I Had A Similar Idea, I Think Megamind Is The Absolute LAST Movie That Ever Needed A Sequel But If They

The last part really resonates with me because recently I've disconnected almost entirely from franchise movies, current releases, anything in "the industry". At this point, the wells of Hollywood and big-budget videogames have been irreversibly poisoned for me and the only way I can connect with art anymore is either when it's something created by individuals, small teams, anything independent, or it's something I've created myself (and I am an individual). I think once you take that step back you really see how bad it's gotten. I feel like corporations have taken such insane steps to commodify and reduce what is, at its core, the very medium of human expression. All the talk of "IP" and "content" and "canon" and "consuming", is so sterile and lifeless, and I feel like the normalization of this kind of language is seriously affecting how people relate to anything creative. Someone else said it better than I ever could- "why on earth do you let a company buy the right to determine what you think and feel? Make them "the legal owners of what happens in your mind?""

I love the practice of requisitioning, remixing and reworking books, comics, movies etc. through any means you like, but I hate hate hate the way so much vocabulary that used to be rooted in individual creativity has been taken over by this kind of fucked up deference to mainstream publishing and ip.

easy example: everyone calls the characters they work up for their projects 'OCs' now. that genie is out of the bottle, I'm not even going to try and cram it back in. it's universal terminology. but I do want to reflect - why is the default position to assume that when someone says 'my characters' they mean something derivative, unless they specify 'my Original characters'?

similarly, all character relationships are 'ships'. but what's wrong with that? you say, it's just short for 'relationship'. and you would be right, by merit of completely ignoring the fandom ancestry and common understanding of that term in order to win an argument. because you know as well as I do that 'ships' aren't 'relationships', they're hypothetical romances that the speaker is rooting for. so why do I keep seeing people talk about shipping their OCs? why is a hypothetical relationship entertained and enjoyed by the creator of the work described using fan terminology?

I have for real no joke seen people talk about their 'headcanons' for their own characters, in their own stories. that's not a headcanon babe, that's canon!!! that's YOUR WORK. moreover, why are we even talking about the canonicity of your personal original writing? this isn't the star wars extended universe, why are international franchise IPs setting the baseline for the relationship you have with your writing and the terminology you use to conceptualise it?

tbc this is not a 'fandom brainrot' post. because I don't think it's fanwork that's the root of the problem. I think it's the insidious creep of capitalism and the ever more draconian weaponisation of copyright law that has rewritten our capacity for talking about creative work so that it revolves at all times around ownership and precedent. there is a deep learned anxiety about describing fictional works as fictional properties, that echoes in our vocabulary as we constantly make clear what is owned and what is not, what has been established on the record and what exists in the realm of speculation.

the reason 'fandom brainrot' is such a compeling stand-in for this issue is that it's really just one step downstream from all that voracious rent-seeking behaviour by publishers. if the only things you ever read or watch are in the milieu of those franchise copyright lawyers, that is the understanding of fiction-as-property you develop. if you're not exposed to a broader spectrum of art and artists, living and dead, who talk about their work as work - as expression, as experimentation, as a personal process and as a shared space with their audience - you will quickly be alienated from your own creative practice by design.

the point i want to make is this: going off the beaten track, exploring outside the franchises and bestsellers and box office babies, is not just a matter of good taste. imo it is a necessary act of solidarity with artists who still live, work and speak as individuals. it's a healthier environment for you as an artist. you deserve a relationship with your own work, not a ship.

I don't think we've really grappled with affini biorhythms, and their impact on society. We've all heard stories about them from overeager florets, or the urban legends about what happens if an affini decides to stay near you for too long. It's honestly kind of terrifying, knowing that our wills can be so easily subverted on the whim of our benevolent overlords.

But at the same time, I can't think of the last time I saw the parks on Tyriador-IV this crowded. Or the bars and restaurants, the bookstores and museums. Yes, some of that is undoubtedly that the old pollution has been scrubbed, transit has been made cheap and affordable, outdoor spaces have become vastly more pleasant, and we no longer need to work long hours just to survive. The affini claim that it is simply due to that, the fruits of their social reforms and alteration of our material circumstances. That is the easy narrative, one I haven't even heard the most rabid feralists question, though they see it as far more sinister than I believe it to be.

I think otherwise. If you're reading this post, I'd ask that you look, really look, at the spaces where people tend to congregate. The spaces and venues that fill up day after day. I'm willing to bet that, regardless of the planet or vessel you're on, you'll see the same thing I've noticed--people go where the affini are. Even with all the complaints I've seen independents make about their incessant flirting, or how unsettling it can be to be surrounded by florets, the majority of the humans here spend significant amounts of time hanging around areas also filled with affini. Even I've found myself doing it.

Nobody I've asked has even been conscious of this bias in their own behavior. Most seem to think I'm some feralist grasping at straws, or just plain crazy. But I'm not. I am as grateful as anybody that they got rid of the old fascist Accord and replaced it with this utopia. I just need people to take me seriously when I say that I think we're all unconsciously dosing ourselves on their biorhythm. Not to the point where we're getting tied to any one individual affini. But collectively? Our entire species is drifting towards subservience in ways we didn't even realize. I tried to avoid all affini this last week, staying in my hab to avoid any biorhythm exposure, and I almost had a panic attack. It was only after my Hab AI called for a crisis vet that I realized I used to have panic attacks all the time, and they'd stopped after the affini took over. Just being around them is subtly soothing, and we're slowly waltzing our collective way towards dependency.

I wonder how much easier to domesticate we've gotten after years of daily exposure. Not everyone is as on-the-brink as I am, and obviously there are still plenty of stubborn holdouts. But please, search your feelings. See if you enjoy being out and about, and then test whether you enjoy it as much if you're still outside but away from any affini. Everyone needs to be aware of this, even if I myself can't resist how much I enjoy their presence.

It's hard to even fall asleep without a biorhythm subtly pulsing through me these days. I'm very grateful that Phiola has been letting me sleep firmly nestled in her vines. But please, don't discount my words because I'm a ward, and will likely be a floret soon. This feels like important information to share, if just so all the rest of you wannabe independents can know just how deeply ensnared you already are.

-Eric Statler, he/they

wow

Bedtime For A Little Sprout

Something I have always loved about the HDG community has been the positivity. I hadn't ever written a story before 'joining' HDG with Five Lives, but I was welcomed here despite that, and I'm far from the only one. Provided you don't be a dick and respect both the setting and folks who are part of it, the community is a fantastic place to explore a passion for writing, and that freedom and encouragement to be creative is something to be celebrated.

There have been some incredible HDG stories that have come out in the last year alone, and I think that's in large part due to how comfortable places like the HDG discord are. I think it fits some of the common themes of HDG as well- that you matter, that your thoughts matter, and that we should look out for one another. I personally believe that one of the worst things to do to someone trying out a new passion is to give them too much criticism- save that for later, and let them enjoy the wonder! I think that's something the community does very well.

Of course, it also helps that folks new to HDG have incredible resources like the HDG Discord (which has volunteer staff who are very good at answering any tricky setting questions, called Lorets) and the Guide to Writing in HDG. It helps that we as a community have all agreed to play in the same sandbox without kicking over each other's castles. And it helps that so many folks are clearly so passionate about the setting, have found real and powerful emotions and growth from the stories.

Anyway, all that to say: if it's your first time writing but you have that idea in your head that you're sure is perfect for the HDG shared setting?

You should go for it.

HAPPY BIRTHDAY CHLOE PRICE THE ONLY WOMAN EVER.

give that man a pussy. give that woman a dick. give him tits. give her a chest so flat you could stack cards on it. Grow up. get real

trying to pinpoint the professor layton series in any particular time and worrying over ‘historical accuracy’ is soooo silly they are deliberately anachronistic! and ridiculous! this is not a series set in the 1960s this is a series playing with period aesthetics to create timelessness. if professor layton adheres to any chronology it’s actually the 2010s and that’s just what britain is like then in the ace attorney universe

been thinking about this concept for a while that when Morti starts transitioning  Rick gets a shock at realizing she reminds him of a younger Beth now

Lunch With Your Affini