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“why do i believe this” and “who benefits from me believing it” are the first steps to decolonization and we should all be doing this more
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she says he won't let her get a dog, which is fine, because they're in an apartment, and that's the kind of thing people say about their partners. he won't let me get a dog. and you're at a dinner party and you tilt your head a little to the side just like that dog he won't let her get, because is this the thing that's going to upset you? you don't know every corner of their relationship, she could be joking, they could have had so many healthy conversations about the dog, right, and maybe she's not letting herself get the dog because of money and time and whatever. but, like, she did say let
and she wants to move away from his hometown and he wants to stay and then he tells you with a wink and a conspiratorial stage whisper don't worry i'll convince her and she laughs about it - so clearly this is something they laugh about. but you do just stand there and stare at him like what the fuck, man. you can't say what you want to say which is why do you get the final say on everything because they're both obviously aware of the other person's stance on this and have obviously had private conversations about it and what are you going to do about it except make a scene and then he'll be mad at you and call you one of those bitches behind your back and she'll cut you off, which is a loss that doesn't feel worth it just because he makes you a little skeeved out every 3rd comment
and they both agree he just isn't the type to get flowers which is fine because everyone shows love differently, and are you really gonna judge someone based on their sense of individual relationship responsibility? maybe he's constantly cleaning her car and writing her poems and making her furniture or something. maybe she doesn't even like flowers and this is perfect, actually. and no you couldn't date him, obviously, ew; but like, she tells you she's happy. you almost send her a tiktok that says don't be 25 and the cool girl that doesn't need anything, you'll hate not getting flowers at 30, but that's like, starting drama & you shouldn't start drama needlessly.
and you're a little older than her but not so much older you can pull the whole trust me on this one babe thing and besides that wouldn't have worked anyway (when does it ever) and besides you have trauma so you and your therapist both agree that you're always looking for a problem even when there isn't one. and you tell yourself that just because you see them for 15 minutes every month does not mean you can identify every single red flag based on a single shitty half-joking(?) comment
and besides, what are you going to do? she says i actually wanted another stand mixer but thankfully he stops me when i'm about to spend too much money and you're standing there like are you okay? is this normal? is this just something people say? and again - what are you going to do?
to your therapist you try to language it - it's not, like, any of my business. but sometimes, doesn't it feel like - you should do something. there's got to be something, right? you've tried dropping little hints but they sail right through and you've tried having a single serious conversation and she got upset because why does it matter to you, yes it's different but we're happy, it doesn't need to make sense to you and you're like. really unwilling to push a boundary about it anymore; because the truth is that you know logically it shouldn't matter to you, as long as both parties are happy.
and besides, you've been wrong before. it's just... like, every time you see them both, something else happens, some kind of shiver down your spine like do you even hear each other when you talk. it's their strange, bickering orbit. just the way he's on his phone through dinner or watching sports instead of helping in the kitchen or, fuck, another one of these little throwaway comments he makes about we'll see about that, babe. she laughs when he calls her passions stupid shit and meanwhile she gets him tickets to see the knicks and he tells you well at least she's smart about something and still! it's none of your business.
you say get the dog anyway and she laughs. like, this is is you being funny. and not you saying - no really. get the dog. get the dog and get out of here. pack up and start running.
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some thoughts about astarion because i'm tired of the internet reducing him to one thing
when bg3 came out in early access, astarion was always seen as the extremely flirty, confident guy who enjoyed sex (or so we thought) and spoke about it like it was his favourite thing. he was also kinda marketed as the “sexy vampire”, so you can understand why many people saw him that way based on the little amount of content we had. even while playing act 1 and act 2, many players still might think of him like that because he does have a very charismatic personality and he asks to sleep with you very early on, so it just automatically makes you think he’s genuinely happy doing that and being totally serious.
BUT!!!!!!! we end up finding out later on that’s NOT the case and it was all part of a plan to seduce us in order for him to gain protection. he opens up about his past and his trauma and how he was forced to use his body to lure people back to cazador. he struggles with intimacy and relationships in general because of this. that’s why i really hope that people stop reducing him to “hot sexy vampire that loves flirting and having sex with everyone” when that is not who he is, he’s literally traumatised because of sex due to being forced into it and he’s slowly trying to heal. he’s also so much more than just “the hot vampire”, ya know? if you actually put in the effort to get to know him, you will see who he truly is underneath and he has many loveable traits to appreciate.
you may not see the “soft” side of him very often because he hides it, but it’s there!! one thing i noticed that really stood out to me was that when i gave food to an orphan in act 3 and he approved. back when you first met him, he probably would’ve done the opposite or had no reaction at all. i also saw a clip of someone trying to romance karlach and astarion and he literally told tav to choose karlach over him because he can see that karlach loves her. he said normally an arrangement would work for him but after everything karlach has been through, he doesn’t want to get in the way or see her hurt. letting tav go is also hard for him as well but he still thought about someone else. he could’ve whined or been possessive or jealous but he didn’t do that at all. where are all those people who reduce astarion to “the guy that flirts and sleeps with everyone” now? seriously. that’s not what he does, and when he was forced into it by cazador, he was trying to survive, he didn’t do it for his own pleasure. it’s not a “hot” personality trait of his, it’s literally trauma. and because he did it so much, he got used to it, and that resulted in him disassociating and feeling empty.
apparently if you ask him to join you and sleep with the drows at the brothel (something i will never make him do in my playthroughs), he only says yes because he struggles to say no. but he disassociates. and if you’re in a high approval relationship with him and he loves you, he will feel safe enough to express his feelings and say he’s not comfortable. this happens before you fight cazador. i’m not sure if he gives the same response after, but either way, if he joins in, he will always disassociate and it’s not something he wants to do despite what he may say.
that being said, it’s obviously still okay to appreciate his beauty and attractiveness, because he is very beautiful. he appreciates it and even likes being called beautiful. calling him “hot” and “sexy” isn’t a bad thing either, we know he can be and i'm sure he knows it too! it’s just annoying when people act like that’s ALL he is and they don’t even mention anything else about his character. the love scenes are beautifully done too (i personally prefer the second one after you’ve stopped him from doing the ritual, because that’s the one where he decided he truly wanted it and felt safe and comfortable because he genuinely loves you), and i actually would’ve been fine if they didn’t have any scenes like that at all because it’s totally understandable and valid if he didn’t feel comfortable, but i just hope that people don’t take things too far and over-sexualise him just because of how he appeared to be in the first half of the game and the way he’s often marketed on social media. and yes i know he’s fictional and nothing on the internet is going to hurt his feelings!!!! it’s more about the fact that he canonically has sexual trauma and many people still say really disturbing stuff even AFTER they find out about that, and it just makes me uncomfortable to think that people are okay with treating someone like a sexual object especially when they've said they're traumatised and it makes them uncomfortable. idk if this makes sense 😭
but yeah he doesn't want to flirt and sleep with everyone as i've seen people claim. and if in an alternate universe he did, and he did it on his OWN terms, and the other people he had relationships with enjoyed it too, then good for them! absolutely nothing wrong with that if there's consent, respect and honesty. however, that's not the case with what happened with astarion, because 1. he was forced into using his body WHEN HE DID NOT WANT TO and 2. he misled people and lured them to a miserable fate. it's so horrible and devastating for everyone involved. sex was never something fun for him, and it certainly isn't a "personality trait" of his. it was a survival tactic. he was forced to. he didn’t want to.
obviously when he becomes more comfortable, then it's totally understandable to get excited when he flirts and shows physical affection. he can be so charming, funny, sweet and romantic and i love that. it’s so beautiful to see him heal, genuinely find comfort in someone for the first time and experience intimacy that he feels ready and comfortable for. he deserves to love and be loved on his own terms instead of being forced. but again, he is so much more than the guy we were introduced to at the beginning. the internet just sees one thing and sticks with it but i really hope people start to actually appreciate him for who he is and the complexity of his character.
aaaaand i just had to leave this here <3
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Rewatching She Ra for the hundredth time cuz I’m gay trash and ?
I adore queen Angella. She really captures “mom/leader” well. In so many fictional stories the parents are kinda “yup okay go off and fight then” or the parents are dead. It is SO REFRESHING to have a more realistic mom who is like “wtf explain this nO YOU CANT GO FIGHT WTF SIT DOWN UR GROUNDED”
11/10 best mom writing I’ve ever seen haha
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She's doing ALL OF THIS, including MURDERING HER FRIEND, BECAUSE SHE THOUGHT IT WAS UNFAIR THAT HER BACKSTORY WASNT TRAGIC?!
ARE YOU FUCKING KIDDING ME?!?!?!
Yes, Rage god, sure, infected towards anger, BUT FROM THE BEGINING THOUGH?!
"Yeah, so because your dad died and the whole of you life has been bad, school should reflect that by making your life harder."
WHAT THE ACTUAL FUCK
THIS IS THE HILL YOU DECIDED TO DIE ON?!
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the reason it's a bad thing to only talk about a certain group of people when it benefits your argument is that it shows that you don't actually care about us as people. you can bring us up in an argument if the argument calls for it. whatever. but using an entire community as a gotcha and then attacking that same community when they ask for rights and recognition is complete bullshit. you don't get to use us as an argument if you clearly only see us as a thought experiment and nothing more
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Vasco and Machete are absolutely adorable, your style is so lovely and you draw the softest beds I’ve ever seen in any art ever
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I was joking a while back that the actor they have playing KDJ for the orv movie was too handsome for him and a friend who's read orv was like "KDJ is actually secretly attractive!!" And I just felt my soul leave my body right then
SIGHS...
Okay. Buckle in. I'm gonna finally actually address and explain and theorize about this whole...thing.
I'm not gonna cite any exact chapters cause it's like 11:30 and I've got an 8 hour drive in the morning but I'll at least make an approximate reference to where certain things are mentioned. Also, this post is just my personal interpretation for a good bit of it, but it's an interpretation I feel very solid about, so do with that what you will. Moving on to the meat of things:
There is one (1) instance in the web novel that I know of which describes specific features of Kim Dokja (especially ones other people notice). This takes place when members of KimCom are trying to make Kim Dokja presentable to give his speech at the Industrial Complex (after it's been plopped down on Earth). This is when they start really paying attention and focusing on Kim Dokja's appearance since they're putting makeup on him; I still don't think they can interpret his whole face, but they can accurately pick out and retain more features than usual. If I remember correctly they reference him having long eyelashes, smooth skin, and soft hair. These features can be viewed as (stereotypically) attractive.
Certain parts of the fandom have taken this scene and run with it at a very surface level, without realizing (or without acknowledging at the very least) that this scene is not about how Kim Dokja looks. This is, in part, due to not realizing or acknowledging why Kim Dokja's face is "censored" in the first place, and what that censoring actually means. I think it's also possible that some people are assuming the censorship works like a physical phenomena rather than an altered perception.
I'll address that last point first. The censorship of Kim Dokja's features is not something as simple as a physical phenomena. It's not a bar or scribble or mosaic over his face. If that were true it'd be very obvious to anyone looking at him that his face is hidden. But his face is not hidden to people. They can look at him and see a face. If they concentrate on his eyes, they can see where he's looking. They know when he's frowning or grinning. They see a face loud and clear. But what face are they seeing? Because it's not really his, whatever they're seeing.
No one quite agrees on what he really looks like. And if they try and think about what he looks like, they can't recall. Or if they do, it's vague, or different each time. We notice these little details throughout the series. Basically, Kim Dokja's face is cognitively obscured. Something - likely the Fourth Wall, though I can't recall if this is ever stated outright - is interfering with everyone's ability to perceive him properly. This culminated in him feeling off to others; and since they don't even realize this is happening, they surmise that he is "ugly."
Moving on to the other point about what the censorship means: To be blunt, the censorship of his face is an allegory for his disconnect from the "story" (aka: real life, and the real people at his side). The lifting - however slight - of this censorship represents him becoming more and more a part of the "story" (aka: less disconnected from the life he is living and the people at his side). The censorship's existence and lifting can represent other things - like dissociation or depersonalization or, if you want to get really meta, the fact that he is all of our faces at once - but that's how I'd sum up the main premise of it. (The Fourth Wall is a larger part of the dissociation allegory, but that's for another post).
So you see, them noticing his individual features isn't about the features. It's not about the features! It doesn't matter at all which features got listed. Because they could describe any features whatsoever and it would not change the entire point of the scene. Because the point isn't what he looks like. The point is that they can truly and clearly see these features. For the first time. They are seeing parts of him for the first time. Re-read that sentence multiple times, literally and metaphorically. What does it mean to see someone as they are?
This is an extremely significant turning point dressed up as a dress-up scene.
---
P.S. / Additionally, I'm of the opinion that Kim Dokja is not handsome, and he is not ugly. He is not pretty, and he is not ghastly. Not attractive, nor unattractive. Kim Dokja isn't any of these things. More importantly, Kim Dokja can't be any of these things. The entire point of Kim Dokja is that you cannot pick him out of a crowd; he is the crowd. He's a reader. He's the reader. Why does he need to be handsome? Why must he be pretty? Why is him being attractive necessary or relevant? He doesn't, he doesn't, it's not. He is someone deeply deeply loved and irreplaceable to those around him, and someone who cannot even begin to recognize or accept that unless it's through a love letter masquerading as a story he can read. He is the crowd, a reader, the reader. He's you, he's me. He's every single one of us.
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IS BARNABY NEUTERED
THE PUPPET??????
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"the vast majority of legal persecution against early queers was focused on men" ARE YOU INSANE
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I'm so tired of age gap fics please if i can suspend my disbelief about mushroom zombies I can suspend my disbelief about the reader's age not being equivalent to my own, please just give me two 50(+) year old bastards falling in love no more of this 15+ year age gap I swear to god someone is gonna make me start writing last of us fanfiction at this rate.
Anyways, I would like to request some aid from the last of us fandom in terms of fic recs if anyone knows any good reader insert or x reader fics wherein they and joel are around the same age? Pre or post outbreak, au, I don't care I'm starving please if anyone has any let me know.
EDIT: I did not think this was going to get any traction which in hindsight was kinda stupid of me but I really want to clarify something since I originally left it in the tags which I probably shouldn't have. THIS ISNT A HIT PEICE. I've been a fanfic writer for years now even if this blog isn't exactly a great example of my supposed stellar writing consistency. I mean no hate towards the people who like age gap or write it it just isn't my thing personally and I would like to read fics that explore other topics besides that when it comes to this fandom. Yes I understand the easy solution is to write my own and i would be a liar to say I wasn't but I'm new to this fandom and still consuming the actual content and I know my drafts aren't exactly great right now in part because of that. What I wanted to accomplish here wasn't just to complain a little but to reach out and ask if anyone could point me in the direction of non age gap fics in the mean time and they did so thank you very much!! I genuinely appreciate it. Write what you like but understand that I also reserve the right to read what I like and to ask for help in finding it because let's be honest tumblrs search and filter system is non existent and asking for help was my next best bet so uh yeah I'm gonna stop rambling now and refine this maybe when I'm more awake and can word things better probably.
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i've shared some of Alex Freed's narrative writing advice before and i recently read another article on his website that i really liked. particularly in branching/choice-based games, a lot of people often bring up the idea of the author "punishing" the player for certain choices. i agree that this is a thing that happens, but i disagree that it's always a bad thing. i think Freed makes a good case for it here.
...acting as the player’s judge (and jury, and executioner) is in some respects the primary job of a game’s developers. Moreover, surely all art emerges from the artist’s own experiences and worldview to convey a particular set of ideas. How does all that square with avoiding being judgmental?
[...]
Let’s first dispel–briefly–the idea that any game can avoid espousing a particular worldview or moral philosophy. Say we’re developing an open world action-adventure game set in a modern-day city. The player is able to engage any non-player character in combat at any time, and now we’re forced to determine what should occur if the player kills a civilian somewhere isolated and out of sight.
Most games either:
allow this heinous act and let the player character depart without further consequence, relying on the player’s own conscience to determine the morality of the situation.
immediately send police officers after the player character, despite the lack of any in-world way for the police to be aware of the crime.
But of course neither of these results is in any way realistic. The problems in the latter example are obvious, but no less substantial than in the former case where one must wonder:
Why don’t the police investigate the murder at a later date and track down the player then?
Why doesn’t the neighborhood change, knowing there’s a vicious murderer around who’s never been caught? Why aren’t there candlelight vigils and impromptu memorials?
Why doesn’t the victim’s son grow up to become Batman?
We construct our game worlds in a way that suits the genre and moral dimensions of the story we want to tell. There’s no right answer here, but the consequences we build into a game are inherently a judgment on the player’s actions. Attempting to simulate “reality” will always fail–we must instead build a caricature of truth that suggests a broader, more realized world. Declaring “in a modern city, murderous predators can escape any and all consequences” is as bold a statement on civilization and humanity as deciding “in the long run, vengeance and justice will always be served up by the victims of crime (metaphorically by means of a bat-costumed hero).”
Knowing that, what’s the world we want to build? What are the themes and moral compass points we use to align our game?
This is a relatively easy task when working with a licensed intellectual property. In Star Trek, we know that creativity, diplomacy, and compassion are privileged above all else, and that greed and prejudice always lead to a bad end. A Star Trek story in which the protagonist freely lies, cheats, and steals without any comeuppance probably stopped being a Star Trek story somewhere along the line. Game of Thrones, on the other hand, takes a more laissez-faire approach to personal morality while emphasizing the large-scale harm done by men and women who strive for power. (No one comes away from watching Game of Thrones believing that the titular “game” is a reasonable way to run a country.)
These core ideals should affect more than your game’s storytelling–they should dovetail with your gameplay loops and systems, as well. A Star Trek farming simulator might be a fun game, but using the franchise’s key ideals to guide narrative and mechanical choices probably won’t be useful. (“Maybe we reward the player for reaching an accord with the corn?”)
Know what principles drive your game world. You’re going to need that knowledge for everything that’s coming.
[...]
Teaching the player the thematic basics of your world shouldn’t be overly difficult–low-stakes choices, examples of your world and character arcs in a microcosm, gentle words of wisdom, obviously bad advice, and so forth can all help guide the player’s expectations. You can introduce theme in a game the way you would in any medium, so we won’t dwell on that here.
You can, of course, spend a great deal of time exploring the nuances of the moral philosophy of your game world across the course of the whole game. You’ll probably want to. So why is it so important to give the player the right idea from the start?
Because you need the player to buy into the kind of story that you’re telling. To some degree, this is true even in traditional, linear narratives: if I walk into a theater expecting the romcom stylings of The Taming of the Shrew and get Romeo and Juliet instead, I’m not going to be delighted by having my expectations subverted; I’m just going to be irritated.
When you give a player a measure of control over the narrative, the player’s expectations for a certain type of story become even stronger. We’ll discuss this more in the next two points, but don’t allow your player to shoot first and ask questions later in the aforementioned Star Trek game while naively expecting the story to applaud her rogue-ish cowboy ways. Interactive narrative is a collaborative process, and the player needs to be able to make an informed decision when she chooses to drive the story in a given direction. This is the pact between player and developer: “You show me how your world works, and I’ll invest myself in it to the best of my understanding.”
[...]
In order to determine the results of any given choice, you (that is, the game you’ve designed) must judge the actor according to the dictates (intended or implicit) of the game world and story. If you’re building a game inspired by 1940s comic book Crime Does Not Pay, then in your game world, crime should probably not pay.
But if you’ve set the player’s expectations correctly and made all paths narratively satisfying, then there can be no bad choices on the part of the player–only bad choices on the part of the player character which the player has decided to explore. The player is no more complicit in the (nonexistent) crimes of the player character than an author is complicit in the crimes of her characters. Therefore, there is no reason to attempt to punish or shame the player for “bad” decisions–the player made those decisions to explore the consequences with you, the designer. (Punishing the player character is just dandy, so long as it’s an engaging experience.)
[...]
It’s okay to explore difficult themes without offering up a “correct” answer. It’s okay to let players try out deeds and consequences and decide for themselves what it all means. But don’t forget that the game is rigged. [...]
Intentionally or not, a game judges and a game teaches. It shows, through a multiplicity of possibilities, what might happen if the player does X or Y, and the player learns the unseen rules that underlie your world. Embracing the didactic elements of your work doesn’t mean slapping the player’s wrist every time she’s wrong–it means building a game where the player can play and learn and experiment within the boundaries of the lesson.
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on a general level I think the "if you aren't x identity don't make y point; reblog a post by someone of x identity about it instead" line is basically impracticable—like, how and where am I supposed to find a post by an x person making the exact point I want to make?
on a more personal level I find this line deeply annoying, as it has led on more than one occasion to a white person messaging me to ask me to make a post that says p q r so that they can reblog it...? and, more often than not, p q r is not a position that I agree with on any level.
the anti-racist politics of assuming that all people of colour believe the same things and that white people should be able to use them like puppets..... étonnant
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wholeheartedly and with as much gentleness as possible, i truly think there needs to be more discussion about downpour in the community as it is now. for a variety of reasons.
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