#(and how my experience was VASTLY Different from Most I Think)

[mcmansionhell]

we've found it folks: mcmansion heaven

Hello everyone. It is my pleasure to bring you the greatest house I have ever seen. The house of a true visionary. A real ad-hocist. A genuine pioneer of fenestration. This house is in Alabama. It was built in 1980 and costs around $5 million. It is worth every penny. Perhaps more.

Now, I know what you're thinking: "Come on, Kate, that's a little kooky, but certainly it's not McMansion Heaven. This is very much a house in the earthly realm. Purgatory. McMansion Purgatory." Well, let me now play Beatrice to your Dante, young Pilgrim. Welcome. Welcome, welcome, welcome.

It is rare to find a house that has everything. A house that wills itself into Postmodernism yet remains unable to let go of the kookiest moments of the prior zeitgeist, the Bruce Goffs and Earthships, the commune houses built from car windshields, the seventies moments of psychedelic hippie fracture. It is everything. It has everything. It is theme park, it is High Tech. It is Renaissance (in the San Antonio Riverwalk sense of the word.) It is medieval. It is maybe the greatest pastiche to sucker itself to the side of a mountain, perilously overlooking a large body of water. Look at it. Just look.

The inside is white. This makes it dreamlike, almost benevolent. It is bright because this is McMansion Heaven and Gray is for McMansion Hell. There is an overbearing sheen of 80s optimism. In this house, the credit default swap has not yet been invented, but could be.

It takes a lot for me to drop the cocaine word because I think it's a cheap joke. But there's something about this example that makes it plausible, not in a derogatory way, but in a liberatory one, a sensuous one. Someone created this house to have a particular experience, a particular feeling. It possesses an element of true fantasy, the thematic. Its rooms are not meant to be one cohesive composition, but rather a series of scenes, of vastly different spatial moments, compressed, expanded, bright, close.

And then there's this kitchen for some reason. Or so you think. Everything the interior design tries to hide, namely how unceasingly peculiar the house is, it is not entirely able to because the choices made here remain decadent, indulgent, albeit in a more familiar way.

Rare is it to discover an interior wherein one truly must wear sunglasses. The environment created in service to transparency has to somewhat prevent the elements from penetrating too deep while retaining their desirable qualities. I don't think an architect designed this house. An architect would have had access to specifically engineered products for this purpose. Whoever built this house had certain access to architectural catalogues but not those used in the highest end or most structurally complex projects. The customization here lies in the assemblage of materials and in doing so stretches them to the height of their imaginative capacity. To borrow from Charles Jencks, ad-hoc is a perfect description. It is an architecture of availability and of adventure.

A small interlude. We are outside. There is no rear exterior view of this house because it would be impossible to get one from the scrawny lawn that lies at its depths. This space is intended to serve the same purpose, which is to look upon the house itself as much as gaze from the house to the world beyond.

Living in a city, I often think about exhibitionism. Living in a city is inherently exhibitionist. A house is a permeable visible surface; it is entirely possible that someone will catch a glimpse of me they're not supposed to when I rush to the living room in only a t-shirt to turn out the light before bed. But this is a space that is only exhibitionist in the sense that it is an architecture of exposure, and yet this exposure would not be possible without the protection of the site, of the distance from every other pair of eyes. In this respect, a double freedom is secured. The window intimates the potential of seeing. But no one sees.

At the heart of this house lies a strange mix of concepts. Postmodern classicist columns of the Disney World set. The unpolished edge of the vernacular. There is also an organicist bent to the whole thing, something more Goff than Gaudí, and here we see some of the house's most organic forms, the monolith- or shell-like vanity mixed with the luminous artifice of mirrors and white. A backlit cave, primitive and performative at the same time, which is, in essence, the dialectic of the luxury bathroom.

And yet our McMansion Heaven is still a McMansion. It is still an accumulation of deliberate signifiers of wealth, very much a construction with the secondary purpose of invoking envy, a palatial residence designed without much cohesion. The presence of golf, of wood, of masculine and patriarchal symbolism with an undercurrent of luxury drives that point home. The McMansion can aspire to an art form, but there are still many levels to ascend before one gets to where God's sitting.

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[bmpmp3]

i NEEED to be more annoying about being mixed race in public i keep forgetting how dire it is. sometimes i point out stuff in like visual culture classes about like a magazine cover with a biracial model or something and it blows peoples MINDS because the whole class forgot mixed people were real

[izzyizumi]

Me: No, genuinely, if anyone else had the childhood experience of P.k.m.n and DigiAdv dub (specifically, THEN 02 dub later on) airing on the SAME channel in your location, you should tell me, actually, because I genuinely wonder sometimes if it was ONLY my location (at time, I didn't actually live there) airing both those programming blocks at the NEAR EXACT TIMEFRAMES (barely 1~ or so hour apart from each other) and I still "????!!?!?" at how that happened for that channel to THIS DAY----

[pedroscurls]

training partners (pt. 3)

summary: you continue to spend more time with hugh, realizing just how different your lives are and while it scares you, hugh does a great job at reassuring you. pairing: hugh jackman x fem!reader warnings: implied age gap (hugh is 55, reader is in late 20s-early 30s), reader has some description (hair, outfit), angst - mentions of a past toxic relationship (gaslighting) reader thinks too much and has insecurities, suggestive smut (brief oral - f receiving), no use of y/n. word count: 3.9k a/n: ok, so this relationship is moving fast but let's be honest, i feel like hugh would definitely know a good thing when he sees it lol. this is purely fictional! i mean no disrespect to hugh jackman (it's the only way i can live out my fantasies of this man lol). prev part.

You wake up the sounds of Hugh’s quiet snores. You still can’t believe you spent the night. One of his arms is draped over your waist and you’re very aware of the lack of clothing between the both of you. True to his word, Hugh devoured you last night. His tongue, his lips, his fingers– the man knew exactly what he was doing. You were hesitant at first, seeing him between your legs, mouth inches away from where you needed him the most. He could sense your nervousness and had gently placed a soft kiss on the inside of your thigh. 

It was such a simple act, but it provided all the reassurance you needed. Hugh was the first ever person to go down on you and you fear that he’s ruined it for you. If this didn’t work out, you’re sure that there won’t ever be another man to do it like him.

You’re lying on your back, arm resting over his. He looks so peaceful, so unbothered by the responsibilities and realities of the world. His snores even provide a level of comfort that you know can lull you back to sleep. It had only been a week since meeting him and while you certainly didn’t plan for any of this to happen, you can’t imagine it being any different. 

You liked Hugh. A lot, and it scared you. Not because you didn’t think you weren’t ready to get into another relationship, but because your worlds were just vastly different. 

But you remember what he said yesterday and it brings a smile to your lips.

“I don’t want this to be casual.”

You turn slightly to face him, watching as he moves with you, lying on his back instead as his arm drops from your waist. You lie on your side, bringing your fingertips to gently run across his chest. He’s still snoring, but you can’t help but notice the marks you left on his body. The scratch marks on his arms and you’re sure there are more on his back. 

This doesn’t feel real. It’s like you’re in some kind of dream and you’re afraid to wake up, not wanting this to end. Yesterday had been one of the best days you’ve had in a very long time and you had Hugh to thank. Not only was the sex amazing, but the conversations and laughter you both shared was just as great. 

You know you shouldn’t be comparing Hugh to your ex-boyfriend, but you can’t help but reflect on just how different they both were. Whenever you were talking, Hugh always made sure to keep his attention fully on you, eyes staring into yours, hand holding yours or resting on your back. With Hugh, you felt seen. You felt heard. You felt like your voice mattered. 

With your ex-boyfriend, you always felt like you were bothersome. He had always been very short with you, always on his phone, and very disinterested in what you had to say. Towards the end of your relationship with him, you had learned to keep quiet, learned to keep your thoughts and opinions to yourself. It wasn’t until the relationship ended that you realized just how much your ex-boyfriend gaslit you and your emotions. 

But with Hugh… You felt validated. You had to wonder if it had to do with the age difference. Your ex-boyfriend was just a year older than you; with Hugh being much older, you couldn’t help but think about all of the life experiences he must have gone through to get to where he is now. 

With Hugh, you feel so much more grounded. 

Wanting to surprise him with breakfast, you slowly climb out of bed and pull on your panties. You carefully tiptoe into his closet, making sure not to make too much noise. You pull on one of Hugh’s white button down shirts and slip it on, buttoning just a few buttons to at least cover yourself up. 

Then, you leave his bedroom and make your way to his kitchen. You don’t know if this is overstepping any boundaries, but you wanted to do something nice for him, especially after yesterday. 

You’re taken aback by the view of the city again. Hugh was right, watching the sunset last night was worth staying. His kitchen is so much larger than yours and you’re not sure where he keeps his pots and pans, so you open the cupboards to try and find them. When you do, you grab one large pan and place it on top of his stove and then open his fridge. You see a carton of eggs and a bag of spinach that you take and place on the counter. You remember that Hugh’s on a strict diet, so what’s healthier than an egg and spinach omelet? 

You also see his coffee machine in the corner and your eyes light up in excitement. Having been a barista all throughout your college years, you knew your way around a good coffee machine. 

It takes you about twenty minutes to finish cooking and making coffee. You’re about to set the table when you hear footsteps round the corner. You look up at him to see that he’s completely shirtless, but that he has put on a pair of sweatpants that hangs low at his hips. His hair is slightly disheveled and he’s yawning, but when his eyes meet yours, there’s a large grin that forms on his lips.

“Did you make me breakfast?” he calls out, walking over to you. 

“And coffee,” you point out. “I hope you don’t mind,” you say nervously. “I wanted to do something for you since yesterday was just such an amazing day and–”

Hugh interrupts you and cups your cheeks in his large hands, bending down to press his lips against yours softly. “I don’t mind at all, love.” Then, he pulls back enough to look down at what you’re wearing and he bites his lower lip. “And I certainly don’t mind this at all.” 

You feel the heat rise in your cheeks as you move to rest your hands on his broad chest. “I couldn’t find my shirt, so…”

“You could’ve also just walked around naked,” Hugh winks. “That would have been just as an amazing sight as this.”

You roll your eyes playfully and pull away from him, but he takes your wrist and pulls you back into his arms. 

“Wait,” he says quietly. 

“Hm?” 

“Good morning,” Hugh smiles, kissing your forehead. “Yesterday and last night was… It was wonderful.” 

“It was the best day,” you say softly, leaning into him. “One of the best I’ve had in a while.” 

“I can get used to having you here,” Hugh admits. “Is that– Am I moving too fast here?” 

You shake your head and run your hands to his chest and arms, gently squeezing his biceps as you bite your lower lip. “No, I just–” you sigh. “What if you get tired of me?” 

“I won’t,” Hugh reassures you. 

“But what if–” you shake your head, trying to force the negative thoughts out. You realize it’s lingering in the back of your mind. “You’re you and I’m me.” 

Hugh’s hands move to your hips, gently squeezing them. “He really hurt you, didn’t he?” Hugh asks quietly. 

“Hugh…” 

“I’m not him, baby.” 

“I know you aren’t.”

“Good because I know a good thing when I see it,” Hugh affirms. 

You bite your lower lip and look deeply into his eyes, feeling your heart swell at his words and at the sight of him. You can tell how serious he is, how his gaze doesn’t falter. “I like being here. With you,” you admit. “And I’m not just saying that because the sex is amazing.”

“But that’s one of the reasons, isn’t it?” Hugh winks, letting out a quiet chuckle. “You know, I haven’t slept that good in a very long time. Something about having you next to me brought me a lot of comfort.”

“You have a way of words, don’t you?” You smile, leaning up to gently peck his lips. 

Hugh laughs quietly and pulls away from you to walk over to the plate of food. “I just tell the truth, baby.” 

You roll your eyes and sit on the stool, looking up at him as he takes a bite of the egg and spinach omelet you created for him. He lets out a quiet groan of approval and looks in your direction, grinning. 

“So, you can cook too?” 

“And make coffee,” you wink. 

Hugh arches a brow and takes a sip of his americano, brows raising upwards. “Wow. Yeah, I need you around here like… All the time. Can we arrange that, you think?” 

“Hmm,” you look up in thought, resting an elbow on the island. “I will need some closet space, a corner on your bathroom counter–”

Hugh lets out a laugh and sets his fork down to walk towards you, turning your body on the stool until your back is resting against the counter and his hands rest at either side of you, caging you in. He bends down so that you’re at eye level with him, a smirk lining his lips. 

“Whatever you want, baby, you’re gonna get.” He leans in, brushing his lips against yours. 

You move to wrap around arms lazily around his shoulders and stare into his eyes, running your fingers through his hair. “You should finish your breakfast. You’re bulking up for Wolverine, so you need your calories.” 

“I also need some cardio too,” Hugh grins. “Wanna join in on the session?” 

You bite your lower lip in anticipation and nod slowly. “Meet you upstairs?” 

Hugh shakes his head and moves his hand to your hips, lifting you off the stool with ease and placing you on the edge of the counter. “No, baby, gonna need you to wait right here for me.” 

“Like a good girl?” you ask, bringing your hands to play with the buttons 

Hugh grins and nods, continuing to eat as he stares at you,eyes dropping to see your legs cross over one another. Then, he reaches out and taps your knee. “Leave ‘em open for me.” 

You nod and then spread your legs for him, looking up at him in excitement.

Hugh’s eyes narrow and he takes the last bite of his omelet. He sets the plate in the sink and then walks to stand between your legs, reaching up to undo the button on the shirt you’re wearing. Once it opens, he clears his throat and moves his hands to push the shirt off your shoulders, exposing your chest to him. 

“Gonna have an early morning dessert, if ya don’t mind, baby.” Hugh smirks, hooking his fingers into your panties and sliding it down your legs. “Been thinking about this since last night. Tastes so good,” he growls. 

Then, Hugh dips down between your legs and you feel eyes roll in the back of your head once his tongue darts out to taste you. 

—

It’s been a full week since you spent the night and Hugh craves more and more of having you in his home with him. It’s been a very long time since he’s felt like this and he’s known to fall hard and fall fast, but he’s being careful this time around. He doesn’t want to push you if you aren’t ready, but he can’t help the way you make him laugh and smile, how he feels more at calm with you by his side, and how excited he gets whenever he falls asleep with you in his arms because he knows he’ll wake up with you by his side. 

Hugh knows that he’s going to get busier as the months pass, knowing that for the next year, he’s going to be focused on preparing to come back as Logan. While it should deter him from continuing to see you and committing himself to a relationship, it surprises him that it doesn’t. He isn’t the type of person to take things for granted and he always went after what he wanted, and you– Well, you have been such a nice surprise and he can’t even think about the possibility of letting you go. 

He thinks back to the last time you were here, teasing him about how you would need closet space and an area in his bathroom for your things. You might have been joking, but Hugh takes it seriously. He’s already given you more than enough space in his closet, walking inside to see the vacant space along the wall. He stands there, arms crossed over his chest, as he imagines your things here with his. 

Hugh’s mind drifts when he hears his phone ring. He looks down at it and sees your contact name; he always smiles at it: Swole-mate 💪

“Hi, baby,” Hugh answers immediately. He can’t ignore the way his heart rate speeds up, his stomach doing flips in excitement just to get a chance to hear your voice. “You almost here?” 

“Yeah, just a few minutes out,” he hears you say. “Are you sure spending the weekend is okay?” 

Hugh leaves his closet and begins descending the stairs to greet you. “If I had it my way, you’d be here for more than just the weekend.”

With the silence that comes from you, Hugh just knows that your mind has drifted and so when you pull into his driveway, he hangs up the phone and waits until you park to approach you. Once you climb out of your car, your eyes meet his and Hugh smiles, walking towards you. 

“Your mind just doesn’t shut off, does it?” Hugh says, taking your hand and gently pulling you to him. “What’s goin’ on in that beautiful head of yours, baby?” 

“Nothing,” you sigh, resting your cheek against his chest as your arms come up to wrap around him. You feel safe with him, but you know that you both need to have a serious conversation about where this will go. He had mentioned to you that his schedule was going to get busier and you wanted to know where you fit in with all of that before you allow yourself to fall in deeper. 

Hugh brings a hand to rub your back, placing a gentle kiss at the crown of your head. “I don’t believe ya,” he says. “Let me grab your things and we can head inside and talk?” 

You nod and release your hold on him, watching him walk towards your trunk to grab your duffle bag filled with clothes and toiletries to last for the rest of the weekend. Once he shuts your trunk, Hugh reaches out and takes your hand in his, leading you inside his home and up the stairs to his bedroom. 

You’ve been thinking so much since the last time you were here, trying your best to stay in the moment and not expect too much, but when Hugh mentioned his schedule for the next few months, you started to pull away. You didn’t want to put your all into this if it wasn’t going to go anywhere. Hugh sits at the edge of his bed and looks up at you, head tilting to the side. 

You’re pacing back and forth in front of him and he reaches out for your hand to pull you to stand between his legs. 

“Hey,” he says softly. 

You don’t look at him, letting out a quiet sigh.

“Baby,” Hugh says again. “Look at me.”

You clear your throat and turn your attention to him. There are tears stinging your eyes and you aren’t even sure why you’re getting so emotional, but there is a bit of fear knowing that this may be the last weekend you would spend with him. 

“Talk to me. I can’t help if I don’t know what’s goin’ on in your mind.” 

“You’re going to be busier,” you point out, biting the inside of your cheek. “And I don’t want to hold you back. I know we literally just met two weeks ago, but I’m okay with ending things the way they are now. It’s been more than amazing to spend all this time with you and–”

“Ending this?” Hugh interrupts, confusion written all over his face as his brows furrow together. “Do you not want this?” 

“No, I do!” you sigh, looking down at your hands that are currently holding onto his. “I just– I don’t want you to have to worry about me while you’re away shooting and you’re going to just be so busy. I know what you do for a living and it’s to be expected, but I just feel like you’d worry while you’re away and I don’t–” you let out a shaky breath and shake your head. “Am I even making sense?” 

Hugh sighs. “You are making sense,” he reassures, bringing your hand to his lips and placing a soft kiss on the back of it. “But I guess I just don’t understand. You won’t be holding me back.”

“Hugh,” you close your eyes for a moment and release his hands to wrap your arms around his shoulders. “I like you a lot and it scares me,” you admit. “It scares me because I don’t know how I fit into all of this. Into your life.”

“Really?” Hugh asks. “Because I can see it so clearly.” 

“What?”

“I can see how you fit into my life so clearly,” Hugh repeats. “And you’re not tied to a job here. You travel for work too and I may or may have not talked about you to Ryan and Shawn…” he admits quietly. “Anyway, I know it’s scary because this scares me too, but I can’t…” he shakes his head, looking up at you as his hands move to rest on your hips. “I can’t even fathom letting you go and I don’t want to either.”

“I’ve given my all before in a relationship and in the end, it only hurt me…” you reply with a shaky voice. 

“I know,” he sighs, eyes softening as he slowly stands up. Your hands drop from his shoulders to his waist as Hugh’s hands cup the base of your neck, keeping his eyes solely focused on yours. “And I can’t promise that everything will always be okay, but I can promise you that I’d always put you first. No matter what. Whatever this is between us,” Hugh continues, his thumbs brushing against the corners of your eyes as he feels a couple of tears trickle. “I want to believe that it’ll work out.” 

“We’ve only known each other for two weeks,” you whisper. “I’m way in over my head. You must think I’m crazy.” 

“Like I said… You have a lot of love to give,” Hugh whispers, gently pecking your lips. “And I’d be a lucky man to be on the receiving end of your love one day.” 

You bite your lower lip and wrap your arms around him tighter, moving to rest your forehead against the crook of his neck as his hands drop from the base of your neck to rest on your lower back. Hugh can feel the weight lift itself off your shoulders as you relax into him. He peppers kisses along your cheek and tightens his hold on you. 

“Feeling better?” Hugh whispers into your ear.

You nod against him. “Yeah, thank you, Hugh.”

“All I ask is that you talk to me, baby, okay?” He asks, pulling back to look down at you. “Whatever is bothering you, I don’t want you to hold it in. I’m here to listen.” 

“God, you really are perfect, aren’t you?” you laugh quietly, pecking his lips. 

Hugh smiles to himself. He realizes that he hates seeing you upset and when he hears your laugh and sees the smile on your face, he feels proud, accomplished. “I’m not perfect.” 

“I’d say otherwise,” you smile, looking deeply into his eyes. “I’m not used to talking about what’s bothering me or my feelings, but I’m learning.”

“This will always be a safe space, okay?” Hugh tells you. “You’re safe with me.”

You hug him tightly, burying your face into him as you let out a sigh of relief. You feel his arms tighten around you and it brings you so much comfort. Being here with him, in his arms, brings you comfort. You feel him fall back onto his mattress, taking you with him as you curl against his side, arm draped over his abdomen as his arm hooks around your shoulders. 

“So, you told Ryan and Shawn about me?” you ask, looking up at him. “As in the Ryan Reynolds and the Shawn Levy?” 

Hugh laughs. “Do you describe all people like that?”

“Only celebrities,” you correct. 

Hugh looks down at you and shakes his head, a smile lining his lips. “I did, is that okay? I know we never talked about who can know and who can’t…”

“It’s okay, Hugh,” you reassure him, kissing his chest. 

“I’d tell the whole world, if I could,” he says honestly. “But whenever you’re ready, baby.” 

You nod, shutting your eyes as you rest against him. “Thank you,” you whisper. “For not pressuring me. For going at my pace. I know it must not be easy, but you have no idea how much it means to me.” 

Hugh hooks a finger under your chin, eyes scanning your features as he bites his lower lip. Your eyes remain closed as he brushes his thumb lightly along your jawline. “I’d wait for you, no matter how long it takes.”

“Yeah,” you smile, turning your head to kiss the pad of his thumb. “You’re perfect.”

Hugh laughs to himself and then holds you tighter into his side. “So, I also told Ryan and Shawn you were a photographer and they may want to meet you to discuss a few things.”

“About my work or about us?” you open your eyes at that, looking up at him.

“About your work.”

“But I’m an engagement photographer, and last I checked, they’re both already married.” 

Hugh smiles. “Well, I also showed them your other work…”

“Oh, but those weren’t really serious… They were just for fun. Landscapes, street photography.” 

“They were just as good, baby.” He tells you. “And it’s possible,” he grins. “Or rather, they will be asking if you’d be interested in being our on-set photographer, taking pictures behind the scenes.”

Your eyes widen slightly, looking into his eyes. “That would mean I’d be there with you.”

Hugh nods slowly, the grin remaining on his lips. “Exactly, you’d be there with me on set of Deadpool & Wolverine. You sure you won’t get tired of me?” Hugh asks.

You shake your head and move to straddle his waist, resting your forearms down on either side of his head on the bed as you feel his hands move to your hips. 

“Isn’t that a question that I ask?” you tease, nose brushing against his. 

“It’s a valid question.” 

“No, I won’t get tired of you, Hugh. How can I?” you whisper, brushing your lips across his own lightly. “I mean, I think you’ve ruined other men for me.” 

Hugh growls and wraps an arm around your waist, rolling you over onto your back as he settles himself between your legs. “Good,” he says huskily, rolling his hips against yours. “Because you’re mine now.”

---

taglist (if links don't work, i'm sorry!): @corvusmorte - @dragonqueen89 - @whimsiwitchy - @kellyxo1 - @wolviehugh - @moonxknightx - @sullyselena - @angelofthorr - @spectorrrhgf - @needz1nk - @fandomxo00 - @godlypresley - @kythefangirl25 - @callsignyourmom

[iwillbringyouruin]

Visions Magazine with Tobias Forge on the idea behind Rite Here Rite Now, the importance of soundtracks in general and how he distinguishes between himself and his characters (Visions Magazine issue nr. 377, 08/2024)

Full translation of the included interview by me below the cut - buckle up, this is a long post! There are no spoilers for RHRN in this.

Markus Hockenbrink: Tobias, have you ever watched the movie Metallica: Though The Never?

Tobias Forge: Yes, once, when it had just come out. The topic Metallica came up when we were taking care of the funding for [RHRN]. Every larger production company – and I have to emphasise here that this was before Taylor Swift’s The Eras Tour and her extremely successful movie about it – voiced a lot of concern back then whether anybody would still be interested in concert movies. I had to explain time and again that my movie wouldn’t be a typical concert movie, to which I was asked several times: “Oh, so something like Through The Never?” I had to deny that again. We tell a story in our movie most of our fans are already familiar with. So it’s not an entirely new concept, which is already the first distinction from Through The Never. If you only consider that there is a concert part and a feature film part, then those two movies are probably similar. But that also applies to La La Land.

