#compactdisk

[gynandromorph]

compactdisk replied to your post: does duncan look like somebody who drinks monster....

he looks like he drank monster constantly in high school until it started making his bones hurt

why is this more accurate than anything i could’ve come up with... write a book

[gynandromorph]

wow that’s fair and both of your partners sound much more metal than me or my wife

[gynandromorph]

compactdisk replied to your post: why do people consider media that is too...

I think ambiguous endings are cool and meaningful if the themes of the book lead into that kind of ending, but there are so many where the themes have…nothing to do with ambiguity and it just ends that way because ???

rhetorical 6 am question but i feel like people definitely think it’s deeper when a story sets up a thematic false dichotomy and then leaves it at “but which one was it??? what was the right answer??? [it_is_a_mystery_ghost.jpeg]” because deep stories make you Think so like even just not showing results for the hypothesis you just posed to an audience at least sets them up to Think at the end as they pick one of the 2 possible right answers you just presented them with. with stories that don’t have ambiguous questionable endings -- specifically what prompted this was the description of normal ass media functioning as it should as “an object lesson” as though uuhh being offered information that may help you in life is worse than any superficial sense of learning something?? -- you are supposed to decipher whether this was thoughtful and deep or not based on digestion of the text, its execution, if it could’ve said more or done better, etc. that’s the part that makes you think so my question in my head became “why are we conditioned to not healthily question and create discourse about media unless it gives us permission and why is permission to engage mutually in the conversation media has with us considered a more sound understanding of the word regardless of what it says” but i do agree that ambiguous endings can be meaningful, it really depends on the function of the text. for example, if the author’s intention is to spark discussion or rebuttals in the community, because they just feel like it’s a problem that hasn’t been resolved but isn’t being addressed either, an ambiguous ending is great for that. some endings definitely do take a stance on the issue presented while remaining canonically “ambiguous” too (i would qualify drop-out under this), those ones function to offer idea generation in a reader’s personal sense for issues that vary greatly from individual to individual too. these endings are also appropriately ambiguous because presenting perceived solutions that you know won’t work for everybody is a flaw in the work and ethically questionable. overall though i’m pretty cynical when i’m presented with ambiguity in any work because that’s literally the writer telling me i should do their job for them. even if they aren’t being paid, that’s the writer telling me they just wasted my time asking me to listen to them and now i should waste more of my own time to finish what they started because they couldn’t be assed to have a point and praise them for being “deep” because they did that

[gynandromorph]

I was gonna ask which of your characters watched supernatural/had a phase but then I remembered a friend telling me how she watched 9 seasons of it with a girl she had a crush on to try and get closer, so now I’m just wondering if that happened to izzi once (perhaps a younger izzi... )

>implying izzi has grown out of her supernatural phase

[gynandromorph]

compactdisk replied to your post: [[MOR]

would Carmilla do the “what is a man? a miserable little pile of secrets” quote

OH YOU KNOW IT’S ALREADY WRITTEN IN

[gynandromorph]

compactdisk replied to your post: izzi only knows how to play offense and block out...

I was just thinking that in the breakroom dialogs they’re always very unstoppable force vs. immovable wall. and then ipsey is the 1920s slapstick character who goes through the whole fight accidentally tripping out of the way of attacks and doesn’t even realize a fight is happening

ipsey’s there and she doesn’t know where she is or what’s happening but she manages to trip into every blow exchanged and then the one who hit her has to awkwardly apologize and she has to awkwardly say “it’s fine it happens all the time” before instantly slipping on a banana peel into the punch of the other opponent who’s trying to use this as an opportunity attack

[gynandromorph]

compactdisk replied to your post: it’s weird how syconium’s about a character who...

it feels like the abstract art is supposed to be a stylized representation of “any degree of symbolism not readily understood,” like a stand-in for any art that requires second looks and analysis to appreciate, but it’s a little confusing bc we never really see what the current popular art style is and only have hints and other character’s statements to go on

yeah... i don’t think he realizes that abstract art is in and of itself divided into representational and non-representational. if it has any intended meaning or symbolism it’s not non-representational even if it’s not directly depicting anything that physically exists wow now that i’m thinking about it he literally mentioned this in the comic at one point 

i’m legit fucked up over this now cuz it’s bordering on a plot hole.. she never stopped using the term non-representational to describe her goal but it got increasingly obvious that she is trying to represent something just not blatantly i’m f

[gynandromorph]

this is sort of a weird question but how do you balance clarifying parts in your stories when asked with not wanting to lay out everything? you seem like you have a good grasp on what to tell and what not to. I just have a hard time imagining myself explaining details of one of my stories without feeling like I’m infringing on the territory of a reader’s interpretation (or basically just being pedantic). how do you decide?

i always feel like i over-explain, personally. explaining or talking about writing (and art in general) will always sound conceited (i could go on a whole essay tangent about it), so don’t worry about that part.my fast and loose rule is only elaborate on things you would be upset about if someone misinterpreted them, or if you want to elaborate.have designated parts of your story that are “open content” for interpreting, for your sake, so that you know what to not touch, and for your readers’ sake, so they have something to specifically focus on and interact with. in turn, also have designated parts of your story that are “hard canon” to you, which are supposed to be read only one way, with many details in the story to back it up.when asked about things that are tangentially nudging up pretty close to your open content areas, technical non-answers that mainly point out specific details in a way that leads the reader onto a specific interpretation, but don’t necessarily state it, and elaborating on several possibilities without favoring any of them, are good ways to go.

at the end of the day, though, don’t overthink it. some interpretations are bad. they’re absolute garbage. some make other readers uncomfortable. some are just confusing or literally deliberately ignoring canon. some (dare i say Many) interpretations are good to bat down.YOU are the writer, your readers are asking questions because they like your ideas and they want to know more from YOU specifically. your skill and personal style as a writer comes from where you personally draw the line, so go with what feels right. trust that the way you intended for your work to be understood is the best and most satisfying possible interpretation.your audience is feeding off your hype about your own stories, don’t snuff out your own flame while it’s still a spark, and elaborate on whatever the fuck you’re hyped enough to elaborate on ‘cuz people who like your work are not nearly as critical as you are, they’re just excited that there’s more at all, usually.