what is it with fandom finding asian women characters annoying, like they said it about keiko from ds9 and jubilee from xmen the animated series and rose tico from star wars and mona from legends of tomorrow and glimmer from she-ra. like why “annoying” specifically, like is their tolerance for immaturity or imperfection just that low when it’s a character who is not white? is it because asian women in popular western media have been depicted as submissive and subservient for so long and these depictions have become so normalized that any time an asian woman onscreen asserts her personhood, audiences find it grating? is it because the (often white) writers reduce these asian women characters to plot devices with little interiority, rendering them one-dimensional and making it difficult for audiences (who are already resistant to identifying with any character who is not a white man) to relate to them? i think it’s probably all of the above to some extent

> be zuko

> try desperately to ingratiate yourself within the avatar’s friend group (to no avail, of course, because you have terrible social skills, and previously tried to kill them, also)

> try to fight off the human wmd you previously hired to blow them all up

> fail miserably, because he is indestructible

> watch as sokka effortlessly kills him with a very precise boomerang throw to the brain

> suddenly recall every single time you got hit in the head by his boomerang

> feel immense gratitude for what you had previously dismissed as uncle’s obnoxiously stringent and paranoid over-emphasis on the importance of helmet safety

ngl one of the most useful things i’ve internalized from doing art online is never tell people what to criticize. don’t preemptively apologize for things or point out where you think you fumbled, it’s just priming people to notice minor issues that might not actually matter and hit you where you’re sensitive and throw you off your game. don’t tell people your weak points. if it’s a genuine problem they’ll point it out

hey imagine the parallels with me of undertale asriel and chara and deltarune ralsei and (knight) chara

“there is not a chance in hell chara’s the knight” 🫵one be nice. ☝️two but imagine the parallels with me

also I’d like to link this post of mine bc it also pertains to said parallels

***if you ship any combination of the dreemurr kids (And This Counts frisk chara and ralsei) then like. get outta here. like for real

favourite thing: his new habit of saying uhuh/mhm and also this

the sandra lynn / fig conversation is driving me Insane. fig saying that sometimes she doesn’t wanna exist as herself at all…not wanting to ask her friends how they see her (because she’s afraid to hear their response) saying that to someone she is a monster and she Cannot stop thinking about it. sandra lynn starting the conversation saying she needs to step up but is also simultaneously taken aback about what fig expresses and doesn’t know how to responds to it and suggests getting ice cream. sandra lynn saying “convincing people they deserve good things is really tough” talking about herself but how it also reflects fig. insane!!

will byers is:

a sweater thief ✅

clingy ✅

a morning person ❌

THAT right there, ladies and gentlemen, is a LOVE CONFESSION

Sorry I never gave a proper update on tumblr——

here’s some brainstorming doodles from Keo and me on the white board and some examples Keo made in my notebook. I won’t forget it, one of my harshest note was “NEVER draw Kenny in 3/4!! Trey hates that!” 🤣 The story leads stressed that Trey is very particular with acting decisions and poses, most of which don’t translate into the animation. It’s for him at the editing stage, to “make his voice sing”. Getting into Trey’s head, funnily enough, requires FEELING. Feeling what he’s going for in terms of delivery, to learn what not to take literally in his script (when trey says “kathleen kennedy is like terminator” it’s not what you initially think it means), what emotion or gesture to put in to elevate a joke, to get the message through. It’s so fascinating!

In short, I didn’t make the cut. I was “too fresh”, and needed more experience with the technical aspect of storyboarding…. but I was complimented by Keo for my intuition, something that can’t be taught. I was over the moon when I was told I got the style of the show, whereas other trainees with 10+ experience couldn’t. Some of them tested but don’t even watch the show!! That’s crazy, but I guess that’s to be expected. My knowledge of the show and deep love for the characters got me this far, but I need to work on my actual story boarding skills (keo said my struggles are in composition and scaling) to stay!! 💪🏼 I’m taking this… as a not yet, not a no. I’m already on their radar, in their database, I’m incredibly lucky I got to make my THIRD connection in the studio, I just need to work on myself until I can arrive. I’m so grateful for all the support from friends family and industry moots to get me this far, it’s only the beginning of the year but I don’t think anything could top what happened to me this March!!!!!

