syloverse, except that it's chronology is all messed up. time doesn't really flow the same throughout it, so whatever I've made for the future of the syloverse can interact with the past of the syloverse, and vice versa. this applies to any points in time in the jumbleverse.
[ sylo ] it's essentially just a giant mess of all the ideas me and... hmm... he doesn't really have a name... well, let's just call them chuni for simplicity's sake. it's filled with ideas me and chuni came up with, with almost no regard to chronology. although the ideas that come from it are implemented into the syloverse after sorting them out, the jumbleverse is basically a crapshoot of anything we can think of that could be a good addition to the syloverse.
[ sylo ] not many people know about it, though. so far, only chuni, the snap, the entity, and myself know about and can travel to it. although rich—the butler of faces—does have dreams about it since he's based off of a creator.
[ sylo ] and now there's the dyroverse. the dyroverse is essentially a "what could've gone wrong did go wrong" kind of situation. there are no stories, as the makers haven't quite been established, so essentially, everywhere is a hub. although there are territories that some gangs and other organizations have.
[ sylo ] it's supposed to be a sort of "dark syloverse" but the only people that are in both the syloverse and the dyroverse are my family. the dyroverse doesn't have anyone else from the syloverse.
[ sylo ] and last, but certainly not least, is the wall. now, the wall is a very important structure, as it greatly reduces breaches in the syloverse, and keeps the dyroverse at bay. it's an omnipresent force that envelops the syloverse to ensure that it's protected, and that nobody can get in or out (although there are very few exceptions to this). inside the wall, however, things are a little less friendly. the wall is home to what we call the "thoughts." they're horrid creatures who twist and crawl and shimmy and dangle and fly and levitate and kill and maim and wring and tear and scrape and rend and-
HEY! get it together, man. you've got a job to do.
[ sylo ] *shudder* ah, sorry, I was getting a bit worked up.
[ sylo ] anyways, they're horrific abominations that come from inside the wall. they only escape because of breaches; cracks in the wall that allow them to slip out.
[ sylo ] you'd think that me being all-fucking-powerful that I'd be able to do something about this, but the wall is apparently out of my power's jurisdiction. and the snap doesn't wanna do anything about it. says "it's fun. it spices things up a bit." well I don't just want to sit by and watch my people die.
[ sylo ] *long sigh* well, that's pretty much all there is to know about the structure of the syloverse so far. I hope you enjoyed it. I'll rarely be getting into the jumbleverse (if at all), and the dyroverse will be talked about more, albeit scarcely. the syloverse is the main focus for my stories, so that's the one I'll be talking about the most.
[ sylo ] see y'all later.
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Hi! I love your Mondler moments per episode! What is your top favorite Mondler moment, the one you will never get over?
HI! Nice to hear from you.
I'm a sucker for a lot of Mondler moments - any moment where they kiss is typically an automatic smile on my face, any time they make eye contact when there is no plot reason for doing so, any parent of the group moment too always gets me. And, of course, the obvious Matthew-making-a-fairly-mundane-line-a-romantic-moment scenes.
I'm terrible at picking 'a single favourite moment' so below I've got gifs of a couple of different ones. They are not in order of my favourite but in chronological order.
A. One of the first things the group ever filmed and Mondler/preMondler/Matteney decided to interlace their fingers and smile like this as they danced, they barely even knew each other but it's so indicative of both their real feelings - automatically comfortable with each other - and their friendship in the group. Other than Roschel, who are already slated towards being together, they're the only two who dance together while touching. I don't know what it means but it makes me giddy.
B. These smiles. I don't know what they means but I love it so much because of how fond it is.
C. "At least he has someone" followed by this. *Monica gets complimented* followed by this. And you're trying to tell me they weren't already romantically-coded, what a crock?!
D. This will eventually devolve into Chandler spam. Especially if I start talking about this episode, but this moment sticks out because it's not discussed often. Monica knows this man. She trusts him enough and he her, to sit like this in a public space. She lets him sleep on her shoulder quite happily. She knows him, the kind, gentle man who would stand in front of a train for any of them if they asked, so why does she say this to him, what is she expecting him to say? Also, that she only gets uncomfortable when he offers to have a baby with her. And somehow people think Chandler is afraid of commitment, but he'll happily, easily commit to her in his sleep.
E. When Monica only suggests five. Does she have such little faith in him? Or does she secretly want to flash him? And the way she's sitting. Goodness!
F. Any time the two of them are domestic without reason except for their unspoken and implicit trust and whatever else they're feeling
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