Jimothy for Disability mascot/icon
Happy disability pride everyone!
ojovivo
almost home
No title available

gracie abrams
The Bowery Presents
NASA
The Stonewall Inn
untitled

Origami Around
🪼
RMH

pixel skylines

ellievsbear
Not today Justin
EXPECTATIONS

Kiana Khansmith
art blog(derogatory)

#extradirty
Sade Olutola
No title available
seen from United States

seen from Australia
seen from Türkiye

seen from United Kingdom
seen from United States

seen from Malaysia
seen from Thailand

seen from Burkina Faso
seen from Bangladesh
seen from Netherlands

seen from Canada
seen from Uzbekistan
seen from Syria
seen from United Kingdom
seen from Portugal
seen from Chile
seen from Italy
seen from Saudi Arabia
seen from United States

seen from Canada
@skyofasunset
Jimothy for Disability mascot/icon
Happy disability pride everyone!
the amazing digital circus is a show about empathy and what it does to you if you go too long without a support system so the show starts with sympathizing with Pomni (the most empathetic person, easy), ep2 is empathizing with an NPC in a game (no flaws), ep3 is empathizing with a man who has dementia, ep4 is empathizing with someone who annoys you when they're unmasking, ep5 is asking you to empathize with a rich white woman and so on....
so it all works up to the empathy boss - a bush era edgelord millenial trans girl who thinks she's Max from Sam & Max and is inherently unworthy of love
and some people failed the empathy test
Exactly the show is not asking you to forgive her the show is asking to empathize with her those are different things
(Kinda vent post? Idk sorry)
Teen aroace culture is coming out to your parents as aroace and then them constantly saying “well you might be aromantic/asexual or you might not be” over and over again. Every time you show disgust at romantic/sexual stuff and say your aroace. it’s clear that they are trying to be supportive, but every time they say it, it sounds like they are just waiting for time to go on and for you to realize it’s all a phase. And it’s clear that they very much don’t understand aroace ness (with how much they are infatuated with each other). And they are very much supportive of the queer community as a whole, every time they say dismissive words against you being aroace, a little part of you breaks.
Sorry for venting.
🫂
What gets me about the Piper and Percy one-sided beef is that it’s a bad look for Piper’s character—not because she isn’t allowed to dislike Percy, because actually I think this dynamic could have been cool—but because she is wrong about him in exactly the same way he’s been misunderstood and underestimated for his entire life. Even more egregious that this is coming from Piper, of all characters, who is literally supernaturally gifted with the ability to read people.
It is already a questionable narrative choice because it made Piper look bad to a lot of readers—Percy is absolutely beloved, so it alienates Piper from a good chunk of the fanbase. But I think it could have worked had she been accurate in her assessment of Percy’s character, or at least it could have been interesting and defensible narratively (yes, there were always going to be readers who just hated her for not liking Percy and there’s no way around that. But that doesn’t mean it couldn’t serve the narrative well). Percy is a very likable character, and although he is truly my favorite character (in anything, ever), we must admit that he is partly so likable because he’s the narrative’s favorite (at least, you know, before his author started openly resenting him lol). And it could have been interesting to see him from a different perspective that exposes more of his flaws, or perhaps views them as genuine flaws rather than endearing traits.
But the reason Piper knocks Percy is actually just because she thinks he looks less impressive than Jason, and that he looks like a troublemaker.
I’ll address the “unimpressive” part first. Yes, it’s annoying if you love Percy, but it’s also bad writing, because it hits with a “we’ve heard this song before.” Because we have! Percy’s story was a zero-to-hero tale. UNLIKE Jason, unlike Thalia, unlike even Luke, Percy is not a character looked to as a de-facto leader. When he first gets to camp, he has bursts of impressive potential, but he is inconsistent. Nobody knows what to make of him, and “the only thing [he] really excelled at was canoeing, and that wasn’t the kind of heroic skill people expected to see from the kid who had beaten the Minotaur.” The campers are explicitly said to be “watching” him and sizing him up. They are expecting more from him, and “the way they stared at [him] made [him] uncomfortable. [He] felt like they were expecting [him] to do a flip or something.” Clarisse targets him because she wants to prove her superiority and dispel the myth that he is “‘Big Three’ material.” He is practically laughed out the door of Cabin Eleven on his first introduction. After getting claimed, he’s ostracized and seen as an inconvenience who brought strife to the rest of the camp. He earns respect through the quest, but we have to rinse and repeat this next summer because of his association with Tyson. And then we rinse and repeat this AGAIN in book 3 because Thalia is older, cooler, a better fighter, has known Grover and Annabeth longer than Percy, and her dad is Zeus. Thalia gets chosen for the quest—Percy gets overlooked, again, and has to sneak onto it, again.
And then we have to consider what he’s like outside of camp—bullied in school, abandoned by the school system and never had a teacher before Chiron believe in him and actually strived to rise to Chiron’s expectations because he was so starved for encouragement, plays basketball in the corner at school dances, never had a single real friend before Grover, insecure about his financial situation, growing up with an overworked single mom and an abusive stepdad who verbally degrades him and makes his life miserable at every turn. Percy is a kid who doesn’t have friends to invite to his birthday party—canonically.
The shift into revered hero really only happens in Book 4, and I think the subtext of it strongly implies that puberty hit him hard that year because all of a sudden he has three different love interests (and one not-so-secret admirer in Nico), and he is blatantly unaccustomed to it because that’s never how it has been for him before. In book 2 he is saying no girl at his school would be caught dead calling his name, [heavily implied that] he is the mocked because Annabeth is out of his league, and then Circe makes him stand in front of a magical body-dysmorphia mirror and dwell on all the things he doesn’t like about himself (imagine ritualistically humiliating a 13-y/o kid in this way as an adult woman. Federal prison. Death penalty!) and in Book 3 he is lamenting that Annabeth is taller than him, and saying he feels uncomfortable talking to Bianca because he gets nervous talking to girls (patently untrue, there are many girls he does not get nervous talking to—but realistic for him to narrate because although he is close with Annabeth, he is more aware of her romantically now and therefore less comfortable with her, and I would argue he mentions it in this scene because he thinks Bianca is attractive and she’s close to his age whereas girls like Thalia, Clarisse, Zoe etc are not ever viewed that way by him). So it truly makes sense when in Book 4, he is absolutely dumbfounded by Calypso’s confession and completely at a loss for how to interact with Annabeth now that she’s made her feelings clear.
In his “hero” career, the shift also happens in Book 4—he has grown as a fighter and is even complimented on this by Luke, he achieves some of his most impressive stunts in this book and shows off his skills in the battle arena, and he’s used by Chiron as a reinforcement to send to the toughest parts of the battle. And the summer after that, because he’s one of the best fighters, he is used all the time on combat missions, like the one with Beckendorf at the start of Book 5. And I really don’t think I have to explain what happened in Book 5, lol.
So. No, Percy wasn’t just granted the revered-hero status because he looks the part—he earned it, with blood, sweat, and tears (literally). And Piper’s commentary on him is that after hearing all about his exploits, he doesn’t look the part. As if we don’t have like four-and-a-half books that already told us that, made all the more familiar by the fact that Percy is his own harshest critic. The other narrators in HOO is see a side of Percy he doesn’t often see in himself—the side we only get glimpses of, such as Rachel’s painting of him killing Anteus or Percy admitting (reluctantly) that he’s slicing through an entire army and laughing at the exhilaration of it. They also sometimes notice a sadness or an anger or an intimidation factor that Percy is often not aware of in himself. Piper, on the contrary, sees only the most surface-level thing, even though she is supposedly so good at reading people that she can interpret Annabeth and Chiron’s silent conversations after only knowing them for a day. So it reads like she’s just being a hater—and I do actually think that’s the correct interpretation of this moment, considering she’s explicitly comparing him to her boyfriend. And honestly, if Piper was just being a hater, then fine—I can accept that her attachment to her own boyfriend overrides her gifts, and that’s all very human and tells you something about Piper’s character.
But what REALLY frustrates me is the “troublemaker” assessment. Again, this is a girl who is good at reading people. A girl who has been bullied in school, and befriended Leo, who has also been bullied in school and abandoned by the institutional school system, sent to a place for kids that nobody wants to deal with. A girl who has ALSO been overlooked by authority figures and gotten into a lot of trouble for misunderstandings. And she is judging Percy and saying she would “[steer] clear [of him]” because she has enough trouble in her life. What annoys me is not so much that she’d avoid him, but that SHE IS WRONG in exactly the way that most of Percy’s authority figures have been wrong about him for his entire life! He is branded as a troublemaker, when he is actually a good kid that falls victim to unfair circumstances. How many times has he been in the wrong place at the wrong time, when he was actually trying to save innocent lives? This is a kid who had a nationwide manhunt started for him at the age of 12 by his abusive stepdad because he seemed like a juvenile delinquent, and guess what, he wasn’t! So it’s super corny to me to hear Piper say this—again, we know from BOOK ONE that Percy’s features have a “brooding look that had always gotten me branded a rebel.” And Piper—again, the character supposedly supernaturally gifted at reading people—falls for it and informs the reader that she would avoid him for that.
Knowing the context (as the average PJO reader ought to), Piper’s opinion comes across as judgmental and shallow. And to be honest, I think that may have been the source for at least some of the outrage—that this just feels wrong and we didn’t appreciate the tone of it, even if maybe people didn’t know why it bothered them so much. Because the reader knows that Piper is wrong. It provokes that same kind of feeling of frustration at the injustice that Percy has to continually endure throughout most of PJO for things that are outside of his control. And I have to say, Piper being a rich kid who intentionally acts out for attention and notably does NOT have the learning disabilities that Percy and MOST demigods do, being the one to mislabel Percy in this way, adds… a layer to this whole interaction that strikes me as icky. I do patently believe this was not the intention of Piper’s assessment, because she does explain that she would avoid him because she had “enough trouble in her life”---as in, she’s not thinking she’s better than Percy, she’s thinking she’s too much like him. But that kind of falls flat considering that she’s wrongfully judging him based on his appearance and that her reasoning doesn’t make sense considering her friendship with Leo. And then she doubles down on the assessment by saying that “she could definitely see why Percy needed Annabeth in his life. If anybody could keep a guy like that under control, it was Annabeth.” This quote reads as so blatantly derogatory to me that it totally overrides any attempt at making it seem like Piper is not being judgmental and condescending here.
This is made more explicit in their exchange with Bacchus, because, in an effort to hype up Piper’s diplomatic skills, Rick has her act shocked at how brazenly Percy speaks towards Bacchus. Sure, it makes sense for her to be taken aback—most people are by how Percy speaks to the gods. But the tone in this passage is that Piper is babysitting Percy (emphasis mine): “Piper had been watching with horrified fascination, the way she might watch a car wreck in progress. Now she realized Percy was not making things better, and Annabeth wasn’t around to rein him in. Piper figured her friend would never forgive her if she brought Percy back transformed into a sea mammal.”