*deep breath in*

the fears 👏 have always 👏 been (in one way or another) 👏 parallel 👏 to 👏 desire 👏

let me explain.

so many of the statements given by actual avatars center around some sort of need that was met by their entity. Lots of them even had a positive relationship with the fear that drove them.

Jane Prentiss is an excellent example - the Corruption has always been about a form of toxic and possessive love, but she personally has a deep desire to be “fully consumed by what loves her,” and finds a perverse joy and relief at allowing herself to be a home

Jude Perry is another - she fucking loved watching people’s lives be utterly destroyed. The Desolation only offered her a power of destruction on a grander scale, and then gave her a more intense rush of joy as she did its work. When she tells Jon that he needs to feed the Eye before it feeds on him, it’s almost as an afterthought; she was happily feeding the Desolation long before it burned her into a new existence.

Simon Fairchild. Every time that old loose bag of bones wanders into the picture, he is having a fucking EXCELLENT time playing with the Vast. He loves showing people their own insignificance, and he loves luring them into situations where he can throw them into the void as he smiles and waves.

Peter Lukas (hell, the whole Lukas family (except Evan. RIP Evan.)) hated. people. all he wanted was for them all to go away, to leave him alone. The Lonely only fulfilled that desire.

Daisy, Trevor, and Julia, all devoted to hunting those things they deemed monstrous.

Melanie, holding tight to that bullet in her leg because on some level, she wanted it. It felt good, it felt right, it felt like it fit right alongside the anger and spite that drove her to success.

Annabelle Cane first encountered the Web when she was a child, running away from home in order to tug on her parents’ heartstrings in just the right way to have them wrapped around her little finger. Later on she volunteered to be the subject of an ESP study. Hell, she’s the one who dangled the “Is it really You that wants this?” question over Jon’s head in S4.

And that brings us to Jon, beloved Jarchivist, the Voice that Opened the Door. Ever since he was a child targeted by the Web, he was looking for answers. He joined the Magnus Institute’s Research Department looking for them, he stalked his coworkers in search for them, he broke into Gertrude’s flat and laptop out of desperation for them. And when he realized that all he had to do was Ask to get truthful answers to his questions? It was only natural for him to jump at that opportunity.

Elias told S3 Jon that he did want this, that he chose it, that at every crossroads he kept pushing onwards, and the inner turmoil that caused was one of the focal points for Jon’s character through the rest of the podcast.

There’s a certain line of thinking in many circles about the power of the Devil: he’s not able to create anything new. All he’s able to do is twist and warp that which was already present, making it something ugly and profane while still maintaining the facade of something desirable.

Jon didn’t choose the Eye. But he did wander into its realm of power, exhibiting exactly the qualities it was most capable of hijacking and warping to its own ends. Jon didn’t choose the Apocalypse. But Jonah picked at him little by little, pointing him towards each Fear individually. Jon didn’t want to release the Fears. But the Web tugged on his strings just so and laid a pretty trail for him to follow until he reached its desired conclusion.

Jon didn’t choose ultimate power, or omniscience, or even his own role as Head Archivist. But he said “yes” to the right (wrong?) orders and kept on pushing for the right (wrong?) answers. He wanted to succeed at the work he had been assigned. He wanted to protect his friends. He wanted to rescue them when they were lost. He wanted to prevent the apocalypse, to save the world. He wanted to know why he was still alive, when so many had died right in front of him.

The Great Wheel of Evil Color that is the Entities might not fit as neatly into categories in this universe - maybe there was no Robert Smirke trying to impose strict categories on emotional experiences, or maybe the ways they manifest in the world has turned on its head (goodness knows many of them have been showcased and blended in some very fun and new and horrifying ways so far) - but their fundamental foundations seem to be the same. Hell, in episode one we learned that there had been enough individual incidents to create a distinction between “dolls, watching” and “dolls, human skin.”

Smirke’s Fourteen isn’t going to be relevant as common parlance, RQ said that already, but I don’t think that means the Fears themselves (and their Dream Logic-based rules) are different - I think it means that the levels of understanding, language used, and personal connections among people “in the know” are going to be entirely unfamiliar

asking nerd Bakugou to give you a ‘pearl necklace’ and he starts grumbling about you tryna drain him dry but instead of pulling out his cock, he pulls out his phone to actually search for a pearl necklace </3

and to both his surprise and embarrassment, his phone is quickly tossed away in favor of you showing him what you’re actually asking for. he’s not mad though—not when you end up looking so pretty covered in white, grinning, and asking for another necklace <3

How is my best friend Arthur has he helped you baldur any gates

He’s been good! My washing machine broke last week and I hauled it out the other day in preparation for the new one and he’s been loving his new Top Secret Hiding Spot.