M. Hockenbrink: You describe your movie as a combination of Kiss’ Alive II, Ralph Bakshi cartoons and silent film horror. Is that a kind of childhood dream that comes true there?

T. Forge: Definitely. For as long as I’ve been interested in music, I’ve also been interested in film and television. Working in film could have also been a career option for me, but I always got the rather annoying impression that one would have to go to film school to really find a place in that field. School was never my strong suit, I see myself more as a autodidact in that regard. That I had the opportunity to work on/contribute to my own movie as a sorcerer’s apprentice of sorts is a real privilege. That is a dream come true but it is also something I can picture more of in the future. Next time maybe without the band.

M. Hockenbrink: Can you remember a specific moment in your life when you realised that you were especially drawn to topics that are slightly morbid and unsettling?

T. Forge: I think that due to my family I came in contact with vastly different kinds of pop culture from a very young age. In more traditional families with more conservative parents and siblings of similar ages, you only really start with your respective journey to find yourself in your teens. Then there are often restrictions that are meant to distract from those darker influences. My parents on the other hand are very liberal and my brother was 13 years older than me. There were never limits or censorship for me. My childhood didn’t go by without rules entirely, but I was always allowed to watch or listen to what my brother was also watching or listening to. That was I was exposed to all kinds of teenage culture from the beginning. Sure, I also liked Pippi Longstocking and He-Man. But that was always combined with the French arthouse films my mother liked to watch or the horror flicks my brother was into. I can’t recall a particularly striking horror film experience, but I still remember the first time it dawned on me that movies don’t just exist, they’re made.

M. Hockenbrink: How do you mean?

T. Forge: My father worked as a documentary maker in television. His job was to connect the video track and the sound track in a fitting way for different film production. I saw Jaws on television with him as a small child. It’s important to note that my father is not somebody who can just quietly enjoy films but somebody who likes to butt in. Thanks to him I already had a kind of epiphany during the introduction. He said: “Look closely! There is nothing to see in this underwater scenery except the algae. Technically completely harmless. But it only takes the ominous music to turn the whole scene into pure horror already!” And I thought: Wow! That’s true! Later in the movie you only have to hear that music and it immediately puts you on edge, even when there’s nobody in the water right now. They don’t even have to show the shark anymore. I found it fascinating that the [viewer’s] senses/perception could be manipulated like that. Ever since I’ve been viewing films with different eyes. I can still allow myself to dive into the story but at the same time I see the practical aspect to film-making.

M. Hockenbrink: I had a similar feeling during the introduction of Shining: technically a cozy road trip in the mountains, but a pure nightmare with the music.

T. Forge: I’m with you on that. Shining is one of the best movies of all time. And funnily enough, only the intro sequence was actually shot in nature. All the other scenes, even if they were outside, were filmed in the studio. Exactly that kind of craftsmanship is what I find inspiring.

M. Hockenbrink: With that in mind, what makes a good soundtrack in your opinion?

T. Forge: We already talked about Jaws, but I can think of Eyes Wide Shut as another example. There is that short piano theme that comes up again and again, incredibly effective. A good soundtrack needs to deliver something that you don’t have to be able to see to perceive its existence. Sure, there are no monsters in Eyes Wide Shut, aside from the main character’s jealousy as an internal monster maybe. But just like the music in Jaws, the theme from Eyes Wide Shut symbolises something that doesn’t have to be shown. The sound is enough. That is also a commonly used effect in adventure and love movies. You just put in a short vignette to describe the love between two characters. In Star Wars, Luke Skywalker also has his own theme, that is used every time when things get emotional and you’re supposed to feel that hope. You’ve got to pay attention to that. Jason Voorhees from Friday the 13th also has a personal theme to recognise him by. Every time you hear it you immediately know “Oh shit, he’s nearby!”

M. Hockenbrink: What about soundtracks that are made up of songs?

T. Forge: With that, I’m especially thinking of Silence of the Lambs. In the scene where Buffalo Bill dresses up as a woman and dances around his basement, a song called Goodbye Horses by Q Lazzarus is playing. I have no idea how the artist felt that since the song is now so irrevocably connected to that awful scene, that you can’t listen to it anymore without thinking of it.

M. Hockenbrink: Do you feel like soundtrack work is more appreciated now than it used to be?

T. Forge: I think that it’s definitely gained importance over the last 40 years. The right song on the right soundtrack can be incredibly powerful. Just think of Stranger Things. Obviously, Metallica and Kate Bush already had successful careers before, but what happened with Master of Puppets and Running Up That Hill following the series was something else entirely. The songs were associated so strongly with the narrative, that way more people listened to them than before. Of course I’m a strong advocate for live music but I also realised that nothing is as strong as the connection of visuals and music. That is still the most powerful way to appeal to a deeper emotion through the association.

M. Hockenbrink: More or less a shortcut to the subconscious.

T. Forge: Exactly. But you can’t be cynical about that either. If I was an A&R person at a big label, I would probably also say: “You just have to find a spot for one of your songs on a popular soundtrack, then you’ll have made it!” That’s really how it is. But when you view it from an artistic perspective, when you want to reach people a certain way or bring across a certain message or a certain feeling, the combination of visuals and sound can’t be topped.

M. Hockenbrink: It especially lends itself to an immersive experience, as seems to be in the foreground of [RHRN]. An album by Black Sabbath or Iron Maiden ends at some point, then you’re gone from that metal world again. With Ghost, however, you get the feeling that the illusion just keeps on going, across several media. Did you plan the Ghost mythology like this from the start?

T. Forge: In part. When I started with the band, I only wanted to make a standalone album. The concept was supposed to be interesting and practical, but I wasn’t planning for Ghost to be a huge thing. The style I pictured has its own limits in my opinion. The band was supposed to function a certain way and appeal to a certain target audience. The concert was supposed to be a theatrical performance in the literal sense. Ghost were never supposed to perform in a normal rock club nor go on tour. I wanted more of a kind of Vaudeville show in a proper plushy theatre. The band was supposed to be as anonymous as the actors that stand on stage and play, say, Faust. The idea behind this was: Those who don’t know who the people are on stage are more ready to follow the story. Then we would perform three days back-to-back in select cities. Berlin, Amsterdam, London. Just like Diamanda Galás who can more likely be found at a culture festival than in a rock shack. But things turned out differently in the end, and I had to kiss my original ideas goodbye again, so to speak.

M. Hockenbrink: Why?

T. Forge: After the success of our debut album, it became clear to me that more conventional concerts were going to be demanded of us and that I could only really say yes or no. This problem became worse after our shift to a bigger label. It became clear that my vision of telling stories clashed with the live sector and requirements for success more and more. At a certain point anonymity doesn’t work anymore and I had to make peace with that in the end.  I originally didn’t even want to do interviews but that’s obviously tricky when you want to sell records. The question that I constantly ask myself since is how I can do those things best in the Ghost way without denying the original Vaudeville spirit.

M. Hockenbrink: In his autobiography Golf Monster, Alice Cooper talks about himself in third person a lot when he is talking about his character. Are you feeling similarly at this point?

T. Forge: At least I can definitely see where he’s coming from. There is a difference between the person Vincent Furnier and the character Alice Cooper. I believe that he was on the verge of completely transforming into Alice Cooper at one point – to the point where one has to decide where they want to live or die. In the end he decided to remain Vincent Furnier and only become Alice Cooper for work, on stage. So far I’ve been fortunate to combine the two pretty well, but had I started Ghost ten years earlier in my life, it would have probably affected me similarly to how Alice Cooper did with Vincent Furnier in his time. But with my humble experience as an actor I have to say: every character you play becomes a part of you to a certain extent. You have to find certain qualities – good or bad – within yourself to bring such a character to life. I think that most actors only play one or two roles throughout their life that they then end up being known for. The different characters that I’ve portrayed on stage are not only very similar but actually also a part of me. Fortunately a part of me that I don’t want to deal with all day long.

M. Hockenbrink: Too cynical and antisocial?

T. Forge: Cardinal Copia or Cardi, as I like to call him, is not an all-around cool person, but that makes him so fun to play for me. He is half Freddie Mercury and half Jacques Clouseau. Kind of clumsy, kind of silly, kind of stupid. The kind of guy who trips over his own feet but catches himself elegantly. That’s also me in a way, but not just. And I think that’s easier to embody than a daredevil hero character who can rival anyone and gets all the ladies. When somebody plays only those characters their whole life, it will probably really go to their head. Especially when there are drugs involved on top of that.

M. Hockenbrink: With all that fondness of doom that can be found with Ghost, that universe also has something humorous about it, benign even. It that an intentionally included contradiction?

T. Forge: Yes, and it is also very important to me that it comes across like that. For me that also has something to do with the evolution of metal. Originally it was mostly a phenomenon connected to the youth, nowadays the musicians and their fans are close to retiring. That brings a certain maturity. Even the Norwegian black metal musicians who were super pissed and extreme 30 years ago and were only made of hate and aggression are well-adjusted people now. Bearded fathers and grandfathers with a pleasant view on life that make others laugh. I see a certain duality there. Everything that has something to do with goth, with metal, with horror, appears dark, dismal and hostile at first. But in reality, that can all be extremely life-affirming and a source of great joy for many people. So pretty much the opposite.

M. Hockenbrink: Speaking of horror: could you imagine making a real feature film some day?

T. Forge: Yes, I would love that. I’m well aware that it’s not going to be easy to make what I’m picturing a reality, just because I’ve done directing once with [RHRN] now. The creative liberty I got to enjoy there also was due to the fact that I funded the movie myself. So nobody was meddling with it. That is likely completely different when you work on behalf of a big studio, because we are talking about different sums here. If I only go off my dreams, I would name two points of reference. One is Shining, the other Bram Stoker’s Dracula by Francis Ford Coppola. I would like to make a movie that’s only shot in a studio, with elaborate sets, matte painting and all that. No outside shots, no special effects, no green screen. And no actors who only gets to see what they were actually doing after the fact. Proper old-school. The way movies are actually meant to look.

[meanbossart]

What horror games have you played/wanted to play? Also have you tried any rpg maker horrors?

I actually don't play that many horror games, I don't think? Between you and me most of them are... Kind of garbagee. But I like when really weird things are taken dead seriously, which most video games don't succeed at. But in the rare time they DO, it usually falls into the "horror" genre at least loosely. I'm just going to list my favorites:

PS: I'm really showing how insufferable I am with these summaries, sorry!

The Outlast series: the most Tasteful tasteless gory-shit-fest of a horror series I've ever seen. I don't like shock for the sake of shock, and Outlast somehow manages to always make it for the sake of SOMETHING. The original game+DLC is a buttload of fun, and if you pull back one layer it also poses some interesting and difficult questions about the place and treatment of the criminally inclined in society. Pull yet another layer back and you find a fascinating subversion of the expected role men are supposed to inhabit in horror games. The second game is a vastly different, and profoundly emotional experience, opinions on it vary for reasons I find very understandable, but I personally really like it.

Fear & Hunger: I guess this answers your question about RPG horror games! Unfortunately, this is the only one I ever played that I liked, but REALLY like it, I have a tattoo of the circle of perfection on the back of my hand, even, lol (I already had other hand tats, don't freak out). I just really like the absurdity of the story and all of the lore that the developer has cooked up for it, and the way it all matters but also kind of doesn't. I think its an insane feat to have achieved the atmosphere he did with the limited tools he has, not to mention the massive amount of respect I have for any creator that simultaneously wears their influences on their sleeves while displaying massive creativity and originality.

Pathologic: This game kind of speaks for itself honestly. Its just brutal, creative, infuriating, I could go on - It's probably the most immersive experience I've ever had in a game. If you've never played it before I would suggest buying Pathologic 2 (don't worry about it) and playing it completely blind. Forget about "winning", forget even about succeeding, just go about it as if you were in the protagonist's shoes and see where you leads you.

Scorn: Without a doubt in my top 5 games of all time and I don't care that that is an insane take. This game is everything I want from interactive stories - entirely intuitive, doesn't spoonfeed you a single grain of its lore or pushes its story on you, it just puts the pieces in your hands and its up to you to feel it on instinct. This 5 hour game with no dialogue, no text, not even any named characters to speak of had me crying at its ending and I didn't even know whether I was sad or overjoyed. I fucking LOVE scorn.

Honorable mention:

The Space Between by Christoph Frey (not to be confused with The Space INbetween.): Is a short, 30 minute experience about intimacy presented through a horror lens. I really don't want to say anything else about it, but I played it like 5 years ago and I still hold it near and dear to my heart. It's a master's guide to storytelling through semiotics and exemplary in it's... Emotionally charged visuals? Like, I had never before seen a story make sentiment into and external, tangible thing quite like this one does, like turning sound into an object or something. Amazing little indie game.

[isalisewrites]

A Deep Dive into JKR's Terrible, Amateur Writing - Part Two

Welcome to my ballsy series where I will prove to you, dear reader, that J.K. Rowling, author of the Harry Potter series and resident Twitter TERF, is actually a very, very poor writer.

And when I say ‘poor writer,’ I’m talking about her prose, her sentence structure, and her scenes. I am not going to discuss anything about the HP world nor the overall plot of the books. 

This is all about the nitty gritty in the craft of writing itself.

Part One Link.

Disclaimer for all readers of this series: 

I’m going to sound very confident in my posts where I work under the assumption I’m a better writer than JKR; because I am. My apologies if this rubs you the wrong way. You’re simply witnessing the culmination of over two and half decades of experience with the intensity from a neurodivergent who is hyperfocused on her special interest. I didn’t just learn how to create stories; I learned the craft of writing to a minutia of details.

I’m not a perfect writer. No one is. I’m not a talented writer either. I’m experienced and skilled through years of study and practice.

I don’t care about J.K. Rowling. At all.

If you’re triggered by the concept and fact that JKR is a terrible crafter of writing, then you might want to take a step back and self reflect on that personal issue.

I still very much love and adore Harry Potter; you’re still allowed to love Harry Potter.

This is not a series to bitch or bash. This isn’t a shitpost. This isn’t an attack on JKR, no matter the disgusting bullshit she spews forth on Twitter. However, my hope is people awaken to the fact that JKR isn’t the goddess of writing we’ve all been led to believe.

This is a place of study and learning, where the purpose is to help students gain critical thinking skills and writing analysis tools to become better in their craft.

And, sorry, one more disclaimer for this specific post: 

Fanfiction is written for fun and is posted for free. I put most of my effort into my main fanfic, Terrible, But Great. (Yes, I intend to update Moon Rite soon, too) However, I also have two fanfics that are cowritten with another author; thus, the style of Shall I Stay and Badger Prey are understandably different. I spend three to four times the hours to edit a chapter versus drafting it. My process for fanfiction: I draft. I do one expansion edit. I do one proofread edit. I post.

However, if I were to publish a novel where people are expected to drop money on said book, my work flow would be vastly more extensive. To be clear, I’d do all of the following myself. I would not outsource. My process for published novels: I would draft. I would do three to four expansion edits. I would do two to three cutting edits. I would do three proofread edits. 

See the difference?

Because I don’t go through a cutting edit for my fanfiction, I’ll often come back later and see things I think are weak. I’m constantly seeing where I can tighten my work. There’s always room for improvement.

Remember: Harry Potter and the Order of the Phoenix is a paperback book that costs $10. My fanfics are free. If I, someone who writes for free and puts what she considers the bare minimum of effort into them, have a higher standard in the quality of my writing than a paid traditionally published novelist, there’s a problem here. 

All right, with that nonsense out of the way, buckle up, my writing friends. Grab a snack. Hydrate. Remember to take what resonates and leave what doesn’t. Let’s begin.

Class is in session.

In this post, we’re going to discuss these five pages from HP5 and dissect one paragraph and a line from page 731. All dialogue is highlighted in blue.

(My favorite book in the series, btw. I fucking love fifth year the most. JKR did a damn good job with Umbridge.)

Since a certain anon lacked the skill to comprehend the difference between too much dialogue and stories driven by a high saturation of dialogue, let's go into further depth about dialogue.

What did I mean last week when I said: "Too much fucking dialogue!"

Today’s lesson will focus on the overall issue in JKR’s dialogue and in the prose surrounding those dialogue lines.

And since, apparently, I “lack the self awareness” to know most of my fics are “oversaturated with dialogue,” I’m going to use weaker examples of my own writing. Chapter 24 of TBG is heavily driven by dialogue with twenty-one named characters to juggle, something that's very difficult for me to manage. Though the chapter is lovely, I do feel it's some of my weaker work. In the end, I just didn’t have the energy to edit it a second time nor go through cutting edit.

Here are three different pages (some connected, some not) from Chapter 24 of Terrible, But Great. All dialogue is highlighted in blue.

You can already see the difference, I'm sure.

So, what’s the difference between a scene that has 'too much fucking dialogue' versus a scene that is highly saturated with dialogue?

Because there is one.

Let's set the scene for HP5. In the middle of an OWL exam, Harry received a vision from Voldemort, showing him that Sirius has been captured. He's being tortured to get something from a shelf, but Sirius refuses. Harry believes the vision is real. He tells Ron and Hermione, then asks for their advice on how to rescue Sirius. Ron and Hermione are both like, pardon, wtf, sir? (As they should be.)

We have five pages of this fight between them. These five pages are mostly dialogue with very little else surrounding it.

Also, note the final page where it has the worst sins of adverb usage. That page is what triggered me to begin writing this series in the first place, btw.

There's too much dialogue here. There's no description. I'm being told stuff, but I'm not being shown anything. There are no emotional anchors to Harry either. The more I reread this scene, the more I realized what was wrong.

There’s an emotional disconnect from Harry in the prose.

Do not misunderstand me: it is NOT to say that Harry isn’t emotional here. It's that the prose doesn’t grip me, the reader, by the chest and twist my heart with his overwhelming emotions. The prose doesn't prove anything, doesn't show me anything. This is an intense, terrifying moment for Harry. It should feel visceral. It should feel tangible. I should be able to taste his fear.

We also don’t get too much information about the emotional states of Ron and Hermione. We have hints, of course. But we can’t feel them. The emotions of the scene are dampened, muffled, dull even.

With an untrained eye, you might disagree. It's okay. You'll see what I mean soon.

Page 731 exact quote:

"I dunno how," said Harry. "But I know exactly where. There's a room in the Department of Mysteries full of shelves covered in these little glass balls, and they're at the end of row ninety-seven...He's trying to use Sirius to get whatever it is he wants from in there....He's torturing him....Says he'll end by killing him..." Harry found his voice shaking, as were his knees. He moved over to a desk and sat down on it, trying to master himself.

(Btw, punctuation issue: you do not use an ellipsis and a period together and there should be a space after the ellipsis.)

This is the only instance in the five pages where we get any information about Harry's physical state.

And it's written in such a weak 'telling' instead of 'showing' way, too.

How and where was his voice shaking? How are his knees shaking? Are they knocking together in a weird way that's kind of physically improbable? Or was it actually his legs were shaking? Isn't he leaning against the door? If his weight was resting against the door, then there'd be less shaking in his knees or legs because his knees would be locked to brace his body against the door. His arms and hands would be shaking, though.

How does Harry master himself? What does that look like? Slow breaths? Running a hand through his hair? Rubbing his face and eyes? How is Harry mastering himself? Is it mentally? Then, where are those mastering thoughts? What are they and why do those thoughts in particular help Harry 'master' himself?

What's Harry's tone as he talking about Voldemort threatening to kill Sirius? How is Harry feeling about this? Give me MORE!

The dialogue is presented to the reader in a bland, empty fashion. Harry is relating something to Ron and Hermione. I could switch the dialogue out with anything and it'd still make sense.

There is little surrounding the dialogue to anchor it.

So, let's rewrite this, shall we?

"I dunno how," said Harry, letting out a shaky breath. His hands clenched into fists against the door of the classroom. "But I know where—they're in a room in the Department of Mysteries that's filled with rows of shelves holding these... weird little glass balls. They're in row ninety-seven. Voldemort, he's—" Harry's voice broke. His breath caught in his throat. The memory of the vision returned full force into his mind, the image of Sirius on the floor at Voldemort's feet stark in his mind. He ducked his chin; his chest inhaled in a desperate breath and the edges of his eyes burned. He's torturing Sirius—I can't just wait around. I can't lose him. Harry looked up at Ron, whose face had grown pale, while Hermione stared at him with wide, terrified eyes. The strength in Harry's legs weakened. "He needs Sirius to get whatever it is he wants and he's—" Harry sucked in a gasp, his voice trembling like an autumn leaf in a thunderstorm. "—he's torturing Sirius... says he'll kill him in the end." His knees buckled. Harry stumbled to the nearest desk; Ron reached out with a steadying hand on Harry's upper arm and silent gratitude filled Harry's heart. With shaky arms, Harry lifted himself onto the desk to sit and twisted around to face Ron and Hermione. He licked his dry lips, rubbed his eyes with a hand, and took slow, deep breaths to master his fraying emotions.

The original canon text has 57 words of dialogue with a total of 83 words.

My rewritten version uses 56 words of dialogue with a total of 247 words.

I'm going to drill this concept into your heads, my lovely students: this is what I mean when I keep saying JKR's writing is both bloated and underwritten.

I only rewrote a single paragraph and its following line. The five pages I've provided are filled with this kind of empty dialogue.

So, what have I done here? Can you see the difference? Can you feel the difference?

Let's analyze what I focused on in this scene to show Harry's body language and his thoughts. I upped the physical effects on Harry's body. His fear causes his voice to break in the middle of explaining what's going on. He's terrified of losing Sirius, the only father figure he's ever known. Voldemort might take another parental figure from him. 

And now the prose reflects these feelings, not just in his thoughts, but also in how he speaks and reacts to what is around him. He is not just speaking at the reader.

Harry exists in his world. 

And you can feel it.

When he stumbles to the desk, Ron is there for him. Hermione reacting could also be added here. There is a lot that can be added to this scene, if one wanted to expand this further. 

Yes, what I've done has increased the word count, yet it strengthens this short moment—and I'd do this for the entire scene.

What I did to the scene is merely one version of its potential. It could be rewritten in a multitude of ways and go in various directions. I spent 10mins to 20mins on it. I haven't edited it or refined it.

Can you finally see what I mean now?

If you compare the highlighted pages of HP5 to the highlighted pages of Chp 24 of TBG, you can visually see the difference in the density of the dialogue. JKR is the one whose writing is oversaturated with dialogue. My writing will always be highly saturated with dialogue because my stories are character driven. I prefer stories like that. But I also need the dialogue to be interesting and engaging, where the character feels alive in their world.

When I say there's too much dialogue, this scene is such a good example of this because Harry, Ron, and Hermione are all over the place in their interactions with each other. Yes, you want your characters to sound realistic, but you're also the author curating an experience for the reader.

There's a balancing tightrope act between having realistic dialogue and unnecessary dialogue.

There's a thin line between showing too much and telling too little.

Lastly, if I were to improve the overall scene, I would center the focus on Harry's desperation to rescue Sirius. As Ron and Hermione try to talk him out of it, where Hermione delivers that iconic line of 'you have a people saving thing,' I'd have Harry explode with something like this:

"You don't know what's it like! You both have your parents—I-I don't... You'd feel the same as me if it were either of your parents being tortured by Voldemort, yeah? I can't lose him—I can't lose Sirius."

I'm not bothering with description around it right now. I just wanted to give the baseline dialogue to show you the theme I'd carry through this scene. It's all about Sirius. It's all about the fear of losing him. It's about showing the emotion of the character and making the reader feel that deeply.

And that's what matters the most.

All right then.

We have come to an end of Part Two in this series. We have discussed fives pages in JKR's Harry Potter and the Order of the Phoenix. The pages in question are 731 - 735 should you wish to look it up and study the scene yourself.

And so, please do the world the greatest of favors and write better than J.K. Rowling. I promise, it's not that hard once you see the differences.

Until next time.

Isa

[ovaryacted]

This is my analysis post in response to this wonderful ask I got from one of my anons. Thank you so much for the brain juice, my neurons thank you. So: Is Leon S. Kennedy a sex-god or is he just a regular guy? Let's talk about it.

