Metafiction - a self-conscious literary style in which the narrator or characters are aware that they are part of a work of fiction.
Often most closely associated with postmodern prose, it involves a departure from standard narrative conventions, in which a self-aware narrator infuses their perspective into the text to create a fictional work that comments on fiction.
This kind of fictional writing can appear in novels, short stories, plays, video games, film, and television.
Breaking the fourth wall: Breaking this boundary between writer and reader blurs the lines between real life and fiction. Metafiction often directly addresses the reader, openly questioning the narrator’s own story.
Self-reflexive: Authors use self-reflexivity, or self-consciousness, to reflect on their own artistic processes, drawing the audience’s attention away from the story and allowing them to question the content of the text itself.
Experimental: Metafiction is often experimental in nature, fusing a number of different techniques together to create an unconventional narrative. Metafiction can also experiment with the role of the narrator and their relationship to the fictional characters in the story.
The main purpose of metafiction is to highlight the dichotomy between the real world and the fictional world of a novel.
Metafiction can be used to parody literary genre conventions, subvert expectations, reveal truths, or offer a view of the human condition.
Often used in postmodernist fiction to comment on the world that our character inhabits, metafiction helps give a work of text more significance by providing an outward, exploratory look of a self-contained world.
The Canterbury Tales (1387): Geoffrey Chaucer’s classic anthology of interconnected stories that parody the conventional elements of fiction. Chaucer blends linguistic styles and rhetorical devices to craft a collection of stories within the overall story, regularly breaking the fourth wall to address the audience directly and apologize for any offense the narrative may cause.
Don Quixote (1605): Miguel de Cervantes Don Quixote is essentially a book about books. In the prologue, Cervantes breaks the fourth wall by commenting on his process of writing the book, in which he urges the reader to make up their own mind about the written text. The ensuing novel discusses the adventures of the protagonist, Don Quixote, who has gone mad from reading too many chivalric romance stories.
Giles Goat-Boy (1966): John Barth’s fourth novel is a prime example of the metafiction characteristic of postmodernism, featuring several fictional disclaimers in the beginning and end, arguing that the book was not written by the author and was instead given to the author on a tape or written by a computer.
The French Lieutenant's Woman (1969): Written by John Fowles, The French Lieutenant’s Woman is a historiographic metafiction novel about a love story between a gentleman and a governess in the Victorian era. The book features a narrator who becomes part of the story and offers several different ways to end the story.
Slaughterhouse Five (1969): In Slaughterhouse Five, Kurt Vonnegut includes his own voice as a character in this non-linear narrative. The main character has been “unstuck in time,” oscillating between the present and the past with no control over his movement, emphasizing the senseless nature of war.
Gravity’s Rainbow (1973): This story by Thomas Pynchon is the poster child of postmodern literature, using a complex, fragmented structure to cover various subjects such as culture, science, social science, profanity, and literary propriety. In this particular narrative, Pynchon questions history and how it gets created, and also how it affects both society and the individual.
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Strange little family 🌿🦖
ENFJ: I'm so tired of studying for my double degree all day but I've just started a new poetry book! It's divided in three parts, even though I haven't thought about the design of the book yet. Probably minimalistic.
ENFP: well I just identified the specific region in Italy where a tiktoker lives based on his accent, asked in the comments if I was correct and he's the one who replied. I was right. We're basically best friends now. Also check this video I made while procrastinating.
LALISA MANOBAL ↴ THE WHITE LOTUS 3.05 — «Full Moon Party»
INFJ/ISFJ: true crime, scrolling through wikipedia for hours, looking up riddles, scrolling through "onlyjayyus" tiktok, has a huge duolingo streak
ENFJ/ENTJ: uses se to support te/fe ambitions (sports, performing arts, community service, cleaning)
ESFJ/ESTJ: fantasizing, vision boards on pinterest, adding items to amazon wishlist, makes a bucket list for the year,
ESTP/ENTP: touches grass, hangs our with friends, class clown, watches reality tv, starts drama for no reason, debates on the internet (or fights irl if you're an estp 👀)
ESFP/ENFP: random urge to organize computer, random internet debates, creates new playlists, watches video essays about random topics, argues with friends about either stupid or smart things
INFP/INTP: reminisces about things. procrastinates. overthinking past conversations in the shower. collects cool rocks. photography. listens to the same song over and over again.