But Piper is completely ignorant to the context behind this exchange. Percy has known Mr. D for five years. He has earned his reluctant respect, has had multiple one-on-one conversations with him, has been called the correct name by Dionysus, has been personally requested to keep his son safe in the war. Dionysus voted yes to make Percy immortal last summer. Meanwhile, Piper has never met Bacchus OR Dionysus. Out of the three people in this scene, she is the MOST ignorant, and yet we’re supposed to accept that she’s the authority. And what is even worse, is that Piper doesn’t realize what Percy already knows: Bacchus literally is too lazy to turn Percy into a dolphin and he’s not making a real threat. Percy knows that because he has tested the boundaries before (and when it became clear that Mr. D was no longer joking, it scared him enough to stop talking). So it’s just not convincing that Percy is in real danger in this exchange or that he needed Piper’s help. What’s more: Bacchus never had any intention of helping them, and Piper is just too slow to realize this, and she will subsequently admit that he was totally unhelpful! And the hilariously ironic cherry on top: later in the book, Percy is the one who successfully recruits Bacchus! It makes her come across as extremely arrogant to think that she would be more equipped at negotiating with a god than Percy, who has much, MUCH more experience doing this than Piper does.
Now, I think that this is a writing problem. Because fine, maybe we could use this moment to confront Piper’s arrogance and the fact that she completely underestimated Percy—but that doesn’t happen. But better yet, we could have used this moment to actually further both of their characterizations, with Piper realizing why Percy has earned so much respect (including from someone like Annabeth, who Piper CLEARLY immensely respects), and perhaps touching on her ever-present feelings of insecurity about not being good enough at diplomacy and feeling totally useless. It doesn’t make sense for Piper to think she’s better than Percy! It simply does not make sense for a character who is chronically self-doubting in their skills! And the reason it doesn’t make sense is because it’s just the author trying to convince us that Piper is just as necessary to the plot as Percy is. It’s even more annoying when Piper’s “diplomacy skills” are just flattering Bacchus’ ego and manipulating him to get what she wants, which is not remotely unique to Piper’s character. Percy and Annabeth do this literally all the time, and will continue to do it in the rest of the HOO series.
And it’s all just so frustrating and honestly kind of sad. Because there was potential for a whole lot of interesting tension between Percy and Piper. Percy resents spoiled rich kids who act out for attention and he’s so used to encountering them that he would peg Piper as one right off the bat. Consider this quote from the beginning of TLT: “The other guys were joking around, talking about their vacation plans. One of them was going on a hiking trip to Switzerland. Another was cruising the Caribbean for a month. They were juvenile delinquents, like me, but they were rich juvenile delinquents. Their daddies were executives, or ambassadors, or celebrities. I was a nobody, from a family of nobodies.” PIPER IS LITERALLY ONE OF THESE KIDS! You’re telling me that the kid who immediately understood that the Hermes cabin was full of neglected kids waiting for calls that would never come, who reminded him of the kids he went to school with—wouldn’t notice that quality in Piper right away? Because he would. But I actually think Percy has grown a lot and confronted some of these feelings of inadequacy around socioeconomic status, primarily through his friendship with Rachel, and he is able to see through the resentment and insecurity to recognize that the parental neglect Rachel suffers is a real problem, despite her being wildly privileged. And this journey started in TLT, where Percy realizes that he’s a far cry from having a “family of nobodies”—actually he, too, has one of the MOST famous and MOST powerful beings in the entire world for a dad, and that his dad doesn’t care about him (if you recall—he had chosen to think his father was dead, because that was less painful to believe, despite the fact that Sally intentionally never said that). And he empathized with the neglect that demigods receive from their incredibly powerful parents: “I thought about some of the kids I’d seen in the Hermes cabin, teenagers who looked sullen and depressed, as if they were waiting for a call that would never come. I’d known kids like that at Yancy Academy, shuffled off to boarding school by rich parents who didn’t have the time to deal with them. But gods should behave better.” And perhaps more on the nose: “I started to understand Luke’s bitterness and how he seemed to resent his father, Hermes. So okay, maybe gods had important things to do. But couldn’t they call once in a while, or thunder, or something? Dionysus could make Diet Coke appear out of thin air. Why couldn’t my dad, whoever he was, make a phone appear?” (I still think Percy accepts the bare minimum from Poseidon because it is simply less painful for him that way so I definitely don’t think he’s healed, but enough to have compassion for other abandoned kids, certainly).
