ART!

The Black Nerd. A common character type, the nerd will always be very interested in all things nerdy: science, video games, mathematics, etc. In an continued effort to combat stereotypes, the Black Nerd will be lack athleticism, probably being asthmatic (the nerdiest of conditions). The Black Nerd will dress smartly, suspenders and bow ties. They’ll always talk smart too, using proper English with complex words.

Now, I don’t have a problem with a black character being a nerd, indeed black people are a people; we aren’t all the same and we all have varying personalities. The problem I have is that too often we see a distinct disconnect between Blackness and the Black Nerd. The Black Nerd doesn’t listen to hip hop or rap, only classical music. The Black Nerd only has white friends, the only other black characters are into not nerdy stuff. The Black Nerd never ever uses AAVE at any time in any context.

Well @dumbey, seems we’re in similar boats

Changing the outcome because a reader was like “I really hope this doesn’t happen”, and on consideration you realise that you also hope that doesn’t happen  

Changing the outcome because a reader was thinking further ahead than you are and spotted an implication of a forthcoming plot point that you don’t like the smell of  

Changing the outcome because a reader’s prediction drew your attention to the fact that your planned resolution would have stumbled dick-first into a massive plot hole  

Changing the outcome because a reader picked up on a bunch of blatant foreshadowing and symbolism you didn’t notice you’d put there because your subconscious forgot to send a memo  

Changing the outcome because a reader proposed such an elegant solution to a legitimately thorny narrative problem that it would feel petty not to let them be right  

they usually dont split off unless someones trying to tear their fluff off, and then they'll kind of humor them about it. or if they are bored, they will have a little butterfly fairy of fluff float off to go bother someone. they can basically turn into a swarm of annoying fairies.

they rain when they're grieving with someone and get thundery when upset. they like to portray themself as all knowing and all seeing, so they don't try to emote much like that unless its on someone elses behalf, like they can say theyre helping them process emotions. kind of undercuts their whole thing of being a perfect messiah if they just get mad or sad or surprised by something, by themself.

theyre actually pretty psyched about their new body because they can shapeshift and change size and are completely nebulous by default. they have the same kind of blunt 'well it sucks that youre upset but look on the bright side' thing as ragatha. but specifically about other peoples bodies. because how could you not love being a funny little toy. you do. you're just greiving your old body still. thats fine but not your new bodys fault. your new body is great.

The very first experience it has with the base crew is that they save it from people shooting at it, give it warm hugs, and kill the people trying to deatroy it. After that it attacks and impersonates an unknown (at the time) member of the crew. After that it gets surrounded by dogs who are angry but too scared to approach, then it changes, then it attacks the huskies, and only then does anyone in the base camp treat it with hostility.

The entire first act of the movie is devoted to establishing that they know each other with an Intimacy so deep they can anticipate one another's actions and attitudes. They have been in an isolated arctic base for months and months where they can barely leave the same building. They are in one another's personal space throughout the movie. It's a vital plot point that the Thing can immitate people down to memories and personality traits. It's a vital metaphorical point as well. It's so deeply and fundamentally superficial and factually incorrect to call them unfamiliar with each other that it implies total inattention to what is happening on screen.

The Thing is, at heart, not a movie about any singular decision or behavior creating a bad outcome. Baked into the 1982 movie is failure, death, entropy, inevitable loss. It's not a movie that's meant to have a right solution, or a right decision - but when someone comes at this very bleak story without a good grounding in horror, there's a kind of urge to treat it like a puzzle. If only they were closer. If only they communicated.

That's not meeting it where it's at, because it rests on a situation where none of those elements really exist. People acted the best they could in the circumstances with the tools and information they had - and it simply was not enough. Nearly everyone dies. Even with the ambiguous ending, whoever is human is going to die, because it's winter in Antarctica and he is hundreds of miles from anywhere with no shelter and no food and no transportation. That's the sort of horror it is, the idea that when faced with extinction humanity's best efforts won't succeed. Creating an interpretation where if we had "just" this or that is shying away from the bleakness. But at the same time, not facing up to the idea that some things really might not be solvable, that the worst can happen in spite of it all, is a necessary skill. Not one we need to indulge in constantly, but we should have that knowledge.

And sometimes, you have a string of fandoms that are Actually Pretty Good. And the danger of this—the very great danger—is that when you have a string of Actually Pretty Good and even Actually Amazing obsessions, you start to believe that maybe you have taste. Perhaps you are now immune to the indignities of losing it over something mostly bad.

And frankly, it’s starting to really get on my nerves when people read “I think this thing is good. I wouldn’t change a thing about it and frankly I don’t even think there should be more canon added to it, but I am still going to write thousands of words of fic, make a cosplay, and draw fanart” and then completely misunderstand and respond with “yes I agree—I like things that are good too. But I never feel the transformative/creative fandom instinct for them because they are too good.”

compelling worldbuilding (invites interaction with the setting)

interesting gimmick (see: daemons, drift compatibility. subcategory of compelling worldbuilding)

shipping bait (duh)

original character bait (in-universe categories/factions and design elements that make it fun for people to create their own characters)

compelling narrative (invites interaction and tweaks to the storyline: AUs and fixits and so on)

basically anything that invites interaction and recombination. but fandom also has a sort of multiplying effect: the larger the interactive audience of fandom is, the more likely it is to generate ideas and works that draw in more participants. so: