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@the-gay-archivist
TADC x liminal spaces šŖš±
Friday.
Wanted to practice drawing the others, but also wanted to dress them up lol
I would've shipped them if they met each other š¦š
STAR WARS: ANDOR - The Axe Forgets
you want to be mommyās adjective noun, donāt you, pet name? you want to verb and verb for mommy like a good gender
you want to be mommy's weird potato, don't you, Brian? you want to skip and somersault like a good jester
Our most beloved Reverend Daughter š
between the lions šš¦
my piece for the our turn to thank you! fan zine
practicing self care less out of self love and more for the sheer logical reasoning of itād be kinda stupid of me to expect myself to be able to function without proper maintenance
āoh i donāt deserve rest and relaxation, i havenāt done enough, i havenāt earned itā and my carās breaks donāt deserve break fluid because they arenāt breaking well enough to earn it. thatās what you sound like!!!!!
If you do not schedule time for maintenance, your equipment will schedule it for you
Andy Wier going on an anti-woke podcast to promote his film (Project Hail Mary) and trash Star Trek (after his own ST project got rejected) just for Trekkies to terrorize him into an apology with a day⦠Thatās one way to ruin your cutesy neo-liberal brand at breakneck speed
Genuinely such a dumb cunt thing to say while still trying to get Star Trek money:
āI dislike social commentary. Like⦠I really hate it. When Iām reading a book, I just want to be entertained, not preached at by the author. Plus, it ruins the wonder of the story if I know the author has a political or social axe to grind. I no longer speculate about all possible outcomes of the story because I know for a fact that the universe of that book will conspire to ensure that the authorās political agenda is validated. I hate that,ā Weir said. āI put no politics or social commentary into my stories at all. Anyone who thinks they see something like that is reading it in on their own. I have no point to make, and Iām not trying to affect the readerās opinion on anything. My sole job is to entertain, and I stick to that.ā
Here is a list of all the politics and social commentary Andy Weir did in fact include in the Project Hail Mary book that I can recall at the top of my head:
When Grace is still incredibly amnesiac and manages to remember what his apartment looks like, he remarks the lack of feminine touches in the decoration and casually wonders if this means he is single or maybe gay.
Upon learning of the astrophage problem, all the nations of the world get their shit together in record time and give Stratt basically unlimited power, authority and resources to do whatever is necessary to save Earth. This itself is a political choice. Pair it with the vastly different real world response world leaders have to climate change and it becomes a social commentary, sorry Andy but it really does.
The reason Grace decides to join the Hail Mary project is because of his students. He's in the middle of a class when he realizes the incredibly hard and bleak future that awaits his students due to the cooling Sun, and tells Stratt he wants to keep helping.
Shortly after figuring out how astrophage reproduce on his own, Grace is taken to the aircraft carrier, where he meets for the first time the other scientists involved in the project. After explaining his findings, a Chinese scientist announces their team has been able to reproduce Grace's findings, the implied reason being they had somehow spied on them.
During one of his first conversations with Rocky, Grace remarks on an unexpected hurdle of meeting aliens: pronouns. His conclusion is to just shrug and slap he/him pronouns on Rocky. There are no further conversations about this topic, not even when both of them are able to communicate fluently. Grace doesn't re-examinate his pronoun choice any further, nor, despite having a PhD in molecular biology and being curious about things like how Eridians eat, ask about Eridians' concepts of sex and gender.
Following that previous point, when Rocky mentions having a mate back home, Grace chooses for said mate the name Adrian. This is yet another reference to the Rocky movies, albeit a more obscure one, and a lot of the people that didn't realize this simply read both Rocky and Adrian as male and therefore gay.
One last bit re gender and sexuality is the fact that at no point during the book does Ryland Grace, a single man of unspecified sexuality, lament being single or express any sexual desires, which is why many people read him as being on the asexual spectrum.
The movie had to gloss over many things and completely skip over others, some of these later things were the incredible sacrifices and hardships Earth had to go through to survive until hopefully Project Hail Mary managed to find a solution to the astrophage problem. First off, in order to produce the astrophage fuel for the ship they paved a huge chunk of the Sahara desert, which had devastating ecological and climate consequences, altered or destroyed the homes and livelihoods of millions of people and created tons of refugees. Also, in order to win time and counter the effects of the cooling Sun, they start to nuke chunks of fucking Antarctica, because making climate change worse will make Earth hotter and therefore buy them time. The first time the scientist (a self-declared hippie ecologist) in charge of this orders the release of the bombs, he understandably breaks down and starts to cry. Needless to say, nuking the fucking Antarctica raises sea levels and also has horrendous ecological and climatic consequences and once again would in fact create millions of refugees. The fact that the book doesn't dwell on the consequences of any of these two actions doesn't change the fact that we as readers are supposed to extrapolate and put two plus two together whether Andy intended to or not. Expecting otherwise is frankly insulting.
At one point Stratt tells Grace what will happen to Earth while they await for the solution to the astrophage problem. She talks about the famines and how many people will die, but that's just the people that will starve to death. Millions more will die in the wars that will break out all over the planet because there is no way the richer and more powerful nations will be willing to share resources equally with the rest.
Grace gifts Rocky, a member of an alien species, a laptop that contains the sum of all human knowledge, history and media. He knows Rocky, but has never met other Eridians, and despite this he chooses to give it to them.
The fucking foundational plot of the book is interspecies collaboration, trust, and friendship. Choosing to meet and befriend an alien despite all the possible risks and dangers is just as political of a choice as choosing to kill an alien would be.
Andy Weir is very good at writing Cosmic Hope books about Space MacGyvers, but writing any kind of story is inherently full of a myriad of political and social commentary choices, whether you want to or not, and whether you realize it or not. Being unable to see or willing to admit this makes him a worse writer and frankly greatly mars part of his supposed genius.
favorite take that I've seen on this so far. Andy Weir is a great author who writes very humanist novels, he's just also a guy who doesn't understand what political means. PHM is his best work and it's not even close, and it's a story about connection in spite of everything that would get in the way of friendship and community. in this world? there's no way to read that as anything other than political.
The works of the roots of the vines, of the trees, must be destroyed to keep up the price, and this is the saddest, bitterest thing of all. Carloads of oranges dumped on the ground. The people came for miles to take the fruit, but this could not be. How would they buy oranges at twenty cents a dozen if they could drive out and pick them up? And men with hoses squirt kerosene on the oranges, and they are angry at the crime, angry at the people who have come to take the fruit. A million people hungry, needing the fruit- and kerosene sprayed over the golden mountains. And the smell of rot fills the country.
Burn coffee for fuel in the ships. Burn corn to keep warm, it makes a hot fire. Dump potatoes in the rivers and place guards along the banks to keep the hungry people from fishing them out. Slaughter the pigs and bury them, and let the putrescence drip down into the earth.
There is a crime here that goes beyond denunciation. There is a sorrow here that weeping cannot symbolize. There is a failure here that topples all our success. The fertile earth, the straight tree rows, the sturdy trunks, and the ripe fruit. And children dying of pellagra must die because a profit cannot be taken from an orange. And coroners must fill in the certificate- died of malnutrition- because the food must rot, must be forced to rot. The people come with nets to fish for potatoes in the river, and the guards hold them back; they come in rattling cars to get the dumped oranges, but the kerosene is sprayed. And they stand still and watch the potatoes float by, listen to the screaming pigs being killed in a ditch and covered with quick-lime, watch the mountains of oranges slop down to a putrefying ooze; and in the eyes of the people there is the failure; and in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.
- John Steinbeck, The Grapes of Wrath
link to story
BLACKSMITH VI?????????? AWOOGA
i think i had the beginnings of this one from a while back. left it alone for a long time until that one tumblr post of a butch knight getting her armor engraved came back around and added a few words. the following is all that i have right now but i do want to expand on this... ---
Viās just about done with the forge, turning the coals down low in preparation for the night when the same knock comes as it always does. Sheās not sure why she thought it wouldnāt when itās been here every single night and would naturally come even on the first night of the Noxians being in town for the Mid Summer gala.
āItās unlocked,ā she calls out from the back, knowing her visitor knows their way into the room.
When she emerges itās to the bob of a familiar ponytail.
āYour Highness,ā says Vi.
"Vi," says the Prince, fingers drifting off an unfinished vambrace.
Vi takes her in, that once wiry frame growing more muscular with each passing year, the bruise peeking out from the collar, the dented pauldron she holds in her hands. Well, that'd certainly explain the bruise.
"I apologize for bringing you more work," she says, and has the grace to look at least somewhat repentant.
Vi is not fooled for a moment, having banged out many a dent over many a month. Has it even been a month since the last time the Prince came down for a visit? (No, it has not.)
"And the new set for the Harvest Festival."
The Prince nods. "I hope it will not be too much of an imposition."
"Pft," Vi waves a hand. "More business is always good. Gets me ahead of my plans."
"Plans?"
In the lamplight those eyes are jewels. Vi has a pair in the back that she has been keeping for years now. Found them wandering the market once, the sky captured in stone, and could not resist. Why, she could not say, since the Prince has never asked for anything more than functional work and Vi has not yet dared ask if the Prince would ever consider more artful adornment of her armor. Part of her is thankful, given how often the Prince gets her armor banged up (surely whoever she is training with must have some reservations with beating up the next in line to the throne), but part of her feels weirdly indignant about the whole thing. Vi's damn good at her job and that means she's pretty damn good at decorating armor too.
"Would love to travel," she says instead. "Catching glimpses from visiting nobles is one thing, learning how they fire their forges and craft their work is another."