1.1k Words | cw: suggestive sexual content

To me it’s not a controversial take to think of Leon as someone who isn’t a sex god, that is actually how I perceive Leon in my mind when it comes to sex as a whole. Sure, with the pieces I’ve already put out of him, I characterize him as someone who has chemistry with his partner and he’s already learned how to be with them in all aspects. But realistically with his current circumstances, it would probably be more close to what was initially described. He's touched deprived, pathetic, and would probably fall apart the moment someone touches him like he's a porcelain doll.

Leon isn’t a sex god at all. He’s just a guy, and by canon, he’s a loser who doesn’t get laid anyway. I also wouldn’t expect him to have many opportunities to be with other people intimately. In RE2R at least, he gives off the impression that he hasn’t done much, maybe not even kissed outside of Ada when they’re on the shuttle together. And of course, the opportunity for more gets ripped away from him when Raccoon City happens and he gets forced into military service.

If he had any chance to be with someone prior, it’s a definite no now. He just doesn’t have time when he’s constantly fighting with PTSD, depression, and immense trauma that he doesn’t even register most of the time. He’s too busy surviving, too busy being brought on these missions where he thinks it’ll be the last time he’ll be alive, and then somehow he manages to come back home just to repeat the process. Rinse and repeat, live to kill, and survive to do it again and again. That’s his routine, that was his new normal for years.

So sex or any intimate relationship is out of the question. He just stops caring, and the stress that he’s constantly dealing with in his body makes his libido plummet. Leon doesn’t go searching for it, sometimes he thinks his body doesn’t even work anymore or that his dick is about to fall off. Though in the back of his mind, there are faint little moments where he craves intimacy, not so much sex but the touch of another person who isn’t an enemy is what he wants.

Leon has had a limited handful of sexual encounters, but it’s never coming from a place of desire. He does things based on instinct, and it’s simply for stress relief. Usually, it’s a quickie, he doesn’t allow himself to feel relief beyond what’s available to him. He blocks out everything from his mind, and his body is on autopilot. The worst part about it is when it happens there’s no softness to it, it’s not necessarily rough to the point of pain, but it’s not intimate in the way he wishes it was.

That way of behaving goes on for a while until he’s older, probably when he’s hitting his 30s and it’s virtually second nature to him. He gets lucky and meets someone he likes being with, which changes the way he thinks about relationships. He now has the opportunity to experience what it’s like to be with someone outside of moral obligation. Of course, it happens over time, and it’s not instantaneous, it takes a while for him to be fully comfortable with exploring vulnerability. But the more he gets to know his partner and spends time with them, the more he realizes it isn’t so bad to want to be with somebody.

The way he acts around them is vastly different from how he’s operated in the past with previous temporary partners. He quickly realizes that he doesn’t want to do things fast or rushed and that he wants to take his time. He’s not inclined to jump headfirst into the whole sex part, instead, he focuses more on the other stuff, on the gentle touches and the yearning. 

It starts with delicate kisses and slowly grows into more purposeful touching. He gets experimental, squeezes on his partner’s body a bit more, and does something that makes them gasp or moan, or they’ll touch him in a way that makes a groan rumble out of his chest. Something in his brain finally clicks and it’s like all of the blood in his body rushes down south, and for the first time, he feels aroused. It’s like his body begins to pulse, he’s getting warm, and Leon finds himself wanting more, wanting to touch and be touched.

The time he gets to have sex, and genuinely desires it, it feels different. His body is hotter, he feels more sensitive to things as his senses go into overdrive and his partner is all he can focus on. In a way, he thinks less about the expectations to perform and more about feelings. It wouldn’t happen naturally either, he’d have to be coaxed into it, reminded that it’s okay to want to experience intimacy, to crave it.

Once he feels like he’s in a safe space with another person, he’ll know it’s okay to be selfish for once, but I don’t think he’s an inherently selfish partner or person, quite the opposite. Leon is a people pleaser, so he’ll want to learn how to please his partner. He’s naturally perceptive, he pays attention to things that make them tick, that make them feel good. Like a chameleon, he adapts the same way how he does on his missions, trying to make sense of the situations before him so he can get the best result.

It’s a very emotionally charged experience for Leon, where he feels better than good, stuck in a daze the moment he decides to indulge himself in whatever is currently ahead of him. It’s so intense for him that he’ll mumble out praises, whether it be to his partner or himself, certain things will slip out.

If he’s really in the mood, he would accidentally say the L word (love) if it’s that good, but that would probably happen when he feels vulnerable and safe, so he is more on the receiving side and more submissive. I think it would be a combination of his emotions and just feeling safe in another human’s touch, one that doesn’t feel like an obligation. Either way, he’s a softie, and someone who wants intimacy so his sexual habits would reflect that with age, and when he gets a partner that’s willing to be soft and patient with him it’ll work in his favor.

©️ ovaryacted 2024. Please don’t repost, copy, translate, or feed into any AI. Support your fellow creators by reblogging, commenting, and liking!

[astriiformes]

Hi, i just learned about the scientific revolution in europe at school. Can you tell me why you dont think scientific revolutions exist? im curious!

So I feel like I have to lead with the fact that I'm kind of arguing two different points when I say scientific revolutions aren't really a thing

One is that I'm objecting to a specific, extremely foundational theory of scientific revolutions that was put forth by the philosopher Thomas Kuhn, which I think really misrepresents how science is actually practiced in the name of fitting things to a nice model. The other is that I think the fundamental problem with the idea is that it's too vague to effectively describe an actual process that happens.

It's certainly true that there are important advances in science that get referred to as "revolutions" that fundamentally changed their fields -- the shift from the Ptolemaic model of the Solar System to the Copernican one, Darwin's theory of evolution, etc. But there are historians of science (who I tend to agree with) that feel that terming these advances "revolutions" ignores the fact that science is an continuous, accretional process, and somewhat sensationalizes the process of scientific change in the name of celebrating particular scientists or theories over others.

Kuhn's model that he put forth in The Structure of Scientific Revolutions (which is one of those books that itself stirred a great deal of activity in a number of fields) suggests science evolves via what he called "paradigm shifts," where new ideas become fundamentally incompatible with the old model or way of doing things, causing a total overturn in the way scientists see the world, and establishing a new paradigm -- which will eventually cave to another when it, too, ceases to function effectively as a model. This theory became extraordinarily popular when it was published, but it's somewhat telling who it's remained popular with. Economists, political scientists, and literary theorists still use Kuhn, but historians of science, in my experience at least, see his work as historically significant but incompatible with how history is actually studied.

Kuhn posits that between paradigm shifts there are periods of "normal science" where paradigms are unquestioned and anomalies in the current model are largely ignored, until they reach a critical mass and cause a scientific revolution. In reality though, there is often real discussion of those anomalies, and I think the scientific process is not nearly so content to ignore them as Kuhn thinks. Throughout history, we see people expressing a real discontent with unsolved mysteries the current scientific model fails to explain, and glossing over those simply because the individuals in question didn't manage to formulate breakthrough theories to "solve" those problems props up the somewhat infamous "great men" model of history of science, where we focus only on the most famous people in the field as significant instead of acknowledging that science is a social enterprise and no research happens in a vacuum!

Beyond disagreeing with Kuhn specifically though, I think the idea of scientific revolutions vastly simplifies how science evolves and changes, and is ultimately a really ahistorical way of thinking about shifts in thinking. Take the example of the shift from Ptolemaic, geocentric thought to the heliocentric Copernican model of the solar system. When does this supposed "revolution" in thought actually start, and when does it "end" by becoming firmly established? You could argue that the publication of Copernicus' De revolutionibus orbium coelestium in 1543 was the beginning of the shift in thinking -- but of course, then you have the problem of asking where Copernicus' ideas came from in the first place.

The "great men" model of history would suggest Copernicus was a uniquely talented individual who managed to suggest something no one else had ever put forth, but realistically, he was influenced by the scientists who came before him, just like anyone else. There were real objections to the Ptolemaic model during the medieval era! One of the most famous problems in medieval astronomy was the fact that assuming a geocentric model makes the behavior of the planets seem really weird to an observer on Earth, referred to as retrograde motion, which had to be solved with a complicated system of epicycles that people knew wasn't quite working, even if they weren't able to put together exactly why. There were even ancient Greek astronomers who suggested that the sun was at the center of the solar system, going all the way back to Aristarchus of Samos who lived from around 310-230 BCE!

Putting an end point to the Copernican revolution poses similar challenges. Some people opt to suggest that what Copernicus started, either Galileo or Newton finished (which in and of itself means the "revolution" lasted around 100-150 years), but are we defining the shift in terms of new theories, or the consensus of the scientific community? The latter is much harder to pinpoint, and in my opinion as an aspiring historian of science, also much more important. Again, science doesn't happen in a vacuum. Copernicus, Galileo, and Newton may be more famous than their peers, but that doesn't mean the rest of the Renaissance scientific community didn't matter.

Ultimately it's a matter of simple models like Kuhn's (or other definitions of scientific revolutions) being insufficient to explain the complexity of history. Both because science is a complex endeavor, and because it isn't independent from the rest of history. Sure, it's genuinely amazing to consider that Copernicus' De revolutionibus orbium coelestium and the anatomist Andreas Vesalius' similarly influential De humani corporis fabrica were published the same year, and it says something about the intellectual climate of the time. But does it say something about science only, or is it also worth remembering that the introduction of typographic printing a century prior drastically changed how scientists communicated and whose ideas stuck and were remembered? On a similar note, we credit Darwin with suggesting the theory of evolution (and I could write a similarly long response just on the many, many influences in geology and biology both that went into his formulation of said theory), but what does it say that Alfred Russel Wallace independently came up with the theory of natural selection around the same time? Is it sheer coincidence, or does it have more to do with conversations that were already happening in the scientific community both men belonged to that predated the publication of the Origin?

I think that the concept of scientific revolutions is an important part of the history of the history of science, and has its place when talking about how we conceive of certain periods of history. But I'm a skeptic of it being a particularly accurate model, largely on the grounds of objecting to the "great men" model of history and the idea that shifts in thinking can be boiled down to a few important names and dates.

There's a famous Isaac Newton quote (which, fittingly, did not originate with Newton himself, but can be traced back even further to several medieval thinkers) in which he states "If I have seen further it is by standing on the shoulders of Giants." I would argue that science, as an endeavor, is far more like standing on the shoulder of several hundred thousand other people in a trenchcoat. This social element of research is exactly why it's so hard to pull apart any one particular revolution, even when fairly revolutionary theories change the direction of the research that's happening. Ideas belong to a long evolutionary chain, and even if it occasionally goes through periods of punctuated equilibrium, dividing that history into periods of revolution and stagnancy ignores the rich scientific tradition of the "in-between" periods, and the contributions of scientists who never became famous for their work.

[withlovelunette]

How to construct character psychology!

– Introduction

Hello hello! :D I’ve been very slow with my writing lately due to uni work (and some unforeseen health issues), but I’d like to still be able to make content and be interactive in the writing community, so I’m here again to share some advice based on my own experiences! One of my favourite things about writing is writing characters, specifically constructing a character’s psychology. I’d like to preface this post by saying that while I’ve had formal classes in psychology, I’m by no means any sort of expert within the field, and I also don’t believe that every aspect of how a character is written needs to be rooted in realism. However, I do want to share some insights that I got from it, and also because I feel like “character psychology” has this very mystified weight to it that makes it seem a lot bigger and intimidating than it needs to be.

So! My goal is just to share some advice on how to break down a character’s psychology and work from there! If you like what you read and would like to read more, I’ve also written a post about creating “complex” characters, which you can find the link to here! Aaand yes I think that’s about all I have to say beforehand, I hope you enjoy :,)

What do I mean when I say psychology?

Before getting into the nitty-gritty, I’d like to start with the basics, just to make sure people are on the same page when reading this post. When I’m talking about psychology here, I’m specifically referring to a character’s cognition, as in how they process information and act on it/make judgments. I’m not necessarily referring to personality in this case (although personality is an aspect of psychology, but I’m more so referring to personality as a consequence of cognition here, rather than as a collage of traits and behaviour).

Another thing I want to clarify is that exactly how much of human behaviour is nurture vs nature is a hotly debated topic that I’m completely under-qualified to take a stance on, but for the sake of this post; I believe both are equally essential aspects of human behaviour, so just keep that in mind! (I’m looking at any behaviourists in the chat rn). That being said; I’m not really comfortable treating psychology as “nature” (as such rhetorics are often used in gender-essentialist and other bigoted ways of thinking), so my main focus will be nurture, since that’s what is most readily observable!

