#I might make a separate post about that sometime because it’s something I’ve typed several long rants about | Explore Tumblr posts and blogs

ghostbustermelanieking · 4 years ago

Note

7 or 11 jmart for the kiss prompts??

thank you so much for the prompt!! asdfgghjkll i swear i didn't mean to post a post 200 separation fic on the same day as you (i was actually working on this last night).

this is a version of the scenario i wrote in love letters where martin and jon are separated after 200. but there is absolutely no need to read love letters to understand this.

warning for discussion of the panopticon scene in 200, and for a moment of jon wishing for the Eye to return (limited to the first section).

7. “I’ve missed you” kiss & 11. “I almost lost you” kiss

Waking up without Martin almost feels like dying all over again. That horrible moment where Jon opens his eyes in the hospital, on the other side, and doesn't see Martin… he'd take being stabbed a dozen times over this.

When he wakes up and finds Martin gone, he thinks he's lost him. That Martin's died, that he's trapped on the other side buried in rubble, dead because of Jon, and Jon's survived somehow when he really doesn't deserve to… or that Martin's alive, maybe, just maybe, but he's somewhere else entirely. One of the other worlds Annabelle spoke of, or their original world—which maybe Jon should hope for; Martin would have the others, assuming they survived, and he'd be safe from the fears, safe from whatever horrible things they've unleashed on this world with one quick motion of a knife.

Jon should hope for this, that Martin is safe and that he has the others. But he's selfish, and they promised together, and he misses Martin with everything in him.

He's at a hospital in London, he figures out eventually. The hospital closest to where the Magnus Institute was, in another world. The nurse reports that they found him on the site where Millbank Prison used to be, and isn't that weird? And that they found him there alone. (Jon's throat closes up at that, his eyes stinging, and he pretends he's tired so the nurse will leave, so he can cry in peace.) Martin wasn't with him. Martin didn't come through.

But after a few days lying in the hospital with nothing but his thoughts, nothing else to do, Jon starts to question this. They have no idea how this all works, the tapes and the Web and the crack between the worlds… Surely he wasn't the only one to come through. Annabelle Cane thought she'd come through or die, and if Jon came through… and they didn't find her where they found Jon, either. (Of course, maybe Annabelle ran off before Jon was ever found, but somehow Jon suspects she wouldn’t. She strikes him as someone who likes to be at the center of things.)

If there's a possibility that Annabelle came through, and landed somewhere differently than Jon, then there is a possibility that Martin came through, too. That he is somewhere, here, and maybe he is alive.

It's a small possibility. But Jon clings to it with everything in him.

He can't Look for Martin ( or for Annabelle, really). The Eye is gone. If it is here in this world, it has left him. Jon tries to be grateful for this, and a part of him is—he's been reaching for humanity for so long, all while sinking further and further into something he never wanted, he should be beyond grateful that it's gone, that he is alive and can live, without fading, somewhere else. (Although a part of him insists it doesn't matter if Jon hasn't made it.) But after so long with the Eye as a captor, a safety net, a part of him he thought he couldn't cut away… trying to live without it is strange. It hovers like a phantom limb, something severed by the gaping scar in his chest. He keeps reaching for it, for the horrible comfort of Knowing, and he hates it, but he wants it back deeply. Wants it because he knows he could find Martin with it, just maybe. He keeps thinking, Give it back, just for a moment. Thinks, I'll use it to find Martin and then I'll let go, I won't ever again, I hate it but I need it, I NEED to find him…

It doesn't come back. If Jon is ever going to find Martin, he'll need to do it on his own.

He asks all the nurses and staff, anyone he comes in contact with, if they've ever met a Martin Blackwood. Asks if there's anyone in his files with that name, or a name like it, begs the nurses to please look around for anyone like that. No luck there. Jon asks for a phone book and gets an odd look; he guesses phone books are out of fashion in this 2018, too. He can't do much while he's in the hospital, and he's about to give up hope on making any progress until he's been discharged.

But then he manages to get a hold of a laptop. After days of asking, a nurse offers to lend him one, if he promises to keep it quiet, and not to exert himself.

Jon searches the Internet for hours. There are dozens of Martin Blackwoods, actually, more than he ever could've guessed, and none of them seem to be Martin. He has to consider the fact that Martin may not have existed here—just like Jon didn't exist here, or doesn't seem to have, before they woke up. Which will make it nearly impossible to find him using the Internet—using anything, until Martin has been here long enough to establish a paper trail—if Martin was ever even here in the first place…

Desperation. Panic. Jon's last resort is to write a letter. To write down every single thing he's wanted to say to Martin, the things in his head when he woke up, the things in his head when he realized Martin wasn't here. He writes it all, says the things he knows only Martin would know, so Martin will know it's him if he ever reads it. And then he spreads it across the Internet. Posts it every single place he can think of. Every social media site. A lot of forums that are frequently visited. Comments on blogs he thinks Martin might read. Anywhere he can think of. He even prints off copies and mails them to every address he can think of that Martin might be at: his Prentiss flat, his post-Prentiss flat, his mum's care home, Upton House, the safehouse. He puts his real name on it, at the very top, and Martin's, hoping that if Martin is searching on the Internet, it might come up…

Jon's desperate. He'll try anything, any desperate, silly scheme like spreading a love note all over the Internet. Anything to get Martin back.

By the time Jon leaves the hospital, his letter has gone viral. Plastered all over the place. There's people picking it apart, speculating about whether it's real, calling it an excellent work of fiction, speculating it's all a joke. There's even some commentary from other Jonathan Simses and Martin Blackwoods, swearing it's of no relation to them.

None of it is what Jon needs. He checks every iteration obsessively: every comment, repost, retweet. None of it is Martin. None of them are Martin.

He's still looking. Every single day, he looks, in places beside his letter and its hundred iterations. He searches as far as he can, in every record he can think of. He tries to find places in London that he and Martin frequented—the ones he can find. He even goes back to the Institute, or where it should be. It isn't there, of course. Probably never was. Jon can't decide whether to be relieved or disappointed.

It's all he can do, to look and to keep hoping. It's all he can do.

It's hard, being alone again, after so long always being at Martin's side… They'd craved space sometimes, and they'd had it, he supposes, but now… Weeks without Martin, one, two, three weeks, and it's excruciating. Jon had said together at the end, he'd promised , and he'd tried so hard to believe it, and now he's here, impossibly, alone.

He has nightmares almost every night. Nightmares of the Panopticon and the end of the world, the ritual, words forced up through his throat—being at the center of the Eye, at the center of the world with Jonah Magnus at his feet and Martin dying in his arms. Martin forcing the knife into his chest. Jon hasn't dreamed of anything but the statements of others for so long, and he'd thought he missed it, but now… He wakes up almost every night shaking and crying, reaching for Martin. Like clockwork. He thinks he'd do anything for a dream that isn't his, a dream that's not an endless reminder of what he's done.

He checks the forums. He searches in familiar places. He lies in bed and thinks of Martin, tries to look for Martin, silently begs for help from anyone who might be listening (the Web, the Eye, anyone). Nothing works. Nothing.

The reminders come like clockwork: Jon might be looking for no one, might be shouting out to someone who isn't there. Martin might be dead. It might be too late to get him back.

Three weeks in, Jon finds a comment on the original forum, the original place he posted the letter on that first day. A comment from an m.blackwood .

Jon reads it with his heart in his throat. Trembling with hope. Unable to hope completely. There's a dozen different things it could be besides him.

The comment says I thought you were dead. It says, I'm sorry. It says, I love you, says, I'm coming.

Jon's chin trembles, his eyes stinging. He fumbles at the keyboard with shaking fingers to instant-message m.blackwood, types out his address immediately, without thinking. (He has to type it out three times before he gets it right, his hands are shaking so hard.) And after that, I miss you. Even though he said it in the letter, even though it might not be Martin—it could be someone else fucking with him, a troll or whatever it's called; it could be the Web or the Stranger, luring him into a trap. But Jon doesn't care. He doesn't care. If there's any chance, any chance it's Martin…

The reply comes a few minutes later: I'm coming. I'm so sorry. I miss you too. I'm coming right now. And Jon wipes his eyes, presses his face into his hands, and allows himself to hope.

An hour and a half later, someone is buzzing for his flat. Jon runs so fast to the door that he almost slips and falls in the hall, hits the button with entirely too much force and breathes, " Martin? " into the intercom.

Silence for a moment, long enough that Jon starts to wonder if this is just some random person he's practically sobbing down the line at. And then a voice answers, tear-choked: "Jon?"

Jon nearly collapses with the weight of this voice, Martin's voice. He leans hard against the wall, his eyes burning, and says, "Martin, I-I'm buzzing you in," wiping his eyes frantically.

He doesn't move from the door, stays leaning against the wall like it is the only thing keeping him up, until he hears a tentative knock on the other end. And then he's yanking it open, as hard as he can, and on the other side is Martin. Not something pretending to be Martin, not another Martin Blackwood, but his Martin. His Martin, standing there with the faded marks of bruising, his left arm in a cast and a new scar across his forehead, tears pooling in his eyes. Martin. Jon can't breathe for a moment, can't move, can't go to Martin because it doesn't feel real, none of it.

And then Martin's saying, "Jon?" and bursting into harsh, frantic sobs. And Jon's rushing forward. He's rushing forward and letting Martin collapse in his arms, gripping Martin tightly, his fingernails digging into Martin's shoulders, his face pressed into Martin's neck. He's trying to hold on without squeezing or holding too tight, in case Martin's hurt worse than he knows—he's saying Martin's name over and over again, a senseless litany into Martin's skin: Martin, Martin. He's crying, too, hot tears dotting the fabric of Martin's shirt. He's burrowing as close as he can, pulling Martin into him, desperate to feel every part of him—it's him, he's here, it's Martin, they haven't lost each other.

Martin's holding on just as tightly, trembling in Jon's arms where they've sunk to the ground, right in Jon's doorway. He's crying so hard, it's difficult to understand what he's saying, but eventually Jon begins to make it out. He's saying I'm so sorry. Again and again, muffled into Jon's hair: I'm so sorry.

"No," Jon says, suddenly desperate. " Martin. No." He pulls back to look Martin in the eye, to try and wipe the tears off of Martin's face (even though he is crying, too). Leans up to press a kiss against Martin's forehead. "Martin, please, please… p-please don't apologize, please…"

"I killed you," Martin chokes out, his eyes shut, his dark lashes wet against his cheeks. "I killed you, Jon, I hurt you, a-and I… I thought you were dead, wh-when I woke up here, w-without you, I thought I'd never see you again, because of me… "

"I thought I'd lost you, " Jon says, quietly, through his own tears. He wipes the tears from Martin's face again and again. "A-and it really would've been my fault, because I lied to you, I-I was the reason you were up there… Martin, please. "

" Jon. " Martin tugs him a little closer, burrows closer still, his face pressed into the juncture between Jon's shoulder and his neck.

"It's okay." Jon kisses Martin's forehead again, his temple, his cheek, the top of his head. "Martin. Martin, it's—you're here, it can all be okay now…"

Martin leans up abruptly to catch Jon's mouth with his. It's salty and lingering and desperate, every single thing Jon has felt in these long horrible days without Martin, every single kiss he wanted to give Martin while he was gone. Jon sinks into it, gripping Martin as tightly as he can, gripping onto his shirt, kissing Martin fiercely, with the panicked relief of being alive, of finding each other again.

Even when the kiss finishes, they don't let go. They stay there, clinging to each other in the doorway, leaning against Jon's open door. Martin's still crying, still trembling in Jon's arms; he says, I missed you too, I missed you so much; Jon says, Martin, I missed you every single day. Every single moment.

Martin whispers I love you against Jon's hair. Saying it back is as easy as breathing.

#tma fic #mag 200 #jonmartin #the magnus archives #post 200 #i wrote this #i might write more fics in this specific 200 scenario. like especially if i wanna write something where they talk things out

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gendercensus · 4 years ago

Text

Supplementary survey: they/them reflexives, The Sir/Ma’am Issue, and Spivak vs. Elverson

This short, clarifying survey ran from 4th until 24th April 2021. There were 2,998 usable responses. Unlike the annual Gender Census survey, this one was open to anyone of any gender, provided they lived in an English-speaking country.

It asked about two things:

They/them verbs and reflexives - basically whether people who prefer they/them pronouns prefer the reflexive to be themself or themselves, and which people feel is more “correct”.

Sir/ma’am/? - investigating why people use sir/ma’am in areas where it’s polite and common to do so, and whether there are any viable nonbinary or gender-neutral alternatives.

This blog post will also investigate the Spivak vs. Elverson issue, which was actually a separate poll that took place on two social networks.

THEY/THEM VERBS AND REFLEXIVES

Someone asked about themself vs. themselves, and it reminded me of some of the they/them issues that people ask about in feedback boxes and various confusions surrounding them.

Singular they - what is it, and when and how do people use it?

Plural they - what is it, and when and how do people use it?

What is the “correct” reflexive for each of these?

You can see the statistics in more detail here, but here’s the graph as an overview:

Participants were asked a series of questions about singular they pronouns. Everyone was asked a “which is correct” question, and participants who sometimes or always like to be called ”they” were also asked about their personal preferences.

The graph is a view of only participants who sometimes or always like to be called “they”.

Verbs. As you can see, participants overwhelmingly (94.3%) wanted people to use plural verbs (”they are reading a book”) when talking about them in the third person - even though the percentage of people who thought that was the most “correct” form was a little lower (81.8%). This was lower because 11.4% of participants who preferred “they” answered “both are correct”.

Reflexives. People were much more likely to say that both themself and themselves were correct (28.3%), and more likely to have no preference between the two (17.4%). However, themself was still more popular overall at 59.3%, and 47.3% thought themself was grammatically correct.

You as a control. I also asked all participants whether yourself or yourselves was more correct when addressing one person as a kind of control question, because they is almost grammatically identical to you - it can refer to one person or multiple people, it takes plural verbs even when referring to/addressing one person, and in that situation only the reflexive changes. Many people who say that singular they is grammatically incorrect have no issues with singular you, so it seemed like something that might be interesting to compare. In the graph above you can see that 93.6% of people thought yourself was more correct; only 4.2% of they-accepting participants felt that both yourself and yourselves were equally correct when addressing one person.

There were a couple of things that came up several times in the comments:

“They is” is common in African-American Vernacular English (AAVE), and probably in other dialects too. As I don’t live in the US I’m pretty unfamiliar with this dialect, but either way that seems fine to me. It’s part of why I also asked for participants’ locations, because I wanted others to be able to download the results and see if some regions were more likely to use some words/constructions than others.

There were some alternatives to themself and themselves presented, such as theirself and theirsen. Both of these points lead nicely to the third...

The idea that any language choice is more “correct” than another is quite prescriptive. What feels correct or natural varies depending on a lot of factors, such as where in the world you learned English, and there is no such thing as objective correctness when it comes to such a broad and variable language as English.

I am aware of and agree with that third bullet point, so my asking which phrases were more “correct” was a bit of a trick question. It was a good way to get a feel for people’s linguistic instincts.

I also thought it was interesting that participants who never wanted to be called they were slightly more likely to side with the most popular view on what is “correct” across the board, and less likely to say ��both are correct”.

PLURAL VS. SINGULAR THEY

I actually ran another version of this survey first and then scrapped the responses, because it was clear that my survey design was leading to some pretty confused and unhelpful data! Among other things, it asked participants whether they preferred singular or plural they for themselves and then directed them to particular questions based on their answer, and the comments suggested that people either didn’t really understand the distinction or meant different things by those terms, even though I had added help text.

This is my understanding:

Singular they is they/them pronouns when used to refer to one person. Verbs are usually plural (i.e. “they are” rather than “they is”), and themself and themselves are both common. Example usage: They are getting themself a cup of coffee. They bought themselves a nice new hat.

Plural they is they/them pronouns when used to refer to two or more people. Verbs are usually plural (i.e. “they are” rather than “they is”), and themselves is almost universal (with the exception of regional variations such as theirselves). Example usage: They are getting themselves some coffee together. They all bought hats for themselves.

Some plural/multiple people refer to themselves as “we” and prefer to be addressed as “they/themselves” (which they call plural they) because they are a group of individuals sharing one body.

The reason I initially asked directly about singular vs. plural they is because I was concerned that plural/multiple systems would cause some statistical confusion. Many plural people have asked me to add plural they to the checkbox list of pronouns in the annual survey, but since it has never been entered by over 1% of participants I have never had reason to do so. As far as I knew, the only difference between singular and plural they is the reflexive (themself for singular and themselves for plural), so I wanted to be able to investigate non-plural people in isolation, and I was curious to know about any trends or differences. I wanted to find out if I should be doing anything differently to ensure that Gender Census statistics are helpful.

So, I swapped out the badly-designed question for a straight-up checkbox, a “check this box if you’re plural/multiple” type of thing, with a note that participants should fill in the survey once per body wherever possible, and then I made some graphs.

Here you can see that plural systems were still more likely to prefer people to use themself to refer to them rather than themselves, though the margin is narrower:

Plural participants were also more likely to say that they sometimes or never want people to refer to them as they, whereas non-plural people were more likely to want people to always refer to them as they (or they just feel fine about it):

There’s not a lot in it, though. It’s all relatively evenly distributed, with no strong leader in either category there.

For the curious: 8.2% of participants checked the plural/multiple box.

In conclusion: plural and non-plural people alike all prefer people to use themself when referring to them in the third person using they/them pronouns, and I feel that there is probably no need to ask about plurality or separate out data from plural people in future. (Asking about this and seeing the responses did in part prompt me to start an anonymous feedback form for plural participants of the Gender Census, though.)

THE SIR/MA’AM ISSUE

For several years participants have been asking me in the feedback box of the annual Gender Census survey to also ask about gender-inclusive or nonbinary-specific alternatives to sir and ma’am. I’ve largely not done anything about it, because when informally asking around I’ve generally had the response “just don’t say sir or ma’am, just leave it out altogether.” I live in the UK, where if someone calls you sir/ma’am you’re either looking at home in a fancy restaurant for billionnaires or you’re being made fun of - or sometimes both.

However, during this year’s annual survey while talking about it in a little more depth I learned that there are places in the world where sir/ma’am is very common, required for politeness, and basically inescapable. Nonbinary people in those areas are really struggling, because they do actually need a nonbinary-friendly stand-in for those terms - omitting the sir/ma’am isn’t an option.

Again, the location question was asked so that anyone else downloading the spreadsheet of responses can analyse by region to find out whether sir/ma’am is ubiquitous in particular regions and in which contexts it is used, and can even check whether there is a region-specific alternative to sir/ma’am emerging. I asked several questions about sir/ma’am, including about reasons/contexts and personal preferences, and some superficial analysis is included on the spreadsheet of responses.

But the juicy bit is the nonbinary-specific and gender-inclusive alternative words, right?

[The counting formula is case-sensitive so I made everything lowercase to make the count a little more accurate.]

Suggested gender-inclusive alternatives to sir/ma’am

mx - 4.1% (151)

friend - 2.2%

comrade - 1.2%

captain - 0.7%

ser - 0.5%

mate - 0.4%

m - 0.3%

per - 0.3%

boss - 0.3%

folks - 0.3% (9)

Suggested nonbinary-specific alternatives to sir/ma’am

mx - 8.3% (250)

mix - 0.7%

tiz - 0.5%

friend - 0.4%

ser - 0.4%

comrade - 0.3%

mixter - 0.3%

captain - 0.2%

ind - 0.2%

mir - 0.2% (6)

So it looks like Mx (pronounced “mix” or with a toneless vowel that sounds a bit like “mux”) is the clear winner in both categories. If you want to try to introduce a gender-neutral version of sir/ma’am in your area this one is probably your best bet.

SPIVAK VS. ELVERSON

This wasn’t part of the same survey! It was a Twitter poll and a Mastodon poll that ran for one week and ended today, and I’m putting it here because it has to go somewhere.

Sometimes people refer to the ey/em and e/em “versions” of the Spivak pronoun set, which makes my eyebrows do things, because they’re not both Spivak. They are distinct established pronoun sets with their own names.

Spivak - e/em/eir/eirs/emself - written about by Michael Spivak in the 1990s. [source: Nonbinary Wiki]

Elverson - ey/em/eir/eirs/emself - created by Christine M Elverson in the 1970s. [source: Nonbinary Wiki]

The Elverson set is older, but it’s less well-known for some reason, so they’re assumed to be variants of Spivak due to the similarity in spelling.

I was recently asked how we can know which is more popular, given the “oh this checkbox option is close enough, I’ll just choose that instead of typing in my very slightly different set” effect and the “hmm this checkbox option is very close to my set, I’m probably meant to choose this one” effect, plus the boost that checkbox options get with the “oh I hadn’t thought of that one but yeah, why not” effect. Spivak (e/em) is on the checkbox list of pronouns in the annual survey, so it appears to be much more popular than Elverson (ey/em)... but is it really?

I ran a poll on both Twitter and Mastodon, and then used a spreadsheet to extract the useful numbers. There were 141 relevant votes after one week. I wouldn’t usually make annual-survey-altering decisions based on a sample that small, but in this case the results are extremely decisive:

It seems that the highest proportion of people who like at least one of the sets are happy for both to be used, at 48%. 45% prefer ey/em (Elverson) and 7% prefer e/em (Spivak). This is pretty stunning! I’ve been presenting e/em (Spivak) as a checkbox option on the Gender Census annual survey for years, possibly since the first survey in 2013, and because it’s a checkbox option it seems to be consistently a lot more popular than ey/em (Elverson). That’s 4.3% and 0.6% respectively in the 2021 survey. But this poll suggests that actually ey/em (Elverson) is much more popular when the two pronoun sets are viewed on a level playing field.

When you remove all “I don’t mind” votes, you get this:

Over 6 times as many people prefered Elverson!

I will definitely be adding Elverson to the Gender Census next year, just so that we can split the e/em and ey/em votes and really get to the bottom of this.

Anyway, while we’re on the topic, ey/em takes singular verbs most of the time.

#results #spivak #elverson #sir/ma'am #they/them #singular they #plural they #pronouns #neopronouns

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zulivaris · 4 years ago

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Art Block tips that helped me

I’ve recently experienced art block after 3 or so months of overcoming my last one. Thankfully this block only lasted a few days thanks to some things I’ve observed and noted down from the previous time. So I’m sharing these few tips in hopes that it might help someone get unstuck :D!

First and foremost if you’re tired, sad or anxious don’t be surprised that you can’t make art, go and take care of yourself by treating yourself with kindness and patience, the sketchbooks and canvases will wait for you :)

The tips are under here:

Separate art studies from the creative time: When you do art studies you’re there to focus on specific things, learn and understand how things work so you can apply them later in your art. Studies take a lot of energy and focus and are the opposite of the creative "flow” of making your own pieces. If you combine the two the results are either unfocused studies or stiff drawings. When you sit down at your desk ask yourself “Do I want to learn something new or do I want to create something of my own?”

When you have an idea don’t be afraid of being messy: Let’s say you want to make a picture of several cats kolo dancing in the moonlight. How do you go about doing this? Well since you came up with the idea you already have a vague image in your mind, sketch it out with simple shapes, stick figures, circle and spheres etc Don’t worry about cat anatomy, or the dancer’s moves, sketch out the essence of it. This method removes the need to be perfect or accurate.

Ok after the messy sketch then what? Well now that you have sketched out the essence of your idea (and hopefully had fun doing so) now you go on to look for references! You put the creative process on pause and you can do a few brief studies if you need to: anatomy, color schemes, values, poses. Pick out a few of your favorites but don't obsess over them, they are a guide, a tool.

You know much more than you think. You’ve probably been drawing for a few years now. You’ve probably done some studies and drawn more than one type of subject. Then you have already internalized some of that information. I used to be obsessed with capturing the minute detail of the subject, and not be able to draw ANYTHING without reference. Instead of a useful tool, references became another obstacle to my creativity. That’s perfectionism my friend, and that’s no good. Here is an exercise a good friend of mine offered: Draw a few characters, animals and objects from imagination. Make sure that the subjects have no personal value to you (no ocs for example) so that if you make a mistake you won’t feel bad about it. Make the process relaxed and comfortable, pour a nice cup of joe, listen to your favorite music ... You will notice that you do indeed know how to draw some things without reference, and it’ll help with your confidence.

The more you do studies the more you understand This seems evident but the more you understand your subject the freer you can be and the easier it’ll be to draw it from imagination in the future. If you really struggle with something to the point of frustration (as in you can’t get it right even with reference) It means you have to study it. Have a study list, for example: hands, perspective, color theory etc. And one of those days you want to study pick something from the list, and look for videos on youtube or useful sites like line of action etc. Only study one thing at the time. You can go from studying hands to studying arms since they’re more immediately connected, but you can’t study hands and then jump to learning perspective right after. Trust me you can learn perfectly fine with the resources online, and I’m sure you’re clever enough to do it :D

Mistakes don’t mean you “suck” I’ve noticed that the two most common causes for art block are perfectionism and lack of self-confidence. The two can often go in tandem which is worse :’D But let me remind you of something, you can fix your piece along the whole process. Use erasers, lasso tools, liquify , select, paint it all over etc If something looks off to you then you also know deep inside how to fix it. Useful ways to see what clunks: flip canvas horizontally (helps with placement, proportions), turn the image to grayscale (helps to check values and where your eye tends to look), look at your image in thumbnail size and ask yourself if it’s clear, see the pose’s silhouette and ask yourself if you can tell what the character is doing etc. Don’t fret, everything can always be fixed :)

Perfectionism, sometimes it stops you before you begin Perfectionism causes you to overwork a piece, it makes you draw less, it makes art stressful, it brings insecurity. Let’s remove it with a simple exercise. It can be combined with the “draw things from imagination” once you’ve drawn something you like: dont do line art, don’t shade it, keep it as simple and crude as possible and then...post it. Yes, post it. You’re not at your best? You’re only human, this will help you embrace that very human side of you. You make mistakes. So what? The more mistakes you make the more you know what you need to study and the better at art you become. Mistakes are there to show us what we need to learn. See them as another tool and not a sign of failure.

Make the process as enjoyable as possible: You like art. You love drawing. Never forget this. Otherwise why are you drawing if you don’t enjoy it? It’s easy to fall prey to the mentality of those relatable memes that “art= suffering” or “I can’t even draw the other eye”. No no no my friends, these messages are fueling your insecurities instead of overcoming them. Let me tell you what, art is fun. It is. Art is fun, because I decided to make it fun again. And you should decide on that too. Personally I adore lineart but my hand-eye coordination is lacking to do it digitally, so....I just skipped it. Yes. I skipped it. I do the sketch, I clean it up a bit and then jump onto color which I adore. It allowed me to draw more and more freely. When I draw I listen to music, make strokes with the rhythm, I take breaks often and I drink my favorite iced teas. If you don’t like coloring do it in grayscale, if you love lineart then do that etc It doesn’t mean you won’t learn your weak points in the future with studies and practice, but you won’t let your weaknesses prevent you from drawing at all. No no, you won’t let them. You draw because you want to, despite of them.

Don’t wait for inspiration, provoke it Inspiration is not a divine and capricious muse. You make inspiration. It’s easy just collect all the things you like, music, artists, objects, characters, animals, patterns, plants etc Make boards on pinterest or similar sites, combine things you like. You like suits? You like birds? You can draw a bird in a suit, or a bird-inspired suit design, there is frankly a lot of ideas that can spring up from little things like these.

When a project stops being enjoyable either pause it for now or move on to the next thing. Pieces aren’t precious. They’re not “the one time I got x right” they are one of many. This advice goes mainly to hobbyists who can afford the luxury of passing to a new project. I have a WIP of a character who is overly complicated (I enjoy a challenge from time to time) sitting for half a month. I sometimes come back to it and add something... but as soon as it starts to create discomfort and insecurity instead of enjoyment I move onto something else. In the meantime I created 3 or 4 new pieces. If I had waited on finishing that piece I would have been severely creatively and physically exhausted. The art comes from you, not inspiration. The more art you make the better you become.

That’s about it :D I know it’s long but I prefer to be thorough and cover all the possibilities. If you have read of this: Thank you so much I hope this helps you at least a bit, if it helps only 1 other person I’d still be very happy. Have a nice one, and kick art block’s butt!

#art block #art block tips #art block advice #art advice #art help #BloggityDiary #art reference #I hope this will help someone out #This will also help me remember my own advice sksksk

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pens-swords-stuff · 4 years ago

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hello! most of what i've seen on writeblr has been original content, and while it's definitely something i'll get into someday, right now my focus is on fanfiction, and i'm struggling to find a space in the community. do you have any tips on how to structure a wip post for fanfic writers and/or writeblr tips for fanfic writers in general?

Fanfiction exists in a weird place in the Writeblr community. It’s not because it doesn’t belong in the Writeblr community because I believe it definitely does — it’s because you will likely find a greater audience within the fandom side of tumblr rather than the writing side. This isn’t because Writeblr hates fanfiction or looks down upon it; in fact, I’ve seen a ton of love and support for fanfiction in the community. Many of us write fanfiction too! I have several fanfiction WIPs for different fandoms.

It all comes down to your audience. If you write Star Wars fanfiction and post about it in the Star Wars fandom, chances are people there will be more interested in reading it because they’re already huge fans of Star Wars. Everyone in the Star Wars fandom is engaging in it because they love it and are looking for more content! I would guess that most fanfiction writers post about their works within the fandom for this very reason.

On the other hand, if you post Star Wars fanfiction in the writeblr community, you don’t know how many people are Star Wars fans. You will definitely find people who like Star Wars and will want to read it! You will probably find some other people that don’t know much about Star Wars, but are willing to read your fanfiction regardless. But there is also a significant number of people in Writeblr that don’t know or care much about Star Wars, and will be less likely to read fanfiction about it.

Do you see what I mean?

Fanfiction absolutely has a place in Writeblr, and I will fight anyone who says that it doesn’t belong. However, it’s also a numbers thing. If you post your fanfiction in the fandom community, almost 100% of your audience in the fandom are people that are fans of the source material. If you post your fanfiction in the Writeblr community, only a fraction of people in the community are fans of whatever it is you’re writing fanfiction for.

Here’s some of the advice I have for fanfiction writers posting about it in Writeblr:

Engage in both the fandom and writeblr communities

Not every writeblr needs to be a ‘pure’ writeblr where you only post about writing. You could run a hybrid blog, where you post about both writing and fandom content. You could also have a fandom blog and a writeblr blog where you engage in them separately. Find friends both in the fandom community and the writeblr community!

This way, you can maximize your audience. You have some writing friends that you can talk about writing with, and you have some fandom friends that would love to read your fanfiction. Maybe some will overlap, maybe they won’t. But you get support from both communities rather than missing out on one or the other.

Find Writeblrs that are also fans

They are out there! I promise you, there are people who run writeblr blogs that are also fans of whatever it is you’re writing fanfiction for. You do however, have to find them. Chances are, they won’t come to you initially.

This can be as simple as asking around to see if anyone likes it! Find a fellow writeblr fan and you can make friends with them. You might also recommend it to some people and see if you can create new fans. If you have a hybrid blog and you post about the fandom, you might be able to introduce it to some writeblrs and make fans out of them!

Make your fanfiction accessible to people who aren’t fans

If you don’t want to cater your fanfiction to people who aren’t familiar with the source material, you don’t have to.

But if you are wanting to pull in a large audience from the Writeblr community where not everyone is a fan, you will have a lot more luck if people who have never heard of your fandom can understand and enjoy your project.

What information do non-fans need to know to enjoy your fanfiction? How can you make that information easily digestible? Does it involve spoilers for if they ever want to give the source material a shot? Why should they read it if they don’t care about the source material? These are important questions that you need to be able to answer if you want to pull in some new people.

Part of this might involve adding some more description and information within the actual fanfiction. Original fiction feeds information to the reader to help them understand the world. You can do that for your fanfiction too!

Another part of it is adding information into your WIP intro.

In your WIP intro, include all the information that intros for original projects do! Title, genres, synopsis are the main important points to hit generally.

Also consider including:

The Fandom: Be upfront about the fact that it’s a fanfiction, and what fandom it’s for.

The type of fanfiction: Is it an AU? Canon-compliant? Fix-it fic? Fluff? One shot? [Insert other fanfiction types here]? This information is important to helping potential readers understand how much information they might need to know. Also keep in mind: not everyone is part of fanfiction communities, so they may not know what common fanfiction terms and genres are.

Information they may need to understand the fanfiction: Do they need to know anything about the source material to enjoy it? If they don’t, say so! If they do, give them a rundown of what they need to know, or point them somewhere where they can get it.

Spoilers: Does it spoil anything? If it does, let them know what it spoils so they can make an informed decision about whether to read it or not.

Tropes, themes, and other points of interests: You are trying to entice people who don’t know the source material into reading your fanfiction. You need to give them a reason to! By talking about the tropes and themes that you’re writing about, it gives people an ‘in’. Maybe they won’t read a fanfiction of something they don’t know, but if they know that their favorite trope is a huge part of it, that might convince them to give it a shot.

Be realistic about your expectations

Not everyone is going to read your fanfiction and not everyone is a fan of the source material. That’s okay!

You will make some writeblr friends that love and support you, but they may not read your fanfiction because they’re not a fan of the source material. That is also okay.

There might be a narrower audience in Writeblr, but it’s absolutely possible to find an audience here! It might involve a lot of luck, persistence and patience, however.

Be kind and patient with yourself

Fanfiction writers absolutely belong in the Writeblr community. Don’t let anyone tell you otherwise. Don’t let yourself tell you otherwise either.

Things won’t always go your way, and you might get really frustrated and discouraged sometimes. That’s okay. Take care of yourself, give yourself the grace and love you need to work through it. Take breaks as needed, and don’t beat yourself up too hard! A lot of writeblr is based upon luck and dedication. You’ll find your audience someday.

As a final reminder: Fanfiction writers are real writers and belong in the writeblr community. It is not a lesser form of writing, it is simply a different form.

Remember, all writing advice is subjective! Don’t take this too seriously. This is just one person’s opinion.

If you’d like to ask me for advice on writing or running a writeblr, please check out my Ask Guidelines and FAQ first.

Ask Guidelines | FAQ | Advice Masterlist

#writing #writeblr #fanfiction #writing advice #writeblr advice #fanfiction advice #undine answers stuff #undine gives advice #Anonymous

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hamliet · 4 years ago

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RWBY and the Philosopher’s Stone

So, I finally watched RWBY after a friend name-dropped several characters and I was like wait... those names are alchemical. I was still pleasantly surprised to find out just how deeply rooted in alchemy the story is, from its characters to its plot structure.

Background: alchemical structure is a type of story structure that focuses on inner transformation via outward obstacles. You can find it in literary traditions across the world, from Moxiang Tongxiu’s novels to A Song of Ice and Fire to Harry Potter to The Witcher to Trollhunters. Carl Jung incorporated it into his psychology. Daoism plays heavily into Chinese alchemy. The Wizard of Oz, one of RWBY’s main inspirations, is a blatant alchemy allegory. It’s everywhere, so it’s not surprising RWBY is drawing heavily on alchemy, but it is neat to see how blatant the references are.

Thematically, the goal of alchemy is a metaphorical philosopher’s stone. The philosopher’s stone, in legend, is said to produce an elixir of eternal life, and to be able to transform “baser” metals into gold.

In stories, when positive, as it usually is, this usually results in a character either overcoming death (see, Harry Potter) and/or transforming the world and others around him (Harry Potter saving his friends, etc.) But the journey from how they get from prima materia (raw material) to the philosopher’s stone? Now that’s the story.

(When reversed, a metaphorical stone results in something that can destroy everything; see: the One Ring, also Salem, because Salem’s whole thing is that she cheapened the process of life and death, while alchemy states that death is a necessary part of achieving life.)

So, mostly I’m gonna talk about the symbolism I’ve seen so far and make some predictions for what’s likely to happen next in the story, and for the characters.

Each of the four main characters has a name that corresponds to one of the four phases of the Magnum Opus. “Blake Belladonna” refers to the nigredo, or black stage; “Weiss Schnee” to the albedo, or white stage; “Yang Xiao Long” to the citrinitas or yellow phase, and “Ruby Rose” to the final stage, rubedo, or red (Ruby’s name is quite literally taken from that stage). Naming them for these stages shows a dual purpose: while Ruby is the central character, she needs her team around her, and Team RWBY will save the world together. Team JNR is also a part of the stages, but I’ll get to what they represent later on.

Jung associated each of the major stages with a major archetype. The major stages can be further broken up into a total of seven or twelve or even fourteen stages. Most commonly you’ll see George Ripley’s Twelve Gates referenced, and I believe that’s what RWBY is referencing as well since its allusions are pretty perfect. The "gates” or stages also sometimes overlap, especially when different characters might be at different stages.

Nigredo: Seasons 1-3

Alchemy begins by gathering the prima materia, or raw material. The characters assembling in season 1 is more of the gathering than the actual transformative process. But once we hit season 2, we dive straight into the process.

Calcination occurs during the climax of season 2, during the fight on the train. Season 3 contains dissolution, or the washing of impurities through the exposure of certain secrets (like the fall maiden) as well as the literal dissolution of Beacon Academy, and separation (the end of the season, when Team RWBY is scattered).

Narratively, Jung associated nigredo with the shadow, with someone’s dark night of the soul, their low point. In historical artistic depictions, often part of nigredo is dismemberment... which happens to Yang when she saves Blake from Adam. See, Splendor Solis:

The goal of the shadow is that it should be integrated with, accepted, rather than denied. Facing the shadow is a necessary part of growth and ultimate transformation... and the point is, through facing the shadow, hope and light come.

Peacock’s Tail: Seasons 4-5

Okay, I lied, there are sometimes five phases in alchemy. At the very end of nigredo, just before albedo, there is sometimes a flash of light, of rainbows and colors, that give hope. It’s not quite a phase, more of a moment, but it’s referred to as the peacock’s tail. While this is less plot-related, it does make sense that this is the point in the story where Team RJNR is formed. Why? Because look at their colors:

Ruby: red, black

Jaune: yellow, blue

Ren: green, purple

Nora: white, pink, orange

Between them we’ve pretty much got the full rainbow.

We also have, in Blake’s arc, the introduction of Ilia Amitola, whose last name is the Souix word for “rainbow.”

Albedo: Seasons 5-7

Albedo is associated with the anima or animus, or the part of ourselves that we are lacking (it’s generally gendered as the male within a female and the female within a male, but please understand he’s not talking literally and more in terms of traditional qualities ascribed as feminine or masculine that we may repress), which more than fits the fact that this stage begins while team RJNR is literally wandering around a continent called Anima.

Conjunction is a term in which all the separated parts that can be salvaged from the Nigredo come together. Obviously the main incident for this is the fight at the end of volume 5, but I’d argue it overlaps a bit with volume 4 and even with separation.

The characters are only able to come together again once they’ve accepted aspects of their shadows. Yang deals with hers in Raven and Blake with the White Fang. Nora and Ren’s fight at their home village represents them dealing with their shadow as well, and also relates to conjunction because conjunction is the stage where the first chemical wedding comes into play. A chemical wedding is the joining of alchemical partners, and while I’ll probably discuss ships in another post (there’s a lot of set up alchemy-wise), I’ll just reference the obvious one here:

The fountain image and a person shooting arrows is some pretty uncannily similar imagery to the fight at Nora and Ren’s home village.

Next up in albedo is putrefication (focus on death and rotting). We see this with the encounter with the Apathy, who look like skeletons, cause death, etc. We’re also introduced to Maria Calaveras, aka the Grimm Reaper. (Her last name also means “skull” aka the white results of putrefication).

Congelation requires a lot of water, and we see this in the focus on Atlas, wherein snow (water) is everywhere. The point of congelation is to separate the thin from the thick, the latter of which will of course become the Philosopher’s Stone. We see this through Team RWBY’s break with the Ace-Ops (aka the Aesops), whose simplistic morality and rule-following are not going to bring about character growth or eternal life.

Citrinitas: Volume 7-?

Citrinitas focuses on the light, or fire. That immediately after congelation, a giant whale brimming with yellow appears in the white-colored Atlas is not a coincidence. Citrinitas is associated with the sage or the wise old man/woman, so Maria and Pietro fill this role.

The first stage of citrinitas is cibation, which involves feeding with fresh material. I’d actually say that it seems quite possible cibation overlaps with congelation, in that there is a focus on food and on training with the Ace-Ops early in Volume 7. The next phases are sublimation and fermentation. I can see potential for sublimation in that it essentially is when solid becomes air (think of the setting of Atlas), but it’s too soon to say what this means for the plot.

Fermentation, though... well, things will get worse before they get better. :’)

Rubedo:

Finally, Rubedo is associated with the fully individualized self. We can assume each of the main seven will come into their own, confident of whom they are. Oscar should, as well, and probably will have fully control over his body by the end (ie Oz will likely... find rest or whatever).

The stages of rubedo are exaltation (the creation of the stone after two contraries meet), multiplication (the stones’ properties increase), and projection (the stone’s abilities are projected over the entire world, aka presumably RWBY will save the world).

The most common way to display multiplication is through, well, a lot of couplings. It’s why the main characters ending single seems extremely unlikely to me. Even if it seems a fairy tale ending, well.... *gestures to everything about RWBY being inspired by fairy tales* Fairy tales were also often alchemy based. But ships will get their own meta, because I actually don’t really ship much besides Renora and am for once not super invested in anything, but I can see the set-up for four or five ships.

I also want to highlight the other symbolic names that stood out to me:

Ironwood. While I know Ironwood references the Tin Man in The Wizard of Oz (tin being one of seven metals associated with alchemy), his name also references a second metal: Iron. Tin and Iron are the two of the three basest metals in alchemy (the other is lead). Iron in particular is ruled by Mars, the god of war, meaning it is associated with violence. It’s not a coincidence that pretty much from the second Ironwood is introduced, the concept of war comes up, and his entire character has gone on to be the embodiment of the military and violence.

Tai Xiao Long. His name literally means “sun,” and Ruby’s mother is defined by her silver eyes (silver being a color traditionally associated with the moon). Ruby is thus considered the child of the Solar King and Lunar Queen, two mythical alchemical figures who together create the “Philosophical Child,” or the personified philosopher’s stone.

Pietro Polendina: his name literally means “stone,” and Penny is his philosopher’s stone. Penny is arguably a reference to copper, another of the seven metals, as copper references compassion and love, which seems like Penny to me.

Qrow and Raven Branwen: crows and ravens are symbolic of nigredo, or the black phase; death, decay, etc. However, within the story I think Qrow and Raven fulfill this role as the Jungian shadows of hunters as a whole and of Yang.

Sun Wukong: obviously a reference to the sun.

Emerald Sustrai: Emerald is a reference to the Emerald Tablet, which in alchemical lore is a tablet containing the secrets of alchemy, as written down by Hermes (in legend). Hermes is, of course, Mercury. Everything about alchemy stems from the Emerald Tablet, so Emerald should be important. In addition, green is the color of the prima materia, so it references Emerald’s arc in being shaped and molded by Cinder.

Mercury Black: Mercury as the mythological god is the legendary founder of alchemy, so like, he’s important. Mercury is also the third most important metal in alchemy, after gold and silver. It is necessary to achieving the philosopher’s stone so, like Emerald, Mercury is probably important. Mercury is of particular note because mercurial characters are common in alchemical literature: they make stuff happen. Think of Mercutio in Romeo and Juliet, for example. Mercury transcends death symbolically (you can see the roots of this in Mercury’s backstory with his assassin father): it is difficult to pin down and can quickly shift from liquid to solid. Thus, in alchemy, mercury can shift between life and death.

Mercury is also a noted servant of the white queen. I initially thought this a surface reference to Salem’s appearance, and it might be, but Salem is more associated with a black queen in the recurring chess motif, and I don’t see Mercury staying on her side (mercury isn’t fixed, after all; that’s its central tenet), so I kind of wonder if the “white queen” will be later revealed. Or maybe it just is a surface mention.

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sineala · 4 years ago

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A Few Thoughts About Hurt/Comfort

I have been asked this month to make a post about hurt/comfort in Avengers comics. And I love h/c -- I actually have a massive number of WIPs right now that are h/c -- so I am very happy to talk about it! Anyway, this is not really all that planned out and this mostly turned into an excursus on Tony Stark's pain. I'm sure you're all surprised.

Like pretty much everyone else, I'm sure, I have found that everything lately has been... pretty tough. And the coping mechanism that really got me through last year and this year was reading and writing a lot of h/c, on the theory that, however lousy a day I'm having, I can absolutely make sure that Tony Stark has a worse one. And then I can make sure he gets hugs. Wish fulfillment? Why, yes. (Once at Hallmark I was trying to find a "get well soon" card, forgot what it was called, and described it to my wife as "a hurt/comfort card.") I think Marvel Comics -- the Avengers side, in particular -- is an interesting canon for h/c for a lot of reasons. Though, honestly, if you asked me to recommend you, a hurt/comfort fan, a new fandom, I would probably just hand you some Starsky & Hutch DVDs. Go watch "The Fix" and get back to me later. If you like that, there's way more where that came from. But there's still lots to love in Marvel! Superhero comics are really a goldmine as far as the hurt side of h/c. Because superheroes, and you probably have noticed this, get hurt a lot. They get hurt repeatedly, in fantastical ways that are probably impossible in real life both physically and emotionally (at least, I don't think anyone's invented mind control yet), and even the heroes without superhuman healing powers tend to get physically hurt a whole lot worse than actual people can take. Currently in Iron Man comics, Tony has a broken back and is dealing with this by locking himself into the armor as a backboard and injecting himself with massive doses of painkillers. He's busy! He's got stuff to do! He doesn't have time to lie around and heal! So, basically, if you name a kind of pain that you would like to see happen to a character, it's probably happened to superheroes. Multiple times. The downside, though, is that comics do not really deliver that well when it comes to the comfort part of h/c. They could. It's not inherent to the medium that they don't. But because of the serial nature of comics and also the fact the primary audience is dudes who want to read about people in spandex punching each other, a lot of the time they don't really feel the need to provide closure and write about people dealing with any of the hurt. (Raise your hand if you're still annoyed with the end of Hickman's Avengers run.) But at the same time, I think that's a quality that makes Avengers ripe for h/c fanfic. Because, generally speaking, fandom likes to provide the things that canon doesn't, and fandom is more than happy to provide the comfort. If you enjoy canonical h/c in comics, I think you really can't go wrong with Iron Man. One of the big innovations of modern Marvel Comics was the concept that heroes would also suffer from relatable human problems, and in practice what this means is that a lot of heroes start with a fully-loaded angst-ridden backstory and origin story, ripe for h/c. So Tony starts out by incurring a heart injury that he fully expects is going to kill him, which he responds to by vowing he won't get close to anyone so they won't be sad when he dies, and throughout the early Silver Age is constantly on the brink of death as his heart nearly gives out on him practically every issue. And then even after his heart gets (mostly) better, there are various plots involving his armor being detrimental to his health and him choosing to fight on anyway. It's hard for me to think of another superhero hitting that particular variety of h/c in exactly the same way. Sure, superheroes risk their lives constantly, because this is how superhero comics work, but Tony is the only one I can think of who is this constantly this badly off, physically. Like, think of all the other heroes who have had a continual solo presence as fan favorites across Marvel history -- Captain America, Thor, Spider-Man, Wolverine, maybe even Deadpool. You know what those guys all have? Healing factors! For the most part, they are not running around continually on the verge of death, and while there are certainly memorable arcs involving several of them being severely injured and/or dead, you really have to work at it. It's not their constant state of affairs, whereas Tony is the kind of superhero who shows up to a fight already bleeding out under his armor. Yeah, I know Extremis gave him a healing factor. But he didn't have it very long, and also he did some extremely dangerous things while he did have it; I'm pretty sure I've never seen Wolverine saying that he'll just solve a problem by cutting off his own foot. So, anyway, yeah, there are a bunch of good arcs involving h/c for Tony. If you're looking for physical injury, he has a whole bunch of heart problems over the years, gets several new hearts, then ruins his brain, et cetera. That level of hurt is basically the background pain of Tony's life; every so often, his heart will get damaged or he'll have to live in the armor or the armor will be killing him, et cetera. If you're looking for more unusual trauma, I am, as always, going to rec Manhunt, a relatively obscure arc in late v3 (IM v3 #65-69) in which Tony has an extremely bad week. His tech is stolen and used to bomb a building. Then he gets shot in the chest. Then while he's at the hospital a nurse tries and fails to poison him, and she then tries to beat him to death. Then he checks himself out of the hospital and a helicopter shoots missiles at him. Then he becomes a fugitive from justice. And then, oh, yeah, he has to fight the Mandarin. It is... a lot. (Volume 3 of Iron Man is pretty good as far as h/c possibilities. You've got a lot of physical pain, Carol's drinking arc, the Sentient Armor, both DreamVision arcs, and Manhunt. Manhunt is finally supposed to be out in trade this month, by the way.) There are of course the drinking arcs, which probably count as their own type of hurt. But if you haven't read the second drinking arc (IM #160-200), please do. Marvel likes to up the stakes on events (Fear Itself, Secret Empire) by making Tony drink, and it does work, I think. I feel like I've spoken at length about Tony's drinking elsewhere so I don't really want to rehash it all here. And then there's the emotional pain. Angst and drama is something that happens to a whole bunch of characters, yes, especially in comics, but somehow Tony seems to end up with possibly more than his fair share of it. Fandom likes to make a lot of Howard Stark's A+ Parenting, so much so that you might think, if you didn't know canon, that this was just fandom running with a throwaway mention of Tony's terrible childhood and making it worse. But, no, canon really does go there with a reasonable amount of frequency. Howard's actual first appearance is in a flashback where he's ordering teenage Tony to break up with his girlfriend because she's the daughter of one of Howard's business rivals. And then we get into the verbal abuse, and the physical abuse, and the time Howard made Tony take his first drink, and the part where Howard was a demon in hell who Tony fought while he insulted him. And more! Currently, in canon, Howard is alive again and is in league with Mephisto for the express purpose of ruining Tony's life. Also when Tony was a baby, Howard tried to trade him to Dracula. I think you can make an argument that fandom is actually showing restraint when compared to canon. Tony also has a whole lot of Terrible Exes whose presence and/or former presence in Tony's life can be used for a lot of hurt. If you've read any amount of fanfic, you probably know that the exes who get the most play in fandom are Sunset Bain and Tiberius Stone -- not that Tony and Ty were ever canonically a couple, of course, but fandom is definitely enamored of this idea. Ty and Sunset both have relatively similar interactions with Tony in canon, in that they are both liars and emotional abusers, heavy on the gaslighting, with the purpose of becoming more successful than Tony. They both also attempt to murder Tony, although this is after he figures out they're evil, at least. (Yes, I know, this is not how either of them usually appear in AUs.) Tony also has a bunch of exes who also have just straight-up tried to murder or otherwise hurt him, sometimes while they are dating, and sometimes before Tony dates them: Whitney Frost, Indries Moomji, Kathy Dare, and Maya Hansen come to mind. There are probably more I'm not thinking of! But, yes, if you want to write about a guy in a series of terrible relationships, please consider Iron Man comics. If mind control is one of your favorite flavors of hurt, Tony's pretty good for that too. We all know about The Crossing. I suppose when I say "mind control" I mostly mean "armor control" because there are an awful lot of plots where someone else makes Tony's armor do whatever they want it to do and Tony is along for the ride -- Demon in a Bottle, Sentient Armor, and Execute Program are the first things that come to mind. There is also a fairly obscure What If that is What If Iron Man Lost The Armor Wars in which Justin Hammer apparently really wants Tony in a mind control collar to take off all his clothes and lounge around in his underwear. No, really. I think a lot of pain for Tony often revolves around his issues with control, generally -- his alcoholism comes into play here again. The entire aftermath of Civil War is also notable for its propensity to hurt Tony over and over and over. Is he stoically soldiering on through his grief after Steve dies? Hell, no! He cries, like, six separate times. He 100% blames himself for Steve's death. It's great. Everybody loves The Confession and the funeral in Fallen Son, but one of my personal favorites is Avengers/Invaders, in which Tony is confronted with a time-traveling Steve from WWII and in order not to screw up the timeline, he can't tell Steve he knows him. He is clearly not coping well. He shuts himself in a room with a giant wall of pictures of Steve! Also there's a part where he has to try to convince Steve he can trust him and he ends up having to tie Steve to a chair to talk to him, and Steve looks at him and asks, "Who did you kill to get where you are?" and I feel like that is probably one of the worst moments in Tony's life. No wonder he gave himself amnesia. So now we might want to ask, okay, but why is hurting Tony in fanfiction so much fun? I mean, I can tell you why I think it's fun. I can't speak for anyone else. One reason is that he is very emotional and very affected by everything he does. Sometimes you will see people complaining that the heroes of m/m fanfic cry too much and this is not realistic. This is not a problem if you're writing Tony! He can cry as much as you want and it's perfectly in character. I don't think it would be as fun to hurt him if he didn't express so much of his pain. But he does. He also feels guilty, and for me that's a very satisfying character element. If he were well-adjusted and didn't blame himself for so many things, it wouldn't be nearly as fun as watching him blame himself for everyone whose death he thinks he is responsible for, whether or not he is. And then he just keeps going, and it's, y'know, nice to watch him be resilient, too. So, I guess, I think hurting him is interesting because it's easy to hurt him, his weak points are pretty obvious, and he reacts a lot. Steve doesn't hurt quite as much as Tony does, in canon. It's certainly possible to hurt him -- I mean, they did actually kill him after Civil War, after all -- but I don't think the canonical patterns of hurting him are as numerous. Obviously deseruming Steve is a fairly popular go-to in terms of physical hurt; he's been deserumed at least three times that I know of. I think's easy to see the appeal there of taking a character who is fairly physically resilient and making him... much less so. Certainly Marvel seems to see the appeal. But other than that I don't think he has any other really common way to get physically injured. Unlike Tony, whose origin story is basically "oh no, I've acquired a disability," Steve's origin story is "I drank a serum that cured all my disabilities." Which, I mean, great wish fulfillment but there's not really as much there to poke at. Pretty much all of Steve's pain is emotional, but, unlike Tony, his pain isn't often specifically in response to someone directly, purposefully hurting him. Hickman's Avengers run is a big exception, yes. His pain seems to come up most often as a kind of situational angst. He feels like a man out of time. He feels out of touch with the modern era, with people his own age. He feels guilt because he feels responsible for Bucky's death. He feels like he can't trust the government and therefore he can't be Captain America. He worries that he doesn't know how to have a normal life. And, yes, these are deep and important worries but it's different than, like, Indries Moomji dumping Tony with the intent to make him sad enough to start drinking. Very few of Steve's villains want to personally ruin Steve's entire life the way Tony's villains do; mostly they just want to do things like bring back the Nazis. In terms of Steve's potential for h/c, I think Steve is harder to hurt than Tony is. Physically, he is definitely harder to hurt. You can deserum him, sure, but unless you want everything you write to be a deseruming fic you're probably not going to want to do that more than a couple of times. And if you want to hurt him physically while he has the serum, you have to hurt him hard. Usually past the point where a regular human would ever survive it. He's also harder to break, emotionally, than Tony is -- which means it's very satisfying when you can get him to break, but this is a guy who's only cried twice (that I remember) in canon. So if you want to get him to cry, you really, really have to wreck him, and he doesn't have as many obvious weak spots. He also doesn't generally sit around blaming himself for things that aren't his fault, and the whole "stewing in guilt" genre of plots for him basically came down to "he was sad that he thought Bucky's death was his fault," and that's really the biggest regret he seems to have, and also Bucky's not dead anymore. The Steve/Tony relationship itself, I would think, is also appealing to h/c fans because canon provides a lot of ways for them to hurt each other. Some people only ship pairings who would never, y'know, take turns beating each other half to death in major event comics. (And for a lot of Marvel Comics history, that was also Steve & Tony, so if you want them to be BFFs who have never fought, you can just set your fic earlier.) They have definitely hurt each other both physically and emotionally, so if you're looking for something easy and satisfying as a h/c fan, you can just read or write something where they... make up. What about Marvel characters other than Steve and Tony? Surely some of them are angsty, yes? Well, yes, but also it depends on the particular flavor of angst that you like. If you like the way Tony hurts, you may very well enjoy Doctor Strange comics, because they have a very similar attitude towards life -- they are both former alcoholics whose origin stories involve physical disabilities, who routinely make tactical decisions that negatively affect their continued existence and/or happiness a whole lot. It's very much an "I must suffer alone in the dark and no one will ever know what I am doing to save the world but it's the right thing to do" sort of vibe. Like, you can read comics where Strange is lying in hell with two broken legs, hallucinating that Clea has finally come to save him. Strange's biggest fear, akin to Tony's control issues, is basically that one day he's going to be an asshole again, so he's out there trying as hard as he can to do good. Also, if you like tentacles, he has all of them. I mean that. Carol also occasionally hits similar angst spots, and her drinking arc is great. A lot of people like Natasha, too; I have read zero Black Widow comics but I get the impression many people enjoy her brand of angst. The mutant metaphor is a little different in terms of overall vibe, but some people really like it as a source of angst -- the whole "protecting a world who hates and fears them" thing. It may not work for you, but if you like your hurt to include things like systemic oppression, go pick up some X-Men comics. Start with something like God Loves Man Kills. I feel like I liked this sort of thing a lot more as a teenager but that I kind of aged out of liking the mutants quite so much. It's also worth mentioning that not everything that hits the spot in one universe will be the same in the others, and I'm mentioning this because I feel like I have to say something about MCU Bucky. MCU fandom seems to get a lot of mileage out of Bucky's guilt about being the Winter Soldier, everything he was forced to do, et cetera. I have definitely read my share of those fics, and FATWS sure went right for that angst too. But as far as I can tell, he doesn't hit the same way at all in 616. And I like him a lot in 616; I'm always pleased when he shows up on a team. (He was so good in Strikeforce. Everyone was so good in Strikeforce.) But the thing is, 616 Bucky is, basically, phenomenally well-adjusted, given everything he's gone through, and I'm including the time he wrestled a bear in a gulag. He gets over having been the Winter Soldier, and now he's just, y'know, a guy with a cool arm who likes to bring guns to every fight to horrify his teammates, and he snarks at Clint. If you're looking for that angst, that is really not him these days. He's all better. So pretty much all that is canon. So what do we do in fandom for h/c? Well, as far as I can tell, a decent amount of it is canon-based or very canon-close -- there are a whole lot of stories exploring the angst of Civil War or Hickman's Avengers run. Tony's drinking comes up a fair amount, and if one of Tony's Evil Exes comes back to haunt him, it's pretty much only Tiberius Stone. I don't think I've read a lot of fic with Steve getting deserumed; it doesn't seem as popular in fandom as in canon. When Steve gets hurt, he tends to just get physically whumped pretty hard, and there's a fair amount of that for Tony too, but of course Steve can take more. There's also a thriving, uh, subgenre of pain involving Hydra Steve doing terrible things to Tony, presumably the terrible things he would have wanted to do to Tony in canon if Tony had had a flesh body. There's the usual kinds of h/c setups that appear in basically every fandom as well -- sickfic, whump, dub-con/non-con. You get the idea. But since fandom in general likes to take specific inspiration from canon, there's a lot of fic where the hurt tends to resemble things that happen more in canon. Like, I feel like comics fic probably has more tentacle fic and more mind control than canons that don't come pre-stocked with those. Probably everybody has a whole lot of "tied up by bad guys," though. And then, of course, fandom brings the comfort that canon does not. This is true in pretty much every fandom -- I mean, you aren't going to find a lot of actual canons where Character A saves Character B from mortal peril and then there's gay sex -- but, like I was saying, comics don't provide a lot of closure before it's onto the next thing. Usually with a different creative team, who has no interest in wrapping up anything from the last team. Steve and Tony talked about the incursions exactly once after Secret Wars and nobody mentioned the part where Steve spent several months trying to hunt Tony down and kill him. Tony is never going to remember the events of Civil War. Hydra Steve died ignominiously in a fire and no one has ever talked about him again. Honestly, if you're looking for a way to get some comfort in your fanfic, picking an event, any event, and just having the characters talk about it will be way more than any of them get in canon. I feel like honestly that can often be a pretty satisfying to read. And even though comics canon physically hurts characters pretty often and pretty badly, they also often skip right past the recovery. Maybe you'll get one page of a character in a hospital bed at the end of the story arc. Maybe you won't. Demon in a Bottle has one splash page of Tony going through alcohol withdrawal and then he's all better. I think Manhunt skips to Tony getting out of the hospital at the end. That's just not a story that they want to tell very often. The second drinking arc is notable in that it devotes almost as many issues to Tony's recovery as it does to getting him to rock-bottom. Similarly, Steve is done with his Nomad angst way way faster than you probably think he is (though The Captain does go in for a fair number of issues). So one of the things we often want to do in fandom is focus on all the bits that canon skips over, both in the "why did no one ever mention this story arc ever again" way and the "wow, so how long are they in the hospital after that" way. That's really all I can think of about h/c! I'm off to write some more of it!

#posts i actually wrote

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t4tlawlight · 4 years ago

Photo

Occam's razor is the principle that, of two explanations that account for all the facts, the simpler one is more likely to be correct.

this post is going to cover traits specific to the manga and the television drama, since those are the best adaptations to showcase L’s autism. THIS POST is required reading before you read anything i’m about to type, because it explains what kind of character niche L falls into--an unintentionally autistic coded character. i’ll talk more about that at the end.

i’m going to talk about manga L first, since he’s the original version after all. i’m going to go in order of physical traits, to behavioral, to his character writing. also, tumblr eats posts that have outside links, so i’m going to have my non-tumblr sources in a separate post, here.

anyways, more under the cut!

MANGA/ANIME:

sitting with his legs up and spine bent / sitting on the floor

this is such a big one and its extremely common in ppl with autism. sitting in chairs normally is uncomfortable to outright painful w many ppl with these disorders, myself included. L sitting like that (which, to recall, is a blatant homage to sherlock holmes, another character that is so blatantly autistic coded you can find absolutely ridiculous amounts of writing on the topic) and being like "I HAVE TO SIT LIKE THIS TO THINK PROPERLY" is so autistic. like sitting in a certain way to give you specific sensory stimulus/avoid distracting discomfort and pain is a thing. i found this post (1) written by an autistic person on the topic of sitting in chairs being uncomfortable, and it says as much:

“I suspect that seating discomfort is common in autism (though by no means limited to autistic people). Many of us, particularly as children, benefit greatly from chairs designed to be non-stationary: rocking chairs, “fidget” chairs, and so forth. These can improve focus, compensate for proprioceptive hypo-sensitivity, and alleviate restlessness. In short, many “attention issues” can be fixed simply by providing a little motion for the person sitting. Small change, huge results. That's what accommodations do at their best. They make (often minor) adjustments that have profound impacts.”

so when L says that sitting the way he does, for a specific sensory experience, improves his ability to think, it’s perfectly in line with this idea. Also it’s a good pressure stim.

standing with a slouch / shifting his weight around

to begin: yes! it’s very common for autistic people to stand or walk oddly for a number of different reasons, from physical comorbidity to other issues such as dyspraxia (see: movie L). From an article by YAI (2), an I/DD (intellectual and/or developmental disabilities) community program:

“Kyphosis (a curved spine), collapsed chest, dropped shoulders and even scoliosis are observed in many of our patients. These myriad of postural issues may result from reduced strength, decreased biomechanical stability, or from a sensory impairment, such as apraxia.

Depending on the scene, L has mild to severe kyphosis which is very common in autistic individuals. Other things mentioned in that article if you want to click on it is instability in standing, where you sort of shift your weight around a lot between your feet or rest all of your weight on one foot, which L is literally doing the first time we see all of him.

speaking with a monotone voice.

i obviously can’t show a picture for this one and it honestly depends on the voice actor you find for L, but in the anime in particular L has a very flat tone. a lot of this is bc he has a dry sense of humor but. just know that it’s very common for autistic people to have a flat affect (or go the other way into being too loud/emotive).

his eating habits.

a lot (a LOT) of autistic ppl myself included can only eat certain kinds of food for texture and flavor reasons. HOWEVER there’s a term in the autism community called “samefoods” which is really well put by tumblr users candidlyautistic and autism-asks:

“Samefoods or samefooding is a community word to describe the autistic trait of eating the same food over, and over and over . . . It is part sensory, part routine driven in most cases. A lot of times we samefood because we need that particular mouthfeel / texture / taste, and a lot of times even after that need passes, it turns into a need for routine until you actively dislike that food again.”

“Samefooding on the other hand is closer to a special interest. When I have a samefood (chocolate ice cream, currently), I really, really want that food. I could eat that food endlessly and not get tired of it. I will get upset if I’m not able to have the food in a day. For me, it usually is kind of routine based as well. For instance, with my current samefood, I have some in the evenings and it’s become part of how I wind down from my day.”

we don’t know exactly why L specifically desires sweet food or if he considers it part of his routine, but what we do know is that he really wants to eat sweet food and avoids eating anything other than sweet food, so it could either be that he’s a picky eater and can’t handle savory or he’s samefooding on sweets!

wearing the same clothes

L wears the same clothes every single day. It’s also worth noting that what he does wear is baggy, too-big clothing, the kind that wouldn’t be tight and uncomfortable. once again, sensory issues are a huge thing for autistic individuals. one of my favorite aspects is that in no adaptation does he wear socks. even L wears shoes, he wears them like slippers, not putting them on all the way. people comment that he seems like he’s poor, but we know for a fact that he’s very rich and that wearing these clothes is a personal choice he made.

not caring for himself/outsourcing his self-care

i don’t think one day is exactly canon, rather it’s an exaggeration of what might actually happen--i.e. L doesn’t have a huge closet full of the same outfit, but he does have several versions of the same outfit on rotation; L doesn’t use a human washing machine, but Watari might help him/encourage him to bathe regularly. One Day is a parody comic, but it was made by the creators for a reason and that reason is that L pretty obviously relies on a caretaker (Watari) for his personal needs. Watari, in the manga proper, cooks and cleans and does most things for L. we’ll come back to this topic when we get to the drama though.

doing stimming behaviors

if you don’t know what stimming is, it refers to self-stimulating behaviors, usually involving repetitive movements or sounds. everyone stims to some extent, but in autism it tends to be more obvious, go on for longer, and sometimes be more disruptive to others. it’s often used to help deal with sensory overload, or used to express feelings--think of an autistic person being happy and flapping their hands in the air.

there are a LOT of instances of L displaying stimming behavior, from stacking his food or things on his desk, to spinning in his chair, to biting his fingers/using them to press on his lips, to wriggling and tapping his toes. here are some specific instances:

there are a lot more. i’ll talk about more when we get to dramaverse, but if you rewatch/reread death note it’s definitely worth noting whenever L does something like this!

detective work as a special interest

ok, first and foremost i want to establish what a special interest is. Tumblr user cartoon has my favorite explanation of what a special interest is that i’ve seen to date:

“To have a deep, intense, passionate and incredibly focused / narrowed interest in a certain area of study, subject, topic or thing - to the exclusion of other interests. This interest is something that exists for the long-term, most often lasting for multiple months, years, or even you’re entire life “

L says that he only does detective work because it’s a hobby, and he finds it entertaining. We’ve also seen that he’s been at it for quite some time--if you take side content (the wammy’s house comic, LABB) seriously, then he’s been at it since childhood, with unwavering interest. it definitely comes across to me as L having a special interest in detective work, rather than it just being a normal hobby or a job for him, especially since he says it isn’t out of any moral obligation.

germaphobia

Germaphobia is very common for individuals with autism. a lot of the time it’s actually sensory issues associated with “dirty” things, and a lot of the time it’s because features of OCD are heavily comorbid with autism, including contamination OCD and such fears. regardless of the reason, though, L’s aversion to touching Bad Things is a very autistic behavior, and so is his resulting quirk that he tends to hold things in a very odd manner!

muted emotional expression

this is getting more into L’s character, but L tends to feel and express emotions in a very muted way. not to say he doesn’t have them, but for instance in the example above, L doesn’t have a solid grasp on what exactly he’s feeling. he thinks he might be acting irrationally and overemotionally because he logically should be afraid, but he isn’t sure, and none of these emotions present themselves visibly.

i’ve also seen it said that Ukita’s death is another good example of his muted response to emotion--he tells Aizawa to stay rational and his voice doesn’t waver as he tells him as much, but he holds himself tightly. for someone with poor emotional competence, these physical signs of distress can be hard to read in oneself, but Aizawa (a man who is extremely in-tune with his emotions) can tell immediately.

high logic, low empathy

L is also a character who, like many autistic people, lacks a certain degree of empathy. it’s not that he doesn’t have any, but it’s limited enough--and he values logic over it enough--that he’s willing to make extreme decisions and take a “ends justify the means” approach (such as using people as bait.) in the example above, L takes a moment to work through what it must actually feel like, which rings as very autistic.

bluntness/not caring about social convention

there are so many examples of this i honestly could list them all day, but L is a character who is very to-the-point and doesn’t care about mincing his words. he can be outright rude to the people around him, especially if he considers them not worth basic courtesy. see: Matsuda.

DRAMAVERSE

if you all knew me you should have known this section is inevitable. i’m not going to talk about every single adaptation because i do not have the time and the only other adaptation that is meaningful in that regard is the movieverse (i am fairly certain that movie L is dyspraxic) but on account of the fact that i don’t care about them i won’t subject you all to them here.

anyway, drama L shows much the same traits as animanga L above (they are, after all, technically the same character) but he displays them in different ways.

he has a much more advanced degree of germaphobia, with Watari saying he’s sensitive to outside air and spraying everyone who enters his space with disinfectant, but not making them wash their hands or anything like that, so we can kind of tell that his issues are more rooted, again, in a fear of germs rather than any actual medical issue. he wants to feel as though he is clean, not necessarily actually be clean. this is very common in contamination OCD, which has a high comorbidity with autism. (my girlfriend has a very good headcanon post about drama L and OCD that isn’t so much analysis than just plain fun, but it’s worth a read!)

he stims, but he has a different array of stims than animanga L--he chews on his jelly pouch bottles,

he tosses it between his hands,

he kicks his feet,

and he bounces in his chair.

he still sits in an unconventional manner. he still samefoods, this time even more exclusively--he only eats Lucky Charge jelly pouches and nutritional bars. Watari onscreen puts his shirts on for him, as well as cooking, cleaning, and mending his clothes for him.

however, there are a few traits that are drama-exclusive that i think really add to an analysis of his autism!

social scripting

social scripting and echolalic scripting are both commonly described as “scripting,” but are very different! echolalic scripting is like echolalia, but echolalic scripting is the recitation of longer passages of dialogue from things the individual has heard before. but social scripting is when you memorize common conversations so you can rattle it off without worrying too much! this can be very handy, such as exchanging basic pleasantries or ordering food, but it can also backfire if someone responds in a way your script’s not set up for. you can find more information on the difference in this video (3).

now, this relates to L in that there are two separate scenes where L says the same thing, rather inappropriately:

L: When I consider Kira’s personality, could it be that the strong-willed daughter is Kira? Or could that sweet-looking son of yours surprise us by proving to be him? You never know what humans are hiding beneath the surface... Soichiro: Enough. L: Sorry. It was just a joke.

-- Episode 2

L: Light-kun. Oh, I’m sorry... If I called you “Yagami-san,” it would be the same as what I call your father. Light: That’s okay. Call me whatever you want. L: Then what about Kira? (silence) L: It's a joke.

-- Episode 4

one could say that L just has a terrible sense of humor--and, of course, having a poor grasp of humor is common with autistic individuals--but the fact that he says nearly the same thing as a defense twice makes me feel as though he has it rehearsed as a defense when people react poorly to things he’s said, which happens often.

mirroring and echolalia

echolalia was briefly covered in the previous example, but for those unaware, via wikipedia (4):

Echolalia is the unsolicited repetition of vocalizations made by another person (when repeated by the same person, it is called palilalia). In its profound form it is automatic and effortless.

mirroring, on the other hand, is explained as such, also via wikipedia (5):

Mirroring is the behavior in which one person unconsciously imitates the gesture, speech pattern, or attitude of another. Mirroring often occurs in social situations, particularly in the company of close friends or family. The concept often affects other individuals' notions about the individual that is exhibiting mirroring behaviors, which can lead to the individual building rapport with others.

both of these are very common in autism, and they’re exemplified while L’s character is established watching his favorite TV show, Owarai Paradise. On one occasion, he’s watching the show and this dialogue happens:

Hiroshi: Despite never telling her how I felt, I still got dumped. I am Hiroshi. Watari: Who was this one again? L: He is Hiroshi. Hiroshi: I am Hiroshi. I am Hiroshi.

-- Episode 2

it’s important to note that in Japanese, “He is Hiroshi” and “I am Hiroshi” are said, at least in this instance, exactly the same, so L is echoing precisely what he’s heard.

On another occasion, L is again watching the show with a glass of wine (seemingly acquired simply to imitate the characters onscreen, as he never drinks it) and when the characters onscreen toast their glasses, L does the same, mirroring them.

CONCLUSION

I linked a post at the very beginning of this analysis talking about how characters are unintentionally autistic coded, and it’s important to understand how this unintentional coding is different from a headcanon--i didn’t make up these traits. they aren’t something that only exist in my head that i ascribe to L for fun.

i made this analysis both because i wanted to share L’s autistic coding in one cohesive place, because plenty of people have made lists before, but none that i could find that included so many examples with images and explanations--and i also made it because of the old ryuzaki persona “theory.”

for those unaware, the ryuzaki persona headcanon suggests that L faked all of these traits in order to make people uncomfortable, to put them off-guard and better mask his identity. i’ve seen posts about people claiming that nobody could actually behave in these ways, that L would surely be unhappy and uncomfortable sitting like that, or eating like that, or engaging in any of these behaviors. I’ve seen some people outright say that L isn’t autistic, but his persona is--that is, he’s pretending to be autistic.

i named this essay “occam’s razor” because, to me, L being autistic is the simplest answer to account for all of these traits. claiming that an autistic coded character is faking it is ableist and it just doesn’t make sense with anything else we know about his character.

but if you want to know more about that, i recommend reading eyecicles’ first!L tag. it’s debunked it in more ways than i ever could.

anyways, in conclusion

#death note #death note drama #death note analysis #L lawliet

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whimsicallyenchantedrose · 4 years ago

Text

Once Upon a Flower Shop

Pairing: Captain Swan

Summary: When Killian’s flower shop, Jolly Blooms Flower Shop, fails to deliver the bouquet Emma ordered, she pays the establishment a rather angry visit. Little to either of them know this mix up might just turn into the best thing that ever happened to them.

Rating: G/K

Words: 1520

Other Chapters: (2) (3)

This fic was written for the #love4teamhook event as a way to support Alma, @teamhook while she’s going through a difficult time. Thanks to @jrob64 for her work in betaing for me!

Killian Jones cupped the delicate blooms of an orchid in his hand and nodded in satisfaction. He’d been rather worried about this particular plant. It had shown signs of distress a week past, and for several days he’d feared it wouldn’t make it. He had done his research, separated the diseased plant from its mates and cared for it as tenderly as a parent would their child.

Today was the first day the orchid showed signs of improvement. Like Killian himself, this orchid was a survivor.

Killian gathered up the plant and placed it back inside the bright, humid greenhouse, and then stepped back behind the counter of his shop Jolly Blooms Flower Shop. Sometimes it amazed him, the life he now led. As a young man, he’d longed for adventure, danger. He’d joined the navy to be close to his brother, and the life they’d led had been fascinating. He’d loved every minute of it.

Until the moment his brother Liam opted to leave the navy and marry his highschool sweetheart, Elsa.

Suddenly, with his brother no longer at his side, danger and adventure no longer looked nearly as appealing. Left at a crossroads, he’d taken some time to evaluate what he wanted to do with his life, and in the end, he’d opted for the pursuit of beauty.

There was something so calming and yet rejuvenating about being surrounded day after day by beautiful flowers. Providing a product that brought joy and comfort to his clients was infinitely rewarding. His was a quiet, peaceful existence.

His introspection was interrupted when his shop door was suddenly, forcefully opened. He looked up to find himself face to face with the most beautiful woman he’d ever seen. Her golden hair fell on her shoulders and down her back like a cloud of sunshine. Her green eyes shone.

Unfortunately, today they seemed to be shining with anger. So much for his quiet, peaceful existence.

“May...may I help you, love?” he asked, hesitantly as she reached his counter, planted her feet and crossed her arms.

“Yeah, I wanted you to help me yesterday, but apparently asking for a flower shop to deliver flowers was too big of an ask,” she clipped out.

Killian found himself at a loss for words, barely even registering what the vision before him said. They say when you’ve found your soulmate, your True Love, you just know. You can feel it. He’d rather thought that was nonsense, but now...well, now he was beginning to rethink every notion he’d ever had about attraction, romance and even love itself.

“Well?” she exploded, planting her splayed hands on his wooden counter and scowling fiercely at him.

Killian blinked, shaking his head slightly, willing himself to come back to his senses. Whatever his attraction might be to this woman, she was a customer, and he must get it together and provide her the customer service that had made him one of the most sought-after small flower shops in the area.

“My apologies,” he said. “Was there a problem with a flower delivery?”

She rolled her eyes. “Oh I don’t know. I ordered a bouquet to be delivered yesterday, and yet still no flowers have arrived. Seems like a bit of a problem to me!”

Killian frowned. He’d had several flower orders go out yesterday, and he’d gotten no complaints from his delivery people that they’d been unable to complete their tasks successfully. “Could I have your name, love?”

“Not your love,” she gritted out. “Emma Swan. I ordered a bouquet of snowbells to be delivered to Mary Margaret Nolan. It was very important that they arrive yesterday on her birthday.”

He remembered the order, because of its unusualness. Few people specifically requested snow bells, and those who did typically wished for them to be an accent in a larger arrangement rather than the sole flower within the arrangement.

Killian typed for a moment on his computer, bringing up the order details. “According to my records, that bouquet was delivered as requested bright and early yesterday morning.”

“And yet my sister still does not have her bouquet of flowers,” the woman, Emma Swan, said.

Killian peered down at his information once again and groaned. Will. He should have known his newest--and most annoying--employee would be at the center of any mix up.

“Scarlet!” he called over his shoulder.

A moment later the man in question stepped through the back room door and walked up to the two of them. “Anything I can do for ya boss?”

“There seems to be a mistake with yesterday’s deliveries,” Killian said, willing himself to keep his voice even. There was just something about Will Scarlet and his care-free and yet somehow insolent style that made Killian wish to throttle him more often than not.

“Nope,” Will said, grinning. “No problems with yesterday’s deliveries. Handed the flowers personally to every person on my list.”

“What about the bouquet of snowbells for Mary Margaret Nolan?”

Will tapped on his chin, seemingly deep in thought, and then he brightened. “I remember her. Pretty woman, that. Long, curly, fire-red hair. Kinda thought about asking her out, but decided that might not be so professional-like.”

“Curly red hair?” Emma Swan bit out. “Mary Margaret doesn’t have curly red hair. She has dark brown! I don’t think she even knows anyone with curly red hair!”

“Did you confirm the name of the recipient?” Killian asked.

“Yep, just like you taught me,” Will said, nodding vigorously.

“And this red-head confirmed that her name was Mary Margaret?” Killian asked.

“Well, I mean she said her name was Merida,” Will conceded, “but I figured hey, that must be a nickname for Mary Margaret or somethin’.”

Killian rubbed at his temples, a pounding headache beginning to set in. “And you didn’t think to confirm that you had the right address and that this person, with a different name, was the actual intended recipient of your delivery?”

Will shrugged. “Hey, I don’t ask questions. I just go where the Google maps lady tells me.”

Killian full-on facepalmed this time before glaring at his unbelievably dense employee. “Just...just go back to what you were doing. Later, we’ll have a long, probably rather loud discussion about the proper way to deliver flowers.”

Killian watched the idiot disappear into the backroom, muttering to himself about it being Mrs. Google’s fault and then turned back to face the wrath of the avenging angel before him.

“Miss Swan, my sincerest apologies for this unfortunate mistake,” he said. “The delivery man at fault will be dealt with, and I will set to work this moment to create a replacement for your sister.”

The remainder of the visit was completed in a matter of moments. Killian took down his dream woman’s information, apologized profusely, and then assured her yet again that he would personally see to the creation and delivery of the arrangement, that it would be his first priority.

Killian’s reassurances seemed to mollify the woman slightly, though her ire was clearly not entirely ameliorated. Satisfied that she’d at least accomplished what she’d set out to do, Emma Swan turned and walked briskly out of his shop and out of his life.

It rather amazed Killian what a profound sense of loss he felt as the door closed behind the lovely lady. He’d only known her for the space of five minutes, for Zeus’s sake, and most of that was spent with her yelling at him. It made no sense that he’d feel such a deep, elemental pull to her already, and yet the heart wanted what the heart wanted.

Killian grabbed a vase and headed in the direction of his snowbells. There was no doubt about it; he must find a way to see Emma Swan again. Slowly, an idea began to take shape within his mind. It was a bold move, perhaps even risky, but if there’s one thing Liam had instilled in him it was this: A man unwilling to fight for what he wants, deserves what he gets.

If he didn’t at least try with Emma Swan, Killian knew he’d regret it for the rest of his life.

Notes:

--This story is loosely inspired by The Words music video, as you might have picked up. I’ve never written about florist Killian before, and I decided it was time to change that.

--I’m anticipating 2 more short chapters that I’ll post on each of the next Thursdays. (The point of this event was to post one shots...but my muse is terrible at following directions, lol.

--Up next: We’ll get some Killian pining (a la the music video), but the bulk of the chapter will be from Emma’s POV. We’ll find out why she was so angry about her flowers not being delivered, and we’ll see her reaction to Killian putting into action the plan he comes up with at the end of this chapter.

NEXT CHAPTER-->

#love4teamhook #teamhook #cs ff #captain swan au ff #cs florist au ff #fluff #my fanfiction

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afeatherinthewind · 4 years ago

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Reminder that there is a separation between content creators' public personas and their real selves (from u/berkeleynoob)

((This is not my post, it is originally from reddit u/berkeleynoob but I got permission to repost as I know a lot of younger Dream SMP fans are on Tumblr and Twitter)) --- This was originally a comment I made on another post, but two people pm-ed me and told me it would be a good standalone post so I decided to expand on it a little. Given the amount of new (young) fans there are, I thought it might be a timely reminder.

The different levels of personas:

I'm using Tommy as an example here because that was what the original post I responded to was about. There are at least three levels to Tommy (and probably most content creators in the DSMP as well). There's c!Tommy, the character he plays on the Dream SMP. Then there's the public TommyInnit profile that he portrays on Youtube and social media (e.g. Twitter). Then there's the real Tommy, who we as the audience obviously aren't privy to see.

I think most fans are fairly clear that c!Tommy is very different from the real Tommy, and criticism/negative comments about the character are very separate from their opinions about the real Tommy. But I've heard less about differentiating Tommy from the TommyInnit persona that he portrays.

Criticism towards the persona vs towards the person:

There's a reason why Tommy starts every Youtube video with a disclaimer about people finding him annoying. The TommyInnit persona is a fairly polarising one, and I too found it somewhat grating when I first watched him. Even now I take my TommyInnit content with breaks because it can be a bit much after a while. But clearly Tommy knows his audience very well and he knows that the TommyInnit persona appeals to a great deal of people, as evidenced by how he's one of the fastest growing Youtube/Twitch creators and his fanbase is huge.

I think it's valid to have criticism for or to dislike the TommyInnit persona. It's not for everyone, and some people probably do find it annoying. But I don't think any of the audience has any basis upon which to judge the real Tommy since we know so little about him. The closest we got was probably the Eboys podcast, in which Tommy impressed me with his maturity and humility for a 16-year-old kid who skyrocketed in fame less than a year. Even when Techno was complaining to Phil (on stream) about how exhausting it was to stream with c!Tommy, he added something like, "and I mean the character Tommy, because believe it or not, Tommy is a entirely different person off-stream". I've heard nothing about great things about how Tommy is off-stream and there's no doubt he's an incredibly hardworking person.

So even though I don't love c!Tommy and the TommyInnit persona can get a bit much for me sometimes, I have nothing but respect for Tommy the person and how much he's achieved.

This goes for just about every content creator out there. Despite how much of their content you may watch and how well you think you know them, that is still their public persona, not who they really are in normal life. It's valid to pass judgement and have criticism for the personas they portray and how they portray it, but it's unfair to use the personas themselves (e.g. "oh Wilbur was mean to Tommy in non-roleplay video", or "Bad swore in this video so he's a hypocrite") to pass judgement on them as people. As fans and audience members, I think we have to accept that we may never really know much about who they are as real people, and that's fine.

The other side: Why being overly attached to the persona is bad

I'm probably older than a lot of the fans here, and I've been in and out of fandom for over 10 years now. I've lived through the terrible days when fandom was all about LiveJournal, ONTD and Tumblr ("I like your shoelaces"). So I know how easy it can be to get sucked into obsessive fandom and become overly attached to actors/singers/content creators. Here's a cautionary tale to show why you shouldn't make the mistake of thinking you know the content creator just because you're a superfan.

I used to be very involved in the Achievement Hunter (a group of Let's Players) community, I watched them since I was in high school and I enjoyed their content a lot. Roleplay wasn't really a thing and they did a lot of behind-the-scenes type of content (e.g. podcasts, recording random shenanigans in the office) that made it feel like I really knew and liked them as people.

One of my favorites was Ryan Haywood. He was a witty, sarcastic guy who was known as the 'madman' and 'evil mastermind' in the video games they played. He was happily married and had two children at home, and for many years I admired his perfect life and how he had gotten to that position: playing video games for a living and enjoying life with his family.

In 2020, it was revealed that Ryan had been having affairs with several female fans. He had messaged many young fans manipulative and explicit messages and even met up and had sexual relations with some of them. Some of the fans who came out and told their stories testified that they were underage when the affair happened, and they felt pressured into having relations with Ryan. There are a lot of other complicated details that I won't go into here. But this news shocked me and many fans to our core. I didn't want to believe it at first. This was so utterly different to the Ryan Haywood I thought I knew and loved.

TL;DR

That was an extreme example but it's a reminder that we are fans and audience members. We don't know the content creators, regardless of how personable they may be or how much of their life they choose to share with us. Especially for younger fans who may be delving headfirst into a fandom for the first time, it's a wild and fun ride and it's easy to get overly attached or obsessed.

Please use this as a reminder to take a step back and remember that there is a very real wall of separation between TommyInnit and Tommy, between Wilbur Soot and Will, between Tubbo and Toby, between any content creator's public persona and their real self. And similarly, there should be separation between what you feel about a content creator's public persona and the content creator themselves. We know their personas, not them. And that's fine.

#Dream SMP #dsmp #parasocial relationships #tw: ryan haywood #tw: