Queen Spud

A potato on the Internet. I mostly reblog but sometimes I write.

[sawyarts]

Ff16 good so far

[deathflare]

mannerisms

[babyfoxcollectionthings]

[teaboot]

God's perfect idiot

[eriochromatic]

03.26.2021

River Lethe

read from right to left! (also i know theres a typo but i dont have the original file anymore to fix it :’’)

[queen-breha-organa-archived-dea]

Please keep the island of Hawai‘i in your thoughts.

The volcano Mauna Loa has entered a yellow zone, meaning residents should be prepared for an eruption. Keep the residents of Hawai‘i in your thoughts and in your heart.

Many residents will not be able to flee, tickets are expensive, homes cannot be left. This situation is delicate and will bring much stress in the coming days. Tourists will flee, but many of my people will be stuck here, with no money or place to go, trapped in the middle of the ocean.

There is not much we can do now, however soon, soon there will be relief funds needed.

Just please keep your eye on my people, and do not forget us.

Hawaii island might have little warning before a Mauna Loa eruption, scientists say

There are no imminent signs of an eruption, but residents are being urged to get prepared.

[queen-breha-organa-archived-dea]

Mauna Loa officially started erupting this morning (Nov. 28th, 2022):

Mauna Loa erupting; county opens shelters as South Kona residents self-evacuate

The National Weather Service has issued an ashfall advisory for the Big Island.

Mauna Loa is erupting for the first time since 1984, prompting an ashfall advisory for Hawaii's Big Island | CNN

The world's largest active volcano, Mauna Loa, is erupting for the first time in nearly 40 years, sparking an ashfall advisory Monday for Ha

Shelters have been opened, and for now, officials claim it is contained in the summit and no official evacuation has been issued.

This should put me at ease, but it does not.

Repeatedly, the American Government has ignored the dangers that face my people.

From the Red Hill contamination to our constant struggle with overpopulation and poverty, we have been repeatedly ignored and overlooked and neglected when we are in need.

I fear the danger may be downplayed by officials, and I am uncertain what to say.

Tourists may flee the islands and return home. Military bases may be emptied and their residents may be sent somewhere else.

But these islands, this island, is my peoples home, and many cannot even afford to flee.

This situation is still developing, but as soon as I hear, I will add a link to a donation/relief fund from a community based organization.

[vat-jou-goed-en-trek]

[thesnadger]

The Goncharov meme is such a fun little spotlight on how people view media. Like, fake academic analysis about a movie that doesn't exist. Cool. But that's only the first level.

Next you have posts recreating a modern tumblr audience "discovering" an older piece of media and engaging with it through the lens of fan culture. Particularly tumblr-specific fan culture. Particularly in a way that feels like it got its blueprint from Dracula Daily. (Shitposts and memes, intense love for the most prominent female character, reads of complex romantic dynamics between characters, etc.)

Then you get fake discourse about the fake fan response to a fake movie that are quietly complaining about real ways real people respond to real media. I.e., America-centric readings, shallow, shipping-based readings, fans lionizing a protagonist not meant to be admired, etc.

(My personal favorite are posts that recreate the experience of being told a piece of media is so gay, you guys, only to watch it and find it isn't even remotely, that fans who wanted queer subtext wrung blood from a stone and thoroughly misled you.)

I also like the extra-meta ones about "this obscure movie being recently re-discovered," fake film history about copyright battles or the original cut being suppressed, etc. And of course, Johnny fucking Truant is here to give his editorial take on it, as he should be.

Pale Fire, House of Leaves, Goncharov. Humanity is such that every now and then we need to get really invested in fake arguments about a piece of media that doesn't exist.

[spiderbirdo]

Here is the comic I made for the Hades Lifeblood comic anthology zine! Please check it out there are so many talented people on it!

The second round of physical orders goes live this friday here!

[iluvluvnutella]

so glad to get the textless and separate images of this! 😍

[czsumi]

Halloween! 🎉👻😈🎉

[pawasof]

Master of all four elements

[phantomrose96]

You know the. You know the Femme Fatale “I grew up with 10 brothers so I know how to fight” character?

That’s

That’s Roy Mustang

Just the opposite.

Roy “I grew up with 10 sisters so I know how to disguise covert information reconnaissance as flirting” Mustang.

“I grew up with 10 sisters so I know how to weaponize my sexual charm to disarm others and win favor.”

Roy led every higher-up to believe he was just a fuckboy and a manwhore in this for his own ego and that they shouldn’t view him as any kind of violent revolutionary like “no sir I’m just a slut.”

Roy Mustang.

[littlestarlost]

Here’s the thing about the air nomads.

I introduced a friend to ATLA a few nights ago, and they had only known two things about the entire show: the cabbage meme, and that Aang apparently wants to ride every large and dangerous animal he can possibly find. We got through the first five or so episodes, and my friend noted that Aang is exactly what a 12-year-old would be like if given godlike powers, and that this is literally just what he could do with airbending. He can’t even wield any of the other elements, and he’s one of the most powerful people on the planet, because he’s an airbender.

And that got me thinking.

This snippet from Bitter Work is one of the few pieces of concrete information we get about the airbenders, at least in ATLA. Iroh is explaining to Zuko how all four of the elements connect to the world and to each other.

Fire is the element of power, of desire and will, of ambition and the ability to see it through. Power is crucial to the world; without it, there’s no drive, no momentum, no push. But fire can easily grow out of control and become dangerous; it can become unpredictable, unless it is nurtured and watched and structured.

Earth is the element of substance, persistence, and enduring. Earth is strong, consistent, and blunt. It can construct things with a sense of permanence; a house, a town, a walled city. But earth is also stubborn; it’s liable to get stuck, dig in, and stay put even when it’s best to move on.

Water is the element of change, of adaptation, of movement. Water is incredibly powerful both as a liquid and a solid; it will flow and redirect. But it also will change, even when you don’t want it to; ice will melt, liquid will evaporate. A life dedicated to change necessarily involves constant movement, never putting down roots, never letting yourself become too comfortable.

We see only a few flashbacks to Aang’s life in the temples, and we get a sense of who he was and what kind of upbringing he had.

This is a preteen with the power to fucking fly. He’s got no fear of falling, and a much reduced fear of death. There’s a reason why the sages avoid telling the new avatar their status until they turn sixteen; could you imagine a firebender, at twelve years old, learning that they were going to be the most powerful person in the whole world? Depending on that child, that could go so badly.

But the thing about Aang, and the thing about the Air Nomads, is that they were part of the world too. They contributed to the balance, and then they were all but wiped out by Sozin. What was lost, there? Was it freedom? Yes, but I think there’s something else too, and it’s just yet another piece of the utter brilliance of the worldbuilding of ATLA.

To recap: we have power to push us forward; we have stability to keep us strong; we have change to keep us moving.

And then we have this guy.

The air nomads brought fun to the world. They brought a very literal sense of lightheartedness.

Sozin saw this as a weakness. I think a lot of the world did, in ATLA. Why do the Air Nomads bother, right? They’re just up there in their temples, playing games, baking pies in order to throw them as a gag. As Iroh said above, they had pretty great senses of humour, and they didn’t take themselves too seriously.

But that’s a huge part of having a world of balance and peace.

It’s not just about power, or might, or the ability to adapt. You can have all of those, but you also need fun. You need the ability to be vulnerable, to have no ambitions beyond just having a good day. You need to be able to embrace silliness, to nurture play, to have that space where a very specific kind of emotional growth can occur. Fun makes a hard life a little easier. Fun makes your own mortality a little less frightening to grasp. Fun is the spaces in between, that can’t be measured by money or military might. Fun is what nurtures imagination, allows you to see a situation in a whole new light, to find new solutions to problems previously considered impossible.

Fun is what makes a stranger into a friend, rather than an enemy.

Fun helps you see past your differences.

Fun is what fuels curiosity and openmindedness.

Fun is the first thing to die in a war.

[paristexaz]

OP went and ended hard with the last line.

[vividthembo]

Oh hell that last line legit made me instantly tear up

[nexya]

I love how humans have literally not changed throughout history like the graffiti from Pompeii has people from hundreds of years ago writing stuff like “Marcus is gay” “I fucked a girl here” “Julius your mum wishes she was with me” and leonardo da vinci’s assistants drew dicks in their notebooks just for the banter and mozart created a piece called “kiss my ass” so when people wish for ‘today’s generation’ to be like ‘how people used to’ then we’re already there buddy we’ve always been

[charlesoberonn]

The Hagia Sophia has inscriptions that were considered sacred for centuries until they were deciphered in the 70s to be Nordic runes saying “Halfdan wrote this”

[terminallydepraved]

my old english prof told us that theres a cave in Scandinavia where a viking gratified some runes like 14 feet up on the wall and when they finally reached it all it translated into was “this is very high”

[loremerchant]

Ancient Shitposting

Now on the History Channel

[self-critical-automaton]

‘People have literally just always been people’ is genuinely my favorite fact about the world

[skaletal-deactivated20190721]

“Times are bad. Children no longer obey their parents, and everyone is writing a book.” - Marcus Tullius Cicero, 106 BC - 43 BC

[super-star-destroyer]

Common dog names have literally not changed in 3,000 years.

[ash-soka]

so not nearly as old but, this is a 12th century stave church in lom, norway (one of less than 40 left in the world)

it’s hard to see, but in the top left corner of this photo where the light comes in from the window, there’s a runic inscription

these photos show it more clearly, it’s easier to see in person. so of course one of the people i was travelling with asked what it said, and we were told it basically translates to:

“on this day, I climbed to this point, in the corner of the church”

people really have always been people

[josieandthepussycatsofficial]

[orion-rising]

Always be vague. Say I think they’re in today or not until later. If they press say it’s company policy not to give out the schedule. Most companies do have this and even if they don’t how would a stranger know. Don’t give out specifics, they can get people injured or even killed.

At my last job someone came up and asked when “Sarah” was working next. I didn’t tell him and then texted her a description, turns out he was an abusive ex who had been stalking her. Don’t do this shit please.

[geneticcardio]

Do NOT say anything along the lines of “they’re not in today” or “not until later” because you are confirming that this is somewhere the person in question can be found. NEVER confirm anything!

[purple-bandanaman]

My old boss told us a story of how, years before when she was a fairly new manager (I’m talking decades, she’s 64 right now), there was a man who came in and asked for an employee by name and said he was her uncle. She told him the employee’s shift started in a coule hours. He waited the entire time for her, and when she came in, he assaulted her and bashed her face into the counter. My boss saw everything. She can’t recall what he said, but he kept screaming until someone threatened to call the police.

She told me that story after a man came in and asked for when an employee, who recently quit, would be coming in. I told him she doesn’t work here anymore and he said to me “Okay, well I’m her dad so if you see her tell her I’ll be across the street at the gas station.” He left and my boss IMMEDIATELY came out and scolded me for it, then told me that story.

She gave me some advice on what to say or do in that situation:

Don’t just deny knowing anything, deny the person asking. Example, “When is ____ coming in?” “You can’t know that information.” or “Can you tell me when ____’s shift is?” “Schedules are only for employees.” Additionally, saying “I don’t know what you’re talking about.” can usually work, it may piss them off but it can work.

Continue on with the customer service. “I can’t help you with that, do you need help (with clothes, finding a product, ordering)?” or “Can I take your order?/Can I help you find (a product)?”

If they persist, insist they leave the store. “If you’re not going to order, please leave the building.” or “I can’t help you, have a nice day.” and, if you can, leave. If you can’t leave, call for or help the next customer.

If they still persist (by now they may be aggressive), threaten to call the police on the basis of them becoming aggressive and refusing to leave the premises. Some people will leave at that point, others stay. When the police get there, explain the situation but still do NOT confirm the existence of the employee they’re looking for to the police until they have been escorted out of the area.

Regardless of if the customer know the employee’s name, description, or daily (not hourly) schedule, even if they look like the same race and claim to be family, you NEVER confirm the employee’s existence.

The only exceptions are if the employee tells you themself they’re expecting someone to come in for them (ASK FOR A DESCRIPTION OF THE PERSON), and if you personally know who they are in relation to the employee. When anyone I know has to come in because I asked them to come in, I describe what they look like and what they usually wear. I go into deep descriptions, even including how they walk.

You could literally save a life, guys. Don’t blindly trust your gut either and think “But they LOOK innocent” or “But they said ______” because that can result in someone getting severely hurt, or killed.

[dusky-phantom]

I know I joked on this post before but seriously

If youre in the US it is against federal law to give out anyones personal information (this includes numbers, names, and schedules) without writen and signed permission.

Just say its against federal law and you cant give out that info without risk of termination - this will get 99% off your back the first time

[joshsundquist]

What I do with my left shoes

[antique-scarecrow]

HE DESERVES A MUCH BIGGER LAUGH FOR THAT AUDACIOUS PUNCHLINE

[fozmeadows]

on fanfic & emotional continuity

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions. 

The fact that ficwriters en masse - or even the same ficwriter in different AUs - can produce multiple contradictory yet still fundamentally believable incarnations of the same person is a testament to their understanding of characterisation, emotional continuity and narrative. 

[earlgreytea68]

So I was reading this rumination on fanfic and I was thinking about something @involuntaryorange once talked to me about, about fanfic being its own genre, and something about this way of thinking really rocked my world? Because for a long time I have thought like a lawyer, and I have defined fanfiction as “fiction using characters that originated elsewhere,” or something like that. And now I feel like…fanfiction has nothing to do with using other people’s characters, it’s just a character-driven *genre* that is so character-driven that it can be more effective to use other people’s characters because then we can really get the impact of the storyteller’s message but I feel like it could also be not using other people’s characters, just a more character-driven story. Like, I feel like my original stuff–the novellas I have up on AO3, the draft I just finished–are probably really fanfiction, even though they’re original, because they’re hitting fanfic beats. And my frustration with getting original stuff published has been, all along, that I’m calling it a genre it really isn’t. 

And this is why many people who discover fic stop reading other stuff. Once you find the genre you prefer, you tend to read a lot in that genre. Some people love mysteries, some people love high-fantasy. Saying you love “fic” really means you love this character-driven genre. 

So when I hear people be dismissive of fic I used to think, Are they just not reading the good fic? Maybe I need to put the good fic in front of them? But I think it turns out that fanfiction is a genre that is so entirely character-focused that it actually feels weird and different, because most of our fiction is not that character-focused. 

It turns out, when I think about it, I am simply a character-based consumer of pop culture. I will read and watch almost anything but the stuff that’s going to stick with me is because I fall for a particular character. This is why once a show falters and disagrees with my view of the character, I can’t just, like, push past it, because the show *was* the character for me. 

Right now my big thing is the Juno Steel stories, and I know that they’re doing all this genre stuff and they have mysteries and there’s sci-fi and meanwhile I’m just like, “Okay, whatever, I don’t care about that, JUNO STEEL IS THE BEST AND I WANT TO JUST ROLL AROUND IN HIS SARCASTIC, HILARIOUS, EMOTIONALLY PINING HEAD.” That is the fanfiction-genre fan in me coming out. Someone looking for sci-fi might not care about that, but I’m the type of consumer (and I think most fic-people are) who will spend a week focusing on what one throwaway line might reveal about a character’s state of mind. That’s why so many fics *focus* on those one throwaway lines. That’s what we’re thinking about. 

And this is what makes coffee shop AUs so amazing. Like, you take some characters and you stick them in a coffee shop. That’s it. And yet I love every single one of them. Because the focus is entirely on the characters. There is no plot. The plot is they get coffee every day and fall in love. That’s the entire plot. And that’s the perfect fanfic plot. Fanfic plots are almost always like that. Almost always references to other things that clue you in to where the story is going. Think of “friends to lovers” or “enemies to lovers” or “fake relationship,” and you’re like, “Yes. I love those. Give me those,” and you know it’s going to be the same plot, but that’s okay, you’re not reading for the plot. It’s like that Tumblr post that goes around that’s like, “Me starting a fake relationship fic: Ooooh, do you think they’ll fall in love for real????” But you’re not reading for the suspense. Fic frees you up from having to spend effort thinking about the plot. Fic gives your brain space to focus entirely on the characters. And, especially in an age of plot-twist-heavy pop culture, that almost feels like a luxury. “Come in. Spend a little time in this character’s head. SPEND HOURS OF YOUR LIFE READING SO MANY STORIES ABOUT THIS CHARACTER’S HEAD. Until you know them like a friend. Until you know them so well that you miss them when you’re not hanging out with them.” 

When that is your story, when the characters become like your friends, it makes sense that you’re freed from plot. It’s like how many people don’t really have a “plot” to hanging out with their friends. There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that. 

Idk, this was a lot of random rambling but I’ve been thinking about it a lot lately. 

[nianeyna]

“fanfiction has nothing to do with using other people’s characters, it’s just a character-driven *genre* that is so character-driven that it can be more effective to use other people’s characters”

yes!!!! I feel like I knew this on some level but I’ve never explicitly thought about it that way. this feels right, yep. Mainstream fiction often seems very dry to me and I think this is why - it tends to skip right over stuff that would be a huge plot arc in a fanfic, if not an entire fanfic in itself. And I’m like, “hey, wait, go back to that. Why are you skipping that? Where’s the story?” But now I think maybe people who don’t like fanfiction are going like, “why is there an entire fanfic about something that could have happened offscreen? Is anything interesting ever going to happen here? Where’s the story?”

[earlgreytea68]

Yes! Exactly! This!!!

This crystallized for me when I taught my first class of fanfiction to non-fic-readers and they just kept being like, “But nothing happens. What’s the plot?” and I was so confused, like, “What are you talking about? They fall in love. That’s the plot.” But we were, I think, talking past each other. They kept waiting for some big moment to happen, but for me the point was that the little moments were the big moments. 

[meanderings0ul]

This is such an awesome conversation, but I think there’s even another layer here that makes ‘fic’ its own genre. And it is the plot.

Everyone who’s experienced in reading fic has their little ‘trope plots’ we are willing to read or even prefer in order to spend time with our favorite characters. We know how it’s gonna end and we genuinely don’t care, because the character is the whole point of why we’re reading. And that is unique. That’s just not how mainstream media publication does things.

But there are also hundreds of thousands of fics people might call ‘plot driven’ and they have wonderful, intricate plots that thrill their readers.

But they’re not at all ‘plot driven’ in the same way as other mainstream genres.

The thing about ‘plot’ in fic is that it tends to ebb and flow naturally. There’s not the same high speed, race to the finish you’d get from a good action movie. There’s no stop and start of side plots you get in TV genre shows. The best fic plot slides from big event to restful evening to frantic activity to shared meals and squabbles and back, and it gives equal time and attention and detail to each of these things.

Like @earlgreytea68 said, “There’s this huge obsession with plot, but lives don’t have plots. Lives just happen. We try to shape them into plots later, but that’s just this organizational fiction we’re imposing. Plot doesn’t have to be the raison d’etre of all story-telling, and fic reminds us of that.”

Fic plot moves at a pace similar to the life of whatever character it’s about. Not the other way around. There’s a fundamental difference in prioritization in fic.

I think this only adds to the case of ‘fic’ as its own, distinctive genre. Stylistic choices of writing that would never work in traditional, mainstream fiction novels work for novel-length fic. Fic adventures spend as much time fleshing out the little moments between romances and friendships as they do on that plot twist. The sleepy campground conversations are as important to the plot as the kidnapped princess, because that’s how the characters are going to grow together by the end of the story. It’s not a grace note, it’s not a side episode or an addition or a mention - it’s integral and equal.

That’s just accepted as fact by fic writers and readers. It’s expected without any particular mention. And it gives a very unique flavor and pace to fic that makes a lot of mainstream stories feel like stale, off-brand wonderbread. They are missing something regular fic readers take for granted (and it isn’t just the representational differences, because we all know that’s a whole different conversation). There’s a fundamental difference in how ‘fic’ is written, detailed, and paced that is built on its foundations as a ‘character driven’ genre.  

And it isn’t only action/adventure/mystery plots that have this difference in fic. Those ‘everybody’s human in today’s world’ AUs, those ‘friends to lovers’ slow burn stories have it too. They have a plot, but it’s the life - the grocery shopping, the dumb fights and sudden inescapable emotional blows, those moments of joy with that person you click with, managing work and family and seasons - that’s the whole plot on its own.

And that’s almost impossible to explain to someone who hasn’t really experienced fic as a genre, who’s used to traditional person A and person B work together/overcome differences/bond to accomplish X. In fic accomplishing X might be the beginning or the middle, not the end result of the story, and A & B continue to exist separate from X entirely. X is only relevant because of how it relates to A & B, not the other way around.

Fic is absolutely its own genre and it has a lot to do with plot. I’ve been calling this ‘organic plot’ in my head for months, because I knew something felt different about writing this way, how long fic plot ebbs and grows seemingly on its own sometimes. ‘Dual plot’ could be another option, maybe, though the character plot and life experience plots aren’t really separate. Inverted plot? Hm. I’m sure a good term will develop over time.

[mikkeneko]

This last addition.

I’m reminded of this post, which got unexpectedly popular and so must have resonated with a lot of people. The contrast between the reader who will happily read 100k words of nothing but character dynamics and dialogue, and the author who is dying inside every time a chapter passes by without an explosion because they feel their work is too boring to put to page, is probably a result of the author internalizing mainstream storytelling expectations about what makes “good”/ “exciting” writing.