Determining character motivation

If you’re working with very little or bare minimum characterization, my recommendation is to consider; what motivates a person to act? And by this, I’m not referring to the external quest or goal behind the character, but rather, what’s the core of what motivates your character to act at all? Even in grand, epic adventures of good vs evil, where the external goal is as simple as “putting an end to whatever evil the bad guys are doing”, there needs to be a reason a character is specifically on the side that they’re on. Multiple characters can be on the same side, but they might find themselves on that side for vastly different reasons, even when their exterior goals are the same. From there, you’ll want to consider what informs this motivation in particular.

One technique I love to employ, when still figuring out my character, is to have them make some sort of bizarre decision, a decision I’d initially think to be improbable for this particular character, and then try to list off various justifications or variables that would allow for this character to make this particular decision. There’s a couple of reasons for why I do this.

1) It removes some of the pressure to have a perfectly cohesive, perfectly put together and neatly defined character from the get-go. The drafting process isn’t just for plot and story structure’s sake, it’s also there for you to experiment with characters! Having your characters make story altering decisions that possibly challenge or contradict themselves is a great way to make sure that you’re writing active characters as opposed to more passive ones, and I think the first couple of drafts should really be a playground for you to see just how far you can stretch your characters based on their characterisation.

2) It helps me clarify what is and isn’t important in my character’s decision making. I’m a firm believer that most decisions/actions aren’t inherently in or out of character; it just depends on whether or not the readers/viewers can understand the character’s thought process behind their decision, and this ultimately comes down to how well you, as the writer, conveys the character’s priorities when they make decisions. If you’re established that a character acts based on a code of honour, an exterior source to morality and conduct, then the justifications and reasonings they would use to justify murder would likely be very different than a character who acts based on their own convictions. This is also a great way to show character development; by showing how a character’s decisions gradually change as their cognition change as they develop.

3) It allows me to explore nuance and make note of potential contradictions within the character’s way of thinking—which is often the most interesting aspects of a character’s psychology, at least in what I enjoy to write and read. Most real people don’t have perfectly cohesive morals, and most people can’t always act congruently with their morals either, so allow for your characters to make some bizarre decisions! See how far you can stretch their cognition! These decisions don’t have to be canon to the story, but it’s a good way to actually solidify what line of thinking your character makes when faced with difficult and potentially morally indicative choices.

Work your way backwards!

If you already have the overall traits and behavior of your character pinned down, you can always work your way backwards! As a pantser, this is a very common occurrence for me. I have a character with a clear goal and defined characteristics, but they’re completely uninformed so far, as I usually discover the cause of their motivation and characteristics as I write the story. As such, most of my characters don’t have any sort of backstory established until I’m much further into the process, as I discover it as I go along. So here’s some things I look out for in my character writing when creating a backstory after I’ve already established a character.

1) What are some things the character is often drawn towards? Humans are typically very habitual, a lot of us enjoy some sense of familiarity (to varying degrees depending on the person), and taking note of what your character tends to gravitate towards can be a great stepping stone to fleshing out backstory. An example could be a somewhat cold, stoic character who’s incredibly picky with their relationships due to trust issues (pretty common characterization) has a tendency to let their guard down more when around elderly people. Why is that? Maybe they were raised by very old parents, or even grandparents. Maybe it’s a cultural thing to treat elderly with more respect. Maybe it’s a religious thing. Maybe it’s because elderly people have treated them with more kindness in the past, etc. Note that this can be flipped too! Maybe this character feels uneasy around people closer to their own age, or even people who are younger than them.

2) How does your character socialize? The way a character approached social settings can often be very indicative of how they were raised, as that tends to affect how people form attachments (according to attachment theory in psychoanalysis, at least). Are they very sociable? If so, why? Is it because they’re accustomed to being around a lot of people? Maybe they had a very large family, or maybe they had a family that took part in a very active social sphere. Maybe this character just comes off as sociable because they understand the value of social connections. Why’s that? Maybe their family have a political influence, or maybe they have a business they want to sell, etc. Or maybe it’s the complete opposite; maybe this character grew up with little to no family at all, and that’s why they want to make friends and connections. If so, then maybe that affects how they make decisions, leaving them incredibly loyal and somewhat co-dependent. Even the smallest character traits and behaviours can be expanded upon to inform you of how that character was possibly raised, it’s really just about digging into said behaviour!

3) How receptive are they to new experiences or other people’s perspective? This is also somewhat linked to attachment theory, but it doesn’t have to be approached that way! The reason I bring this point up is because I find that a character’s receptiveness is often a good way to gauge their relationship with their parent. For example, a character with very strict, traditionalist parents might adopt that outlook on life because it offers them a sense of stability and security. They weren’t raised to be adaptable or to adjust themselves to new experiences, and thus have a difficult time accepting things outside of their established paradigm. This would suggest that this character likely didn’t rebel much to their parents’ outlooks on things (or if they tried, they failed), since they adopted said outlook for themselves. Another way to write this character (with the same premise) is to have them react in the opposite way; maybe they are super open and receptive because the rigidness of their parents prevented them from ever experiencing anything. Maybe the status quo bored them, or maybe they see their parents as narrow minded. This characterisation suggests that there’s possibly more tension (not necessarily in a negative way) between the character and their parents.

Interplay between morals & behaviour

A character’s morals and behaviour don’t always have to align. Like I mentioned in an earlier point, humans hold a lot of contradictions, and how people cope with those contradictions can vary. However, how do you determine if a contradiction is purposeful rather than a case of out-of-character writing?

Let’s say you have a character who views all animals as sacred, and this is something they were raised with. Suddenly, this character is thrust into a situation in a different world/kingdom/region/etc. where eating animal meat is the only viable food option to survive. They decide to do it, despite their morals directly conflicting with this behaviour.

One way this character might justify this is by thinking “well, my intentions matter most, and my intention was never to hurt animals, so while I feel bad for killing an animal for food, my intentions of doing so respectfully makes this action more acceptable to me.”

But another character in the exact same situation might not be satisfied with such logic. Maybe they see intentions as irrelevant, and only care about the consequences of their actions. If it’s been established beforehand that a character is consequentialist, then this action, paired with the justification above, would feel incredibly out of character, because the logic behind the justification is not intuitive to the reader.

Whether a contradiction feels purposeful or out-of-character ultimately boils down to what information and how much of it you’ve given to the readers, so that they have the information necessary to break down the interplay between the character’s morals and behaviour. 

Using other tools (cognitive functions, socionics, enneagram, etc.)

As I’ve mentioned before on this blog, I’m very interested in various types of typology (mbti probably being the most popular and well known one), and while I consider all forms of typology to fall under pseudo psychology, I often use these tools to help me better understand my own characters better! I personally gravitate towards cognitive functions (which is not the same system as mbti, even though it uses the same letter system) as they help me put into words my character’s cognition, and enneagram, which describes behaviour and motivations that arise from a person’s upbringing and coping mechanisms. There’s other things you can take into consideration as well, like socionics, temperaments, attitudinal psyche, etc!

I’m not suggesting you use these as replacements for developing characters, but they can be great supplements when trying to dig deeper into your character’s psychology! I’d also argue that you get more out of putting these systems into use if you learn about typology and analyse your characters yourself instead of taking a test for them, but I’m also very biased in this regard, since I enjoy analysing my characters myself :,) And there are times where I’ll take a few tests to help solidify my breakdown if I’m having a difficult time labelling my character correctly. Honestly, just have fun with it!!

– Outro

Sorry for yet another lengthy post! And sorry it was a bit later than I’d anticipated, I had a much busier weekend than I thought I’d have, so I kept having to squeeze writing in anytime I had enough spare time to sit down, and then I stumbled across a series of health complications that I’m still trying to sort out. Which, speaking of, thank you so much to everyone who’s been wishing me good luck! I’m still working on figuring out what’s wrong, but I’m making progress!

As usual, my asks and messages are always open, so feel free to shoot me a message about anything! Even if I may be slower with my replies ^^; Thank you for reading! <3

[superectojazzmage]

Watched the Nimona movie last night. Review I guess. It was pretty damn good. Definitely would’ve probably been regarded as Blue Sky’s magnum opus if they’d gotten to release it instead of being fucked over by Disney. Very cute, very funny, very powerful in the right moments. A thing that stuck out to me is that it’s really only an adaptation in the loosest sense of the word. It takes the core premise and beats of the comic but is functionally an entirely different kind of story that does its own thing. And given that ND Stevenson was heavily involved in production, I suspect that was intentional.

The comic was much darker and more downbeat in a lot of ways, plus it was significantly longer and thus could afford to be slower paced. But more than that, it was a lot more meaty in terms of themes and scope. The whole “LGBT allegory” element was there, but it wasn’t the sole focus, the comic was a story about a lot of different things; not just an LGBT experience, but also discussion of fantasy genre tropes and clichés, criticism of other fantasy deconstructions, character study, exploring what it means to be a hero or villain, critique of the glorification of crime and cruelty in underprivileged communities, corruption in governments, peer pressure, the senseless and self-perpetuating nature of violence, the worthlessness of revenge, etc.. And above all that, it was a story about trauma and people’s responses to it, with Ballister representing people who actually deal with their problems and move on while Nimona represented people who let their mistakes and suffering and grief consume their identity, or worse, use it as an excuse to indulge their worst qualities and take out their feelings on everyone around them.

The movie, by contrast, has a much more narrow focus. The LGBT allegory is front and center and basically the entire focal point of the movie, aside from a spattering of themes about the danger of zealotry and rigid fundamentalist thinking. This gives the movie a much tighter narrative and pacing that suits its inherently shorter runtime, but also leads to a ton of changes to the story either to convey a different kind of message or just work better in a different medium. Most obviously in how Nimona is vastly more sympathetic in the movie and essentially really is the silly gremlin the comic fakes you out into thinking she is, scrapping the comic’s twist that she was a genuinely bad person who was completely serious about wanting to be a villain, caring nothing for the lives she destroyed with her behavior and idolizing Ballister because she thought he was the same as her and would thus tell her what she wanted to hear (i.e., that she was justified in killing and destroying everything around her in the name of getting even). And in the changes to the Institution’s history and nature. And all sorts of other things.

All in all, I feel if you go in comparing and contrasting the movie and the comic, arguing which changes are for the better or worse, you’ll be setting yourself up for disappointment in either direction because they’re two different beasts and it’s like comparing apples and oranges. So keep that in mind if you’re a fan of the comic watching the movie or a fan of the movie wanting to look into the comic. I think ultimately I still like the comic better, but that’s purely my personal opinion and there’s plenty that I think the movie did better.

Some other observations:

Riz Ahmed my beloved, thank you Mr. Stevenson for this perfect casting. Literally perfect for Ballister.

Acting in general was very good. You can tell this was a passion project for a lot of people, not just Stevenson.

Only two changes that are objectively bad are Ambrosius losing his awesome Van Halen hairdo and changing Ballister’s last name — Blackheart is a way cooler name than Boldheart and it’s a pointless change, one that I’d argue even hurts the narrative since it makes it too obvious that Ballister isn’t actually a bad guy.

The animation is really great with fantastic expressions, stylish movement, and wonderful aesthetics that perfectly suit the story, but there’s times where it feels a little off. But there are parts where it looks less “movie” and more “cheap mid-2000s CGI-and-Flash cartoon show from France”.

The humor can be a hit and miss, in a “going through the motions of a Hollywood animated comedy for kids” way. The movie excels when it’s either imitating the comic’s Old Internet sense of humor or going hard on the drama, but there’s bits where it seemingly slams on the brakes to do Illumination-esque Twitter humor and those bits definitely throw off the vibe.

Having an actual straight up attempted suicide in the climax was shockingly ballsy. I genuinely can’t believe they went there, but I’m glad they did because the film wouldn’t have felt nearly as raw without it.

I don’t know how they managed to make the Director even more of an asshole than in the comics, but they did.

[writingseaslugs]

Diasomnia: When They're Sick

Ahhhhhh finally! This dorm actually took the longest because I kept getting side tracked with other things. Took me two days to write it. I blame my friend, Em. We had write night and we couldn’t stop talking long enough for me to write these. I got midway through Lilia before giving up.