ISFP/ISTP: planning and...stuff. zodiac, psuedoscience, etc. strategic/world building video games, has a whole fictional world planned out in their head.
INTJ/ISTJ: "write in their feelings diary" 💀 IM SORRY, introspection, often known as super "self aware" as a result, watches nostalgic or comfort movies
When KIBUTSUJI MUZAN had the GOATED villain entrance in anime history.
You've mentioned that you hc Reigen as ace, can you elaborate?
I agree w/ that but can't sort my thoughts out well enough to make a coherent analysis ;w;
Yeah, that's the vibe he gives me. No concrete "evidence" and I don't care all that much about the sexual orientations of fictional characters, but I guess for me, the headcanon comes down to three things:
1) Reigen is super disinterested in other people being attracted to each other. I feel like there are several small examples of this, but first one that comes to mind is that case with the esper who can astral project and uses it to stalk his neighbor. When they discover this, Reigen has such a non-reaction. I've seen a lot of people bring up these panels
which, yeah, but when they find the culprit, Reigen also doesn't express much of an opinion. It's just "it's a stalker, stalking is bad and illegal, this is a job for the police." No more introspection from him, he immediately moves on, it doesn't interest him. Mob is the one doing all the reacting.
2) Reigen never resorts to flirting despite how he's known for bullshitting his way through anything else to complete a job. Like, no matter how horny Studio Bones is for the guy, they can't change this. He could deliberately capitalize on the fact that a considerable amount of his income comes from massaging middle-aged ladies who find him attractive, but he doesn't. It's accidental. It does not even seem like something Reigen thinks about.
3) Reigen's a self-conscious person, yet doesn't act like it bothers him that he's seemingly never been in a relationship before. He explicitly has a crisis over being lonely in the confession arc, but it's about friends and connections and doing something meaningful with his life. Romantic relationships don't factor into it, even though it easily could, considering it has great thematic relevance for Mob who spends the entire story being in love. Not that you can't fall in love with someone if you're ace, this goes a little bit into aro territory I guess, but either way.. it just gives me that vibe. The indifference. I mean, even in chapter 99 when Mob point-blank asks Reigen for advice about Tsubomi, Reigen first asks Serizawa, then looks it up on his phone, exactly like he would with any other topic he doesn't know jack shit about.
Also, at the end of the scene, he muses about what's important in a relationship, and his conclusions just.. don't sound like he's talking about romance? To me?
I don't know, that entire scene gives me flashbacks to being younger and not yet knowing what asexuality (or aromanticism) is and having to navigate conversations like that without giving away that you fundamentally can't relate to this thing everyone else is so preoccupied with.
Them's my takes, I don't have much else to say about it.
(and Kyojuro’s is very persistent)
I did not come up with this joke - I could not for the life of me find the post that inspired this (even though I swore I saved it because it had me cackling).
First one to find it for me so I can credit them wins!
Thank goodness im not the only one
shipping renkaza fucking sucks because you either get people who hate real enemies to lovers and call it toxic or pr*ship because they actually are enemies who want to kill each other instead of friends who bicker sometimes (these people are the weakest link and will not survive the winter)
or you get people who do ship it but only in the gooner dumbing-it-down-to-hardcore-porn way where they romanticize and get off to abuse and r*pe (these people are just gross sick individuals and i hope they go extinct)
and the few people who do see the emotional depth in the homoerotic minutes renkaza spent together and the potential in that for top tier doomed yaoi are few and far in between and i rarely find good fics that aren't just insanely ooc porn
You could remove almost every female character from this series and nothing changes. Rather than discussing who goes, let's start with who stays. The list isn't long.
-Toga, because she's one of the villain team's MVPs and removing her from the story leaves a massive hole where she used to be. -Uraraka, removing her takes away a major supporting member of Deku's cast. It COULD be done. You COULD just restructure all of the moments between Toga and Uraraka to happen with Deku instead. It would just be really janky.
If we stick to canon's story beats, you'd have a scene where Izuku watches Toga kill herself after their fight and then he rushes off to kill Shigaraki. Uraraka stays. -Nana Shimura, since she's All Might's trainer and also Tomura's grandmother. -And either Mei Hatsume or Momo to act as tech support. Objectively speaking, you don't need them. Momo's contributions in canon were making the tracking devices that led the heroes to Garaki's nomu lab during Kamino, and she made a gas that knocked Gigantomachia out...AFTER everyone got finished jumping him and landing their hits, of course. You could write Momo out by conveniently having Mei invent devices that the heroes use before they know they need them. Or you could scrap both of them. They find the nomu lab because the cops analyzed power expenditure rates in the city and saw the warehouse. They assumed this was either a hydroponics weed farm, or something shady was going on. It turns out to be a nomu lab. They beat up Machia just as they did in canon, except he goes down and stays down. -Eri, on the other hand, is an edge case. She contributes nothing but two things towards the end of the series: restoring Mirio's quirk and healing Deku's arms. She's underdeveloped as a character entirely. She's not a character. She's a trauma prop and a moeblob. She's a major plot device and a reason the Overhaul arc plays out the way it does. You functionally could replace her if the story was willing to have Aizawa get abducted and Overhaul figures out some means to create bullets out of the guy's DNA. You'd have Present Mic there to attack the Yakuza alongside Deku in this universe instead. It's messy and it turns the Overhaul arc into the Aizawa Rescue Arc but it could be done. You'd just have Mirio either not get shot, or he does get shot and we have consequences for once. Mirio in canon proceeded to do basically nothing after his arc, showed up later to defeat Mister Compress, then help stall Tomura. For the sake of not having to change much, we keep her. But I do think a story where Deku rescues his teacher has better bones to it, since Eri does nothing after her arc. They make her smile at a school festival and her years of trauma are fixed. -Recovery Girl is another edge case but the story doesn't care about her as a person. She's a tool to heal main characters and enable them to recover near instantly from their injuries. You could replace her with a talking healing pod from DBZ and get the same end result. We just replace the scenes where she complains with Nezu doing it. Nezu, to All Might and Midoriya who are both in healing pods: You guys really ought to go less hard, eh? But who am I kidding? Plus Ultra! The rest of them? You could functionally ditch and not much changes. I'll go through all of them in a lightning round. Mirko: Replace her with Gang Orca. You know, the really tough mutant guy who could fight Inasa and Shoto at the same time? The guy the story barely used after? Yeah, we dust him off and slot him in. Midnight: Even her two best friends didn't care about her after she died. If we have to kill a teacher who doesn't affect the plot, kill Ectoplasm. Hagakure: Besides discovering Aoyama, what does she ever do? Deku could have just as easily discovered Aoyama...when All For One orders him to capture Deku. It's REALLY OBVIOUS Aoyama is the spy when he's attacking! Tsuyu: She saves Izuku from a shark mutant at the USJ and then does nothing else until she becomes Uraraka's video game assist against Toga. Mina: Her arc is already shared with Kirishima. You just have him eat the rest of her screen time and story beats. Kyoka: Absolutely superfluous. She sings a song once, loses an ear to AFO, and then makes the quirks in him briefly rebel. Have Tokoyami fight alone and we end up in the same place.
All the girls in class B: Class B was a waste of space and shouldn't have existed. Nejire: The big 3 didn't need to exist. Clearly only Mirio actually mattered. The story wanted to show how great Mirio was at the time. Let him fight Nejire and Suneater's foes and show off his POWER. Ryuku: Her most notable scene was getting beat up by Tomura, then is MIA until the final war, where she fights a background character. Magne: She existed just to get brutally murdered by Overhaul. The author NEVER cared about this character.
Inko: If she was never seen and the story didn't bother to get into who Izuku's parents are, what changes? Nothing. So we have 5 essential female characters: Uraraka, Toga, Momo/Mei, Eri, and Nana. 4 if you're willing to do an Overhaul arc rewrite and ditch Eri. 3 if you decide Momo/Mei's contributions aren't needed. This isn't a problem unique to MHA, by the way, this series is just especially bad about it.
Mid hero fraudemia
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