Percy could have really seen Piper in a way that Piper is used to seeing other people. I truly do think Percy as written in PJO would immediately see Piper’s choices in chopping off her hair and intentionally styling herself in weird clothing for what it really is: insecurity masking as confidence, acting out against her parents, and struggling to find her identity separate from her parents. (Percy is really, REALLY good at picking up on these things in PJO. And he ought to be, because he developed it as a survival skill growing up with Gabe and getting bullied.)
Piper’s writing has serious problems with it, many of which have been discussed in great length and that I don’t think I need to explain here. The only thing I’ll bring up, because I think it’s uniquely related to the Piper/Percy dynamic: it is not sufficiently addressed that Piper is accused of stealing things for fun/attention when she doesn’t actually steal things, and how her race might play a role in that narrative. It is not as simple as Piper being stereotyped by the narrative as a kleptomaniac—because Piper really isn’t and she really didn’t steal the BMW, the dealer gave it to her. But the narrative doesn’t really care about exonerating her. And to make matters much worse, there is not much meaningful reflection about her charmspeak being used for coercion, and how, although she didn’t understand what she was doing, she still got the car by manipulating the dealer with magic. And I bring this up simply to demonstrate that had we gotten to the bottom of Piper’s relationship with her parents and her issues with her own identity, then at least this problem could have been reconciled in a much more nuanced way. And I think that her relationship with Percy is fairly low-hanging fruit for how this could have been explored better, because Piper actually quite similar to Percy in that they’re both ‘kids troubled by unfair circumstances and not because they want to cause trouble,” even though on the surface her antics make her seem like she’s more like Matt Sloan (the bully from SOM who stole his daddy’s care and took it for a joyride).
Anyway. TL;DR: Rick did Piper dirty by writing that she thinks Percy is unimpressive and a troublemaker who needs to be reined in from shooting off at the mouth. And it actually botches her characterization, because she’s supposed to be good at reading people, and she gets a lot wrong about Percy. Because she’s wrong, it makes her seem judgmental and condescending, and given that Percy is one of the most accomplished demigods of literally all time and Piper is just learning the ropes, she comes across as very arrogant in a way that is not consistent with the rest of her characterization.
Hot Take: Why Spy x Family is objectively one of the best sandboxes for fanfiction writers 🧵
Let’s talk about why this fandom is an absolute goldmine for writers. Whether you are a beginner or a seasoned author, Spy x Family offers something that very few anime/manga series manage to achieve: the perfect balance between structure and absolute narrative freedom.
Here is my breakdown of why this series is the ultimate playground for fanfics:
1. The "Elastic" Character Design (The Power of Aging Up)
The characters have incredibly distinct, unshakeable core traits, yet they grant the author immense freedom. The best example of this is Damian and Anya. Because they are children in canon, writing them as teenagers or adults is a blank canvas.
You can interpret their future aesthetics, their career choices, and their mature dynamics completely in your own way. Yet, as long as you maintain a few core anchors—Anya’s chaotic empathy and Damian’s proud-but-easily-flustered nature—they will always feel exactly like Anya and Damian. They adapt to any timeline you put them in without losing their essence.
2. The Goldilocks Zone of Worldbuilding
The world of Ostania and Westalis hits the perfect sweet spot: it is rich enough so novice writers don't have to suffer from worldbuilding burnout, but open enough that stories never feel wasted or constrained.
Think about it this way: a fanfic of Attack on Titan (AoT) is incredibly hard to pull off because the canon lore, the tragedy, and the plot are a tightly knit masterpiece. A fanfic can rarely match the stakes or the weight of the original work because the world is too rigid. In Spy x Family, the Cold War setting gives you a solid political backdrop ready to use, but the margins are wide open for you to expand the spy networks, the political intrigue, or the daily slice-of-life elements however you want.
3. A Flexible Foundation That Showcases the Author's Hand
Because the canon universe is so flexible, the writer’s personal voice and style don’t get drowned out by the source material—they get magnified. Every fic feels deeply personalized, and it allows for the creation of literal fanfiction masterpieces.
A perfect example of this is the author theunbearablelightnessofbeing. Works like "The Bar Closes at 100 Seconds to Midnight" or "Starlight Parabellum" are so brilliantly crafted that they could easily be published as standalone novels or adapted into a high-budget series.
In these fics, Damian and Anya (and the entire cast) feel completely unique, reinvented, and distinct to that specific story, yet their true essence remains completely unshakeable. You can read a single paragraph and instantly recognize the author’s signature style. That is only possible because Spy x Family gives us a foundation flexible enough to bear the weight of heavy, complex writing.
What do you guys think? Do you feel Spy x Family gives you more freedom than other fandoms you’ve written for? Let’s debate! 👇
I get that in general a lot of kids shows do utilize the protagonists ('good guys') in ways where they're supposed to be role models, particularly because some do have a "lesson of the week" where the character does bad things, then clearly learns and explains what they should've done instead by the end of the episode.
That has just... never been how TDP has operated, and I don't get how and why people think we're supposed to take what anyone does in the show as being unilaterally good or evil. Particularly in arc 2; any moral simplicity that was hanging on by a thread in arc 1 has been taken out back and shot numerous times by now.
TDP very rarely calls anything Evil or Good, and when it does, it's always filtered through the characters' biases, and rarely does more then 2-3 characters ever have the same opinion on something for the same reasons. Soren and Rayla, who have inverted character arcs, are some of the only characters to ever use the term villain / good guys or bad guys, and are two of the most staunchly black-and-white thinking characters, heavily to their detriment, I might add, in terms of coping with the increasing complexity of their lives. They have cognitive biases. They're not always right, and are frequently wrong. This is true for everyone in the show.
The show refuses to condemn murder, indirectly and directly condemns the expulsion of humans from Xadia routinely (Evrkynd being a city for everyone, Ezran arguing with Karim, who is the most wrong about the most things), and shows a variety of viewpoints on all things.
The show understands that the choices people make—whether the same character trait is a flaw or a strength—as well as 'moral' choices are all circumstantial.
Are you wrong to burn people alive? Mostly yes (2x07, 6x08) but also no (3x09). Are you wrong to kill people? Sometimes yes, sometimes no, sometimes whether it's 'wrong' or 'right' doesn't even factor in. Are you wrong to use dark magic, or use the dangerous Staff of Ziard, or coin someone and condemn them to a 'fate worse than death'? Sometimes yes, sometimes no. Is lying or hiding the truth to protect someone wrong? Sometimes yes (1x06, 2x03, 3x03, 5x01, 7x04, 7x06) sometimes no (1x02, 2x03, 6x06, 5x08, 7x08).
Are you doing the right thing?
Do you have no choice? Is that true, or is that just what you think, or how you rationalize it yourself?
When is it right or cowardly to leave (Viren, Lissa, Rayla, Callum, Ezran, the Cosmic Council, the offer made to Karim's troops)? When should you stay? When do you decide to share resources (2x05) to your potential detriment or withhold them in the name of protecting yourself and your own people (Xadia and magic)? At what point(s) do you prioritize your own pain and grief, or someone else's (i.e. the Keeper vs Callum vs Ezran)? At what point is someone too dangerous or 'too far gone' to keep alive (Runaan about Harrow, Ezran about Aaravos)? At what point do you decide someone cannot change? When do you refuse to change (Karim, Terry) who you are no matter what happens, and when do you decide that you must (Ezran, Soren)? When is it wrong to use illusions to trick someone (3x09 and 7x06) and when is it more reasonable (2x03)? When should you be willing to sacrifice others (Rayla with her family, Runaan and Rayla with Callum, Soren with Viren) and when should you refuse? When should you sacrifice yourself, and when it is wrong to? Did you betray them, or did they betray you, or both (usually both)? When should you betray or stay loyal to your family? What is the right thing to do?
The show, tbh, doesn't know, at least 90% of the time. It's not interested in knowing. It's interested in exploring. That's the whole point. At most, it says you should work towards harm reduction, but what constitutes harm, and what peace looks like, is also something that greatly differs for all the characters.
Rayla is willing to sacrifice the love of her life, Ezran is willing to create weapons of mass destruction and wield one, and Callum used a torture spell on someone when he absolutely did not have to. The idea that any of the protagonists are meant to be paragons of unblemished virtue who are always 100% right, or that any of the antagonists do not canonically have a good point of contention with anything that's happened and are always 100% wrong, is reductive to everything the show is and explores, because it is Quite Literally not what the show does, ever tbh.
They literally spelled it out this past season as a core theme; I don't think they needed to have a character directly point it out every time a main character did something that was Kinda Fucked Up or Complicated But Understandable to know that the show knows it was Canonically Fucked Up or Complicated But Understandable.
There is not a single character or action in TDP that is always right, and there is not a singular character or action in TDP that is always wrong. Hell, even narrowing it down to "this is 'right' or 'wrong'" feels counterintuitive because it's so subjective within the narrative.
Every choice the characters make is often well reasoned, aligns with their values and world views, and fits into how they work through problems. Every choice has benefits and consequences, for them or for others. That doesn't mean it's Right for everyone involved. That doesn't mean it's Wrong for everyone involved. That's what makes the show interesting. Everything has nuance. Everything has Complexity. I'm not interested in a simplified version of TDP. I'm interested in the show as is.
I hope you are, too.
Gotta say, after playing it extensively, Coral Island is definitely one of the better Harvest Moon-like games. Bit derivative, in that it takes an absurd amount of cues directly from Stardew Valley, but it honestly improves on most of those, while adding some really good elements from unexpected sources like The Sims 4.
And like. I saved this for its own paragraph, because it is JUST THAT GOOD, but the fucking diversity in this game. The game's setting is based heavily on Indonesia, which is in itself a breath of fresh air, and then the cast - which is, frankly, massive - has an incredible variety not just in racial diversity, but in body types, backgrounds, and lifestyles. It's a setting that feels like it was built around diversity as a core ethos, rather than treating it like a chore it has to fulfill in order to reach a certain standard.
Of course, I can't just talk the game up and say nothing about its flaws. I'm not going to knock it for being a more "classic" game in the genre - it clearly set out to expand and improve on the basic formula, rather than bringing anything radically new to the table, and that's fine.But I will say that a lot of the expansions feel like they don't really add much to the game, outside of More Stuff for the sake of More Stuff.
Like, I really don't know if we need dozens of different crops and trees and kind-of trees to choose from, or if having a bunch of different-colored chickens that all produce the same kind of eggs really makes that much of a difference. I get why these things are there - they're easy as hell to add, and give the game more options for personalization, which is always a crowd-pleaser - but I personally find some of the options more overwhelming than helpful.
But that's kind of burying the lede on the game's actual biggest flaw: performance issues and visual glitches. Coral Island is riddled with lag spikes - especially after traveling or opening/closing an inventory too fast - and sometimes the graphics just freak out altogether, refusing to display the terrain properly unless you quit and load back in. I do consider both of these to be minor issues, because they're easy enough to work around, but the lag spikes are incredibly annoying to deal with.
I do have one more positive to talk about, though, which is the way the game handles the topic of rebuilding the town.
Stardew Valley has kicked off this whole trend of games where you move to a dying small town, and basically have to revitalize it through the power of Farming Game Activities - farming, ranching, fishing, foraging, etc. And this is all well and good, but I find that the game - and a number of its imitators - execute this idea in a way that's both overly simplistic and kind of self-serving on your quest to Becoming A Successful Petit-Bourgeoisie Farming Overlord.
Coral Island works off this idea, but does it in a way that feels much more balanced and realistic. You're still help to revitalize a town that's fallen on hard times, but in this case, the game shows you actual concrete consequences both for the things that have gone wrong and the efforts you make to correct them. For example, if you ship enough crops to complete Sam's first quest, the grocery store is able to fill up its "local vegetables" section and people in town start commenting on how nice it is to buy local produce again.
The game also adds a strong environmentalist element to how you approach this. It's not enough to do a bunch of activities and make money - you're also helping to clean up trash, replant areas affected by illegal logging, and protect the town from being exploited by the same oil company that caused its crisis in the first place. There's a fantasy/folkloric element to it, of course - but where Stardew Valley's is a flat imitation of a culture that the creator really doesn't understand, Coral Island adapts the formula to Indonesian mythology and religious practices in a way that makes it feel much more meaningful.
A really good example is the offerings that you make to the Goddess - which are pretty much copied 1:1 from Stardew Valley's community center offerings. While the effect that these have on the town is pretty clearly supernatural, the actual meaning behind them is much more: these efforts are helping to preserve the town's cultural heritage, and in doing so, end up bringing back several aspects of that heritage that were on the verge of being permanently lost. This, in turn, contributes to the work you're trying to do for the town as a whole: helping it strengthen its economic foothold to protect it against assimilation and exploitation.
These ideas are present in Stardew Valley, but they're delivered in a very theoretical way - outside of the Community Center being demolished, there are no clear consequences for Joja winning the struggle. In Coral Island, however, you can get a good sense for the stakes just by talking to the townspeople - and the consequences of Pufferfish winning would be dire. It's enough that it almost makes me wish the game had an evil route, just because of how bleak and unsettling it would end up being.
But, y'know, that's the whole reason it doesn't - because Coral Island is a feel-good game, and it takes these issues too seriously to make them a part of that vibe. And I'm not gonna complain about that, because it's a pretty darn good feel-good game.
Aroace culture as a huge shipper (and multishipper at that) is like...wow I love ships and that they are one of the main things that keep the fandom alive. But also shipping isn't everything and I wish the fandom would focus on more outside of just ships. But also [insert ship(s)] is my everything. But also stop shipping every character ever. Oh yes the romance and chemistry!!! Ew the romance and "chemistry".
.
teen aroace culture is telling an adult that you’re aroace, end up having to explain what it means, and being met with “and what if that changes?”
if it changes, it changes, but at least try to accept the fact that as of now and for the foreseeable future I am very much aroace
🫂
I made a ROTTMNT Turtle Tots comic for Twitter about the Disaster Twins accidentally switching outfits!
MOVIE SPOILER WARNING and ANGST JUMPSCARE BTW
Doomed siblings have me on a chokehold in a way no trope can ever achieve. Something so gut wrenchingly beautiful about two kids going through unimaginable trauma and coming out damaged forever. I always eat it up. Maybe they stay together and find solace only in each other, used and kicked out by society! Maybe they end up on opposite sides of the war! Maybe they end up betraying one another! Maybe one of them dies haunting the narrative forever! Maybe one of them destroys the world for the other! So many endless tragic possibilities!
no one:
asexuals before realizing they’re ace: isn’t it weird how we call people “hot” when we just mean, like, pretty? it makes it sound like you actually feel hot when you see them. which isn’t a thing. anyway
ok i am absolutely losing it over the sheer number of people who found out what hot means from this post
huh
New Fact number 910
Found a vid in my "animation meme" playlist and it fitted the role of dead leo angst vid...sooooo-
IM MENTALLY OKAY I SWEAR
cute little comic I was thinking of, happy pride <3
As an eldest sibling, there’s nothing more terrifying than a younger sibling picking up a dangerous habit
knowing that they learned it from you