We are taking a little bit of a Baldur’s Gate break right now just because I was getting burnt out. We’re slowly making our way through Mass Effect Andromeda for the second time. I’m very excited to get back to BG3 tho.

I left off right at the start of Act 2. I’m playing a Githyanki monk named Ez’rai and spent way too much time coming up with a backstory for them. I’m going to be romancing Wyll this time. I think Ez’rai growing up in such a harsh culture that didn’t have room for soft romance will go together in such a fun and cute way with Wyll. A noble’s son who is just so sweet and romantic and good.

Nothing else matters except seeing Loona starting to embrace Blitz as a her dad🥹

NOO NO YOU DON’T UNDERSTAND LAIOS’ SUCCUBUS AKA MOST ALLURING FORM IS MARCILLE SMILING

I think the most ironic thing about how Alicent’s motherhood gets used against her is that the logic that everything wrong with the targtowers is somehow her fault, completely goes out of the window when people talk about Rhaenyra’s parenting. Everything they do is a reflection of how terrible, awful, and disgusting Alicent is as a mother. But jace and luke’s behavior/actions somehow aren’t reflections of the pitfalls Rhaenyra has as a mother.

Aegon being a rapist is just Alicent fault. Aemond’s anger and resentment is just Alicent’s fault (some people even blame Alicent for him losing his eye yes I’ve seen it). Helaena’s adversion to touch (despite the fact it’s clear phia made an acting choice to play Helaena as neurodivergent plus we literally get scenes of Helaena letting Alicent touch her) is all Alicent’s fault. The rotting, neglectful rapist they all have for a father has absolutely nothing to do with that. And then the goalpost moving. If Alicent doesn’t admonish and totally hate Aegon for being said rapist, she’s a rape apologist who doesn’t want any woman to have rights (a crazy thing to say about a literal victim of rape herself btw). But if she slaps him, she’s an abusive cunt.

But jace and luke, more specifically luke, having no regard nor remorse for bullying then disabling someone is *check notes* seen as cute and normal??? It is apparently not Rhaenyra using the same tactics her father did. So much guilt about the position you have put your children in that in response you will just let them do whatever. This sort of perpetual cycle of gaslighting and withholding information being painted noble or nurturing.

Then when you bring up that argument of how Rhaenyra puts her kids in danger just by having them (much like how people say the same about Alicent despite that not even being her choice), you get hit back with ‘so you wanted her rape her gay husband’ which is like ??? how did you get there lmao. It’s wild, but completely on brand for a fandom that picks and chooses based on who they like, that people can emphathize with the position Rhaenyra was put in because of her gender. But the child bride who literally just has her children to cling to is the worst mother to ever mother.

The sooner people realize that Alicent and Rhaenyra are working up the same rigid rules and crushing pathology of patriarchy, the better off we will all be. The only difference is the way they push back against those structures. Someone like Rhaenyra, a dragon riding princess, can maneuver very differently compared to someone like Alicent. Both are going to fuck up and make decisions that put people in danger/hurt people’s feelings bc they are playing a game that has been rigged for them to lose. So why are the blonde ones allowed more grace than everyone else 🫤

my jgy thoughts have been expanding and adapting and roiling and toiling etc etc etc and all of it is coming down to me affectionately marveling at this character. he’s cut-throat. he’s cunning. his kindness leaves lasting impressions. his mercy is what predates his demise. he’s one of the few cultivators who helps those in need. he will sacrifice them if it benefits him. he loved. it didn’t last. it killed him. it orchestrated his downfall. he’s a genius. he’s paranoid. he compartmentalizes. he splits the world into who he would sacrifice and who he would not. people he loves and people he would sacrifice are not mutually exclusive. he’s filial to a fault. it was all for his mother. he is a study in assimilating to survive. the results vary. he manipulates the herd mentality to his benefit. it is turned against him. he is killed for the one thing he didn’t do by the one person he wouldn’t sacrifice. it is still somehow better than what the hive-mind cultivation world would have done. i love this tragic kaleidoscope of a character.