The Prince is oddly silent. Oddly not because she is never silent, but oddly because there is a weight to this silence, to the gaze that does not leave Vi for even a moment.
Then it passes.
The Prince smiles ever so slightly. "I saw some of your work on Jayce's breastplate." Her fingers tap on the pauldron in her hands in that one nervous way Vi's not sure she's ever noticed. The smile turns a little rueful. "It might be yet another impertinent ask, but would you care to adorn mine for the Festival?"
Vi stares back at her.
"Yours, Your Highness?"
The Prince nods, back stiff and ramrod straight.
"It would be an honor," Vi says. Then,"You sure?"
The Prince's smile grows impish. "Without a doubt."
i feel like people forget that sometimes characters in fic are written like that because it's a reflection of real life.
people have sex without setting boundaries. people have unprotected sex without talking about their sexual histories or producing recent sti tests. people play with kink without discussing it ahead of time or establishing a safeword. they have anal without 'enough' prep or lubeāthey may even prefer it like that.
and none of this is really a fantasy. it's all pretty normal. you can feel that it's inappropriately normalised, and you'd probably be right! but it is normalised: one study found that 58% of female undergraduate students on the campus studied had been choked during sex. 20% of those students said that they'd never been asked if it was ok; another 30% said they'd only sometimes been asked if they consented. fully half! (non-paywalled journal article on choking during sex here, including these numbers.) despite a rise in stis of all sorts, condom use is declining. (pdf link to the full text of this study about declining condom use in the us; aidsmap article about an australian study with similar results.)
even when people do talk about thingsāsex or anything elseāthey communicate imperfectly. 'yeah, but don't go too far' is consenting and setting a boundary, and also relying that the person you're talking to has the same metric for 'too far' that you do. for some people, 'the trash needs to go out' is a neutral, factual observation; for others, it's a request that the person they're speaking to take out the trash.
even when people understand each other perfectly, people react unpredictably to things sometimes! we behave irrationally! people laugh uncontrollably at funerals, or get angry at the straw that broke their back rather than the enormous load they were already carrying. they get scared and lash out at people trying to help them. when hurt, most people do not instinctively reach for therapy-approved grounding exercises and 'i feel' statements.
pretty much any bad choice that characters could conceivably make is a choice that people make in real life, on purpose, all the time. people do things that can have catastrophic, life-changing effects because it felt like a good idea at the time, or they're leaning into the vibe, or they just didn't think about it all that much, or an infinite number of other reasons.
fiction isn't intended as a guide on the best, safest, and most responsible ways to live your life, and fanfic isn't any different. it's not a narrative flaw to let characters do things that are messy or harmful or downright stupidāit's a reflection of what people are actually like, and not something that authors should feel they have to apologise for.
i am obsessed, in the most derogatory way possible, with the people in the notes who are reading this post and then saying, well, those stats you're pointing at are why you have to make it clear in fiction that they've had a conversation about Consent And Safety. if you don't tell people to use condoms, if you don't tell people that it's not ok to choke someone without prior consent, if you don't tell people that they have to do these things Correctly, you're part of the problem.
so i will say it again: fiction is a reflection of life, but it is not real life. fiction does not have to set a good example. fiction does not have to be safe, sane, or consensual.
fiction isn't intended as a guide on the best, safest, and most responsible way to live your life. if you read it looking for that, you are the problem.
what will your character do..
(reblog and brainstorm, lovelies! u can also write drabbles with theseee )
if they're met face to face with their plot, with no warning?
if they're stressed?
if they're happy? who will they want to share it with?
if they're sad? will they go to anyone for comfort? if yes, who?
if they're forced into a life of death situation?
if they're being threatened?
if they're kissed by their ex?
if they're confessed to by someone who they had no clue liked them? (given, they're single or not)
if their lover betrays them?
if they're coughing up blood out of the blue?
if there's a strange presence in the room, and it feels ominous?
if they discovered a dead body?
^ if the dead body is their best friend? (great question to start and develop a plot)
if their enemy is at their doorstep, bruised and injured?
if they had to share a bed with someone they don't particularly hate? ahem
if they had to be fed by someone they didn't like/their crush?
if their partner-to-be? enemy? pulls them into a secluded and shushes them? (their bodies pressing and all that!!)
when asked to choose between their family and their lover? (given the circumstances of ur story)
when kissed on their head by their enemy after a near death experience?
if they're dancing with a stranger, and the stranger says 'stop dancing, sweetheart and you'll hunted. do u wanna die?' ?
if they find out the food that served to them has glass dust on it? (who is it served by?)
when being pulled into a hug when they most need it by someone they least expect?
when they have to hold someone they loved at a gun point? why would it even occur?
when they have to choose between their own life and their lover's?
when they've to give up something (of great importance to the character) to save their lover?