Disclaimer: All characters in this series are aged up. For more information about my version of this world and the type of reader you can expect, please click the “Au Information” below!

Request Information | Masterlist | Au Information

Diasomnia: When They’re Sick

Fae sickness was something that was vastly different from the kind that humans experience. It’s normally stronger and makes the person infected feel like a zombie. Thankfully the virus doesn’t circulate too often, but when it does it comes through like a hurricane. All it takes is for one person to visit Briar Valley when it’s going around and then come back to the dorm and everyone who can get it is sick. Sadly this happened and to say that everyone was in the dorm was suffering was an understatement. Even the humans were getting sick from flu season…overall not the best time to be visiting Diasomnia.

Malleus Draconia

Malleus hadn’t been sick in a hot minute…how long we’ll never know. It just never really happened to the Dragon Fae. So when he did come down with a surprise flu that was exclusive to Fae, it caused a bit of an uproar in Diasomnia. Most students were told to keep quiet about the situation, but it didn’t stop rumors from spreading as Malleus began missing some classes. Sebek was tense while going to school and Lilia, for the most part, also wasn’t attending classes so he could care of the prince.

Lilia is the one who actually shows up to your dorm room to inform you about Malleus’s condition. He isn’t very subtle about it either, in fact he was a bit over dramatic as to how bad off Malleus was. Now at this point, the worst of his illness is gone. Lilia wasn’t about to drag you in for that shit show that was the first few days of the fae flu, but he is dragging you in on the last few days in order to help Malleus feel better emotionally. Poor dragon boy has been stuck inside his room not being able to do much, and it caused him to be restless. The moment he sees you appear in his room his entire day has already brightened up.

Malleus has no issues taking medicine, though what he takes is certainly not something you’d be used to. The glowing liquid in the vial looks almost alien as you hand it over to him. There were several lined up, all labeled according to when he had to take them. It was odd seeing him chug the glowing liquid since it was still glowing in his neck as he took it, only to fade out when it got past the neck. Apparently it was special medicine made in Briar Valley that was specially made to help combat the flu.

Please do him a favor and make something for him to eat…please. Lilia has been in charge of bringing him his meals, so some of them have been unique. Granted, Lilia did try following the recipes this time around to make sure Malleus didn’t get worse from his cooking, but they can only help so much. Lilia can’t help but think “Maybe if I add this it’ll help him feel better faster.” which ended up in a vile concoction. So please bring him something good to eat so he can have a palate cleanser. He’ll probably be asking if you can stay until he’s better just so he doesn’t have to eat another of Lilia's specialty meals.

You’re going to be receiving random gifts at your home as soon as he’s better, along with several letters. Chivalry isn’t dead when it comes to the dragon fae, and he’s making it known that he appreciates what you’ve done. You’re never going to find out about the earlier stages of him being sick though, so don’t worry. That’s something that you probably will never see in your lifetime if he has anything to say about it.

Lilia Vanrouge

Lilia is also someone who doesn’t get sick very often; the last time he did was before Malleus was even born. So to say he was shocked when he began feeling sickly was an understatement. He knew exactly what was going on too, he had the fae flu a few times in the past, and it’s a feeling you never forget. So he’s already getting medicine prepared and telling everyone that he’s going to be taking time away from classes for maybe a week or two.

Lilia originally wasn’t going to be dragging you into this, but when you found out from Malleus that Lilia was acting strange and isolating himself in his room, you were curious. Lilia was in his room, covered in tissues with a red nose and watery eyes, staring at the ceiling. He didn’t even notice you had come in, which says something. Of course he’s going to accept help even if it does pain him to let you see him like this, but he isn’t exactly able to do much himself at the moment.

Once he has you taking care of him, he’s going to be so happy and be far more of a big baby than he was earlier. He now has you to give him medicine and attention, and he’s living for it. He’s never actually had anyone taking care of him while he was sick, so this is new and pleasant for him. He’s going to be over the moon but also extra needy as he begs for an extra dose of medicine even though he had some like five minutes ago. You’re going to have to remind him to let it kick in, but he can’t help the whining. It’s so fun watching your facial expressions and despite being sick, he still needs to mess with you somehow.

This is the only time he might complain; and it’s not even for the reasons you think. He’ll take one bite of your food and comment he can’t taste anything, before asking for you to take him to the kitchen so he can add flavor. Don’t. Let. Him. Absolutely don’t let him even leave the room, he’s contagious and he’s aware, but he also really wants something with a strong taste so it’s a mix of emotions. Just let him know you’ll see what you can do and maybe grab something that’s…different to put into his meal next. It doesn't have to be good, it just has to be unique.

Once he’s better he is so hyped to be able to hang out with you again. He’s going to be jumping off the walls and thanking you for being such a good caretaker for the poor, old Bat. Silver, Malleus, and Sebek will also be thankful to you for helping Lilia, since he refused to let any of them see him while he was sick. He apparently didn’t even let Silver into the room, despite knowing he wouldn’t be able to catch whatever he had. Lilia didn’t want anyone to see him so weak and frail, but you guess since you came in unannounced he didn’t have much of a choice.

Silver

Silver clearly can’t get a disease that targets fae, but that doesn't mean he can’t still get a cold. Falling asleep in random places can really ruin someone’s health, and Silver is no exception. He fell asleep outside and it got a bit too late, a little bit too cold. The next thing he knew he had a horrible cold and a raging headache that wouldn’t go away. So he did what was best and went to his room and tried to sleep it off without a second thought.

Silver in the past was always able to get over colds very fast, so Lilia never was too worried when he found out Silver was under the weather. You, on the other hand, were very concerned. If Silver just slept it off, then he might get better, but it was best to treat the cold as best you could. After all, colds could turn to pneumonia in the blink of an eye, and that can literally kill a human. Somehow this passed by Lilia’s knowledge so he never cared too much, but after you express this concern he goes full dad mode. He doesn't know much about treating humans though, so you’re the one leading the way. Thankfully Silver is too out of it to protest.

Silver will take whatever you give him judging by how he’s half asleep when you’re there. Whenever he’s sick he’s extra tired and literally can barely keep himself awake. It’s extremely concerning but Lilia swears it’s how he’s always been. Silver might be able to thank you while he’s half asleep, but that’s about it. Thankfully the taste doesn’t get to him while he’s in this state, so no worries about him spitting out the medicine or fighting due to the flavor.

This is the most challenging part about him being sick. Again…he can barely keep himself conscious. Just getting him to sit upright to have a meal is a struggle. You’re basically spoon feeding him as he begins dozing off every couple of seconds. You need to make sure he doesn’t drown in his soup. At one point, smelling salts actually do sound like a rather good idea to use on him. It’s going to take a solid hour for him to finish whatever meal you bring to him, but at least he’s eaten something. Normally when it’s just Lilia, he won’t eat until he’s all better. Small improvements are still improvements!

Silver hardly remembers being sick, but he does recall glimpses of you between his fever dreams. Once he’s back, he’ll be thanking you and asking if you’d like to go on a walk. It’s just his way of saying thanks. The walk is mainly so all the forest animals will run up and greet you guys, since they were all concerned once Silver was gone. The animals and Silver are very grateful for the efforts you put forward to assisting him in getting better. While he can’t promise he’ll be able to give the same care for you, he can at least say he’ll do his best if you ever fall ill.

Sebek Zigvolt

Sebek, out of everyone, is the worst when it comes to denying he’s sick. He could literally pass out from exhaustion from his illness, and he’d get back up and apologize for his displays in front of Malleus. Lilia is the one telling Sebek he needs to rest, and the only way Sebek will is if Lilia reminds him that his illness is contagious and could make Malleus ill. So of course this leads Sebek to going to another extreme and barricading himself in his dorm room so that no germs can get out. This makes it hard for anyone but Lilia to get in to check on him.

He refuses to let a human help him; you have no idea what a fae illness is. How could you possibly help? Wait…Malleus personally asked you to come help nurse him back to help since you can’t catch whatever it is he has? Why of course, Lord Malleus is so generous and he needs his guard back as soon as possible, so it makes sense he’d send a servant to help him. Just remind him you aren’t a servant and you’re here because you care for him. He will get flustered but will do his best after he is finally open to you helping him out.

Medicine is something that he’s not super stoked on taking, but if Lilia bought it, then he’ll take it. He will give you the side eye if you stare at him while taking it and ask what’s so interesting about it. When he grimaces it’s a bit funny with how his face scrunches up and he quickly tries to conceal it. You caught it though, it was so obvious that he disliked the taste and it was oh so adorable.

He’s not super picky when it comes to the stuff he eats while sick, as long as Lilia hasn’t touched it. He might even comment that it tastes good for something a human managed to cook up. That’s him secretly saying that it tastes amazing and he loves it, he’s just not going to say all of that out loud. He does prefer it if the meals will help him get better faster though, so keep that in mind. He also wants a lot of protein to be in it so he doesn’t lose bulk, because he might still be trying to work out while sick. Smack him over the head and tell him to take a chill pill and relax. If need be, get Lilia to do it for you. He needs rest and it’s not something he’s good at.

Once he’s better he’ll thank you out of obligation, because Lilia literally won’t let him go without saying it. He might even be blushing but he’s going to have to add something to make it into a subtle insult. “You played a good nurse…well for a human at least.” at least it’s something. Just inform him that it wasn’t for free and the next time you’re sick, he’s the one giving you medicine and home cooked meals. He can’t even say he won’t. He can’t be indebted to a human, after all.

[lastwave]

Harry Du Bois, the skills + DID/OSDD coding

a compilation of most of my thoughts on harry as a system (note: i am system im not just like. pulling stuff out my ass)

1. Structural Dissociation Theory crash course

so for this point i'm going to give you a crash course structural dissociation theory (do not use me as a source for ur knowledge on it this is very like. base level and just to establish context)

structural dissociation states that we all start as multiple different facets, and that as we grow up, these facets all fuse into a cohesive personality. however, in DID/OSDD, ongoing trauma proves it safer to NOT fuse these facets and instead develop dissociative and amnestic barriers between them to varying degrees. these facets cope by developing into individual personalities, and if traumatic events persist, the brain may split more personalities to try and cope with this. this gives us two bits of information that i'm going to use throughout this

1. there is no "original", just alters that host for long periods of time and/or identify with the body the most

2. amnestic & dissociative barriers are fluid. in times of rest, these barriers may start to come down between some alters, but not necessarily all.

**NOTE: these are not hard and fast rules and vary from system to system. it's also vastly different if you have Polyfrag DID or Complex DID. since I don't hc Harry as polyfrag or complex tho, i'm not gonna get into that

2. Harry (the system)

so it's pretty easy to establish that harry has a good handful of childhood trauma. being born in a military hospital + town and growing up there means he probably saw and/or heard a lot of death and sickness. we also know his father left based on the logic passive in the measurehead conversation

we also know from the reaction speed passive when you find out your name that harry was born in a time all these were concerns. most likely, hunger, considering how through the game hunger + eating is an undertone w/ harry

we also have the klaasje half-light passive implying that harry's been raped (might not have occurred during childhood, but still a contributing factor to trauma)

my point being bro has enough childhood trauma and then some to create a system.

we also see a LOT of amnestic barriers between harry and the rest of the skills. besides the obvious not remembering anything, we see the skills remembering things that harry doesn't.

for example, EChem remembers that harry took speed some point recently, while harry himself doesn't

we also see that the skills have distinct personalities and opinions separate from each other. shit we've got a communist (rhetoric) and a fascist (endurance) living in the same fucking body. half light is immediately suspicious of everyone and everything while empathy tries to understand everyone even to their own detriment. and volition and echem need a whole post of their own. thats some pretty strong dissociative barriers

3. Harry (the alter)

to be quite honest with you i think harry as we, the audience, know him is a brand new split, an introject* of an old host that has either fused with another alter or gone dormant. he's trying to fill a different harry du bois's shoes- someone he is fundamentally similar to, but is, at his core, not

*Definition from did-research.org: Introjects are alters that are based off of an outside person or figure. Introjects may or may not see themselves as the individual that they represent.

knowing nothing about yourself, even what you look like, is a common feeling for new splits (in our experience). with the high amnestic barriers separating harry from the rest of the system, it makes sense that the first time he is conscious he is totally lost about his own identity, where he lives, or what his occupation even is.

losing facts about basic reality is probably a dissociative response. things the brain knows (see encyclopedia filling in gaps once given a prompt about something like Fillipe the Conquerer) but doesn't want the new host to know for fear of not being able to function.

4. Certain Alters with Functions

some of the skills fall into alter "archetypes" (not all alters will, even in like. real life systems) and im just gonna list them out here:

ones with subtextual backing:

Volition: Caretaker + Apparent Normal Part

Half-Light: trauma holder

Electro-Chemistry: symptom + trauma holder

Authority: protector

Logic: apparent normal part

ones that are just my headcanons:

Interfacing: little

Endurance: ex-persecutor

Inland Empire: ex-caretaker

here ends my post of articulate thoughts, if u have any like. follow up questions feel free to shoot me an ask. might take me a minute tho

[broomsick]

Holy spaces & shrines in the modern norse path

Before we dive into the oh-so-diverse topic of holy spaces, let me first specify a few practical tips!

I’m very much aware that the definition of the term “holy” is deeply subjective and varies depending on one’s opinions. I’ll elaborate on a few of my thoughts on the topic further!

In no way are you bound by any rule regarding this aspect of paganism.

I will base my post off of my research, granted, but also on my personal experiences and practices!

Now, what makes a holy space sacred? Not necessarily "holy" per say, but simply sacred.

The very first factor to consider is, what is sacredness? Lots and lots of pagans engage mostly in solitary practice, so much is true. Which is why lots of us find ourselves gravitating towards spaces others may not necessarily find any sense of "sacredness" in. The corner of your room where you tend to pray the most? Sacred. Or the spot in your garden where you perform your harvest ritual every year! It’s the connection we feel to the space that makes it sacred in the first place. But a space being holy depends on whether or not we choose to anoint it in such a way.

When something is sacred to me, I tend to feel a sort of spiritual pull. A swelling of the heart, if you will, like the feeling I get when faced with a breathtaking landscape. The feeling of spiritual connection to a particular spot is the first intuition one needs to tune into when choosing a holy space. After all, staying in tune with one's intuition might be one of the most important aspect of any spiritual practice.

Within nordic practice, a holy space is often called vé, a sacred enclosure. Vé's are attested in numerous toponyms as well as ancient texts, such as Beowulf, or the Skáldskaparmál. Their omnipresence in Scandinavian toponyms might, when considered through a pagan lense, signify something quite interesting: the holiness of a space depends on the space itself, its location, rather than what's inside it— or rather, how grand and ornate it is. When building a holy space for oneself, one does not need lavish decoration, or an elaborate shrine with the gold foil and the statues.

However, there are a few steps one can follow in order to anoint a space as holy, if one wants to reconstruct a few practices from pre-Christian Scandinavia. Although I'll specify that as always, no rule is set in stone when it comes to neopaganism. The choice to abide by them or not is entirely up to the practitioner. And in any case, even as I was gathering these few ideas, it was clear that, as always, pre-Christian practices centered around holy spaces vastly differed depending on the place and the time. Regardless, I think it's fun to do some research on the topic in order to reconstruct on our own terms a holy space in the nordic tradition.

The first step? Having a good knowledge of your area. Both before and during the Viking Age, holy places were more often than not located outside. It can be a great help to know where to find the greenery in one's area. Is there a beach near home that the public has access to? How about a large park where you can spend some time alone without being bothered? Even your backyard does the trick! Anywhere you can see the sky and breathe the open air is already perfect. Now, the Germanic tribes would generally worship near an object of particular importance, such as a grove, a body of water, a clearing in the forest, a hill... Although this doesn't seem to be very present in historical attestations, and considering I'm devoted to Yngvi-Freyr, I'm an especially big fan of worshipping in plains, or fields!

I think it's important for me to note that if you are lucky enough to live near a body of water, you can choose to engage in one of the most popular forms of offering in nordic historical practice: throwing offerings out to sink into the water! This practice was especially widespread, evidence of it having been found as far as Britain and Iceland. Evidently, if one chooses to engage in such a practice, it's important to respect the ecosystems and stick with offerings that won't damage them (acorns, stones, flowers and the like). As for an outdoors shrine located in a forest, or near woodland, it would have been customary during pre-Christian times to center a holy space around a tall tree, perhaps representing the World Tree Yggdrasil.

Considering lots of neo-pagans prefer to keep their practice discreet, it goes without saying that the holy space of your choosing does not need to be especially big, nor especially decorated. It can be as small as it is humble! One of the spaces where I most like to worship is the little corner of the yard, tucked under a cedar tree, where I rebuild my hörgr every year, as soon as the snow melts for good. Nothing too flamboyant!

Now, the second step to building a little outdoors shrine for yourself is to choose a representation of the deity to adore. It's said that the human-like appearance of this representation mattered little to the Germanic tribes, whose representations of the Gods could be rather simple, and not especially ornate. For this reason, it would be perfectly logical to even choose an object associated with the deity in question to serve as the main representation placed in the sanctuary. If we're talking about Freyja, a falcon statuette, or feather could do the trick! As for Fenrir, any wolf imagery could work as well! In the case of Thórr, one could replicate the case of Donar's Oak and choose to center their shrine around a particular tree (the rowan are the oak would make the best choices, if one is to pick a tree sacred to Thórr). These are just examples, and the possibilities in this regard are limitless. This "main" representation can be used as the center of your sacred space, and given offerings during rituals or celebrations. In my case, I like greet this representation both when "entering" the sacred space and when leaving it, as a sign of respect!

If one so desires, it's possible to set up some kind of "delimitation" in order to mark the entrance of the sacred space, or its outline. I like to place either ribbons on nearby branches, or litter stones here and there to lie in a loose circle (we wouldn't want to block the rays of the sun from reaching the earth and keep the greenery from growing). In order to signal the entrance of shrines, the Germanic tribes would generally use heaps of dirt or pillars of stone, among other things.

Another intresting element one might include in their sacred space is the presence of fire! Whether this be a bonfire, incense, a simple candle or even just a handful of ash, there's lots of ways to include the "element" of fire into a modern day shrine. It's a means of warming up the space, so to speak: tending a fire in the shrine is akin to having a hearth in the home!

Ideas for common, historically attested offerings: Ethically-sourced animal bones, gold or golden jewelry, tools, representation of the Gods, beads and beaded jewelry, alcohol, food and meat…

Now, let's pull away from the history lesson and let's dive into modern, neo-pagan practice! I'd wager some of you are wondering, how exactly can one keep a whole shrine, but make their practice as low-key as possible?! After all, I know firsthand that solo practice is especially common among neo-pagans. So my answer to this question is, who said anything about keeping? One piece of advice I've already given to a few fellow pagans in the past is to create a little portable shrine all to yourself! Let me explain myself: you arrive at your chosen location, you put down a basket full of decoration and you put up a temporary space in which to worship for an hour or two. You take out a deity representation, a few candles (if they're allowed on site!), a handful of offerings and a cloth on which to place them. And when you're done with the ritual, you pack up your things and make sure you leave the site as clean as when you first found it. In other words, what I’m suggesting is the possibility of gathering a few designated worship items in order to make oneself a portable, personal little shrine! It might seem like a silly idea at first, but I’ve discovered it’s not only a fun habit, but it’s also greatly helpful on a tight schedule to have a quick and easy way to engage in outdoors practice.

As always, I wrote this post aiming to help fellow pagans find ways to balance historical practice and modern, solo practice! I hope these few ideas did the trick, and wish you all a good and plentiful spring season!

First picture

[riacte]

Re: popularity and clout gap, this thought has been lurking at the back of my mind but it didn’t hit me until a friend pointed out it was like how some parts of the audience used to treat hermits in MCC. As in: the hermits could achieve something technically amazing but were ignored simply because they weren’t popular (see False’s back to back win being ignored post MCC12) when the exact same achievement would cause them to lose their minds if it was done by someone who was more “popular”.

Post Demise 2, I joked this was like Blue Bats over again in which False (and Ren) won with the power of friendship in a wholesome storyline yet some parts of the audience chose to be salty their fave didn’t win instead. Sometimes you can see such a severe cognitive dissonance because people watch different hermits. Like that post on Reddit innocuously asking about Perry when I’d seen him around for weeks now and people pointed out Perry had been featured in the Neighbourhood’s videos for a while. (Nothing wrong with the post but it shows how vastly different the viewing experience is.)

It’s kind of like we’re back to 2020/21 era esque “hermit erasure” but it’s (unintentionally) done by some hermit fans. Okay, actually I’ll erase the unintentionally. Plenty of people only watch a few hermits and I emphasise that is fine and you can do anything you want forever. Enjoy HC in any way you like. Be free. The problem only surfaces when people pretend their corner is the only corner that exists and everyone else are the side characters. Like, it’s really fine to admit you don’t know everything. Someone on the MCC Reddit tried making teams and admitted they didn’t know the hermits well but somehow their teams ended up being more hermit accurate than most teams I’ve seen.

This situating done by some parts of the audience of some hermits as “main” and some hermits as “side” to the whole production of Hermitcraft makes me think of 2020/21 MCC again. In which people were discussing protagonists and villains and cannon fodder. Which was why I wrote Battle Scars, a parody / satire / sincere piece of work / whatever, to show that my faves (Blue Bats) could be the protagonists too. And it feels like I’m back. Scrambling to script my faves as characters worthy to have their stories told. Why are we back again.

And why does it lowkey feel worse because this is happening within the same fandom.

… And now I realise that’s also part of why I wrote Feel It Still, another crack treated seriously fic. Because it’s a Superhero AU proudly situating my faves in the lead roles based on canon stuff, while the typical protagonists of Superhero AUs in this fandom are delegated to side characters and are the trainees under a main hero. It’s this sort of twisting of canon that I keep on (subconsciously) doing, attempting to give some sort of spotlight to my faves by mimicking / parodying fandom trends and tropes, trying to make them more palatable and spread propaganda or whatever.

Tldr: it feels like we’re back to “hermit erasure” era and there’s a lot of fanon attention on a few. And you just know certain events would receive significant more attention if they were done by the popular hermits instead of the less popular ones. But it’s mostly crickets outside my circle and the people that I know of. Like hey yeah this is someone I know from chat and someone I know from Twitter. And I know about “being the change you want to see” and “make stuff you want to see” and “promote your faves”. I know. We all know.

It just gets tiring sometimes.

In the end, a number’s game is a number’s game.

[wolfisland]

i think people just don't get that transmisogyny isn't just transphobia, it's a form of misogyny. the same way lesbophobia, bimisogyny, and misogynoir all have a common factor: misogyny.

because misogyny is an actual form of oppression. these are the intersections of misogyny and other forms of oppression. they aren't just forms of transphobia, homophobia, biphobia, or antiblackness. they're forms of misogyny. they are certain kinds of women being targeted.

androphobia and misandry do not exist in the same way, not as a form of oppression baked into society from the foundation. misandry and androphobia are not enforced, mandated, woven into the very fabrics of most societies. they're phobias, types of hate and discrimination, but they're not structural oppression, the majority of the world does not hate and devalue men for being men. these men who are hated are most often targeted for other ways they may be disadvantaged or marginalised.

misogyny impacts the experience of every single other marginalized identity, the experiences of someone targeted by misogyny vastly differ from those who aren't, whether they're also trans, gay, black, brown, disabled, religious, etc.

when men are oppressed it's basically never for being men. it's for everything else about them. that's why when people say that transandrophobia doesn't exist, that it's just transphobia, it's not intended to undermine the experiences of those affected by that transphobia, those are still real experiences, and it's still real pain, but it's literally just different.

it's not to say a man cannot experience misogyny, many of us have, many of us are shaped by those experiences. my childhood as a little mixed black girl shaped me into the person i am today. there are many men who were impacted by misogyny, but it's literally just not the same as being targeted by it. it's not the same as there being a fundamental power imbalance where basically the entire world is more critical of you, less caring, more willing to let you die and be in pain.

you are not targeted for being a man. your pain, while real, is different. this shouldn't be a difficult concept to grasp, nor should it fill you with so much rage and hate that you lash out and demonize the women who are so often the actual targets of the pain that's been inflicted on you.

why is there such a strong movement for the recognition of the concept of an intersection of androphobia or misandry as a form of oppression when it comes to transphobia but it's shot down HARD with other forms of discrimination? how can we all grasp that misandry and androphobia aren't real outside of this, but somehow it's different when the men are trans?

how the fuck does that work. how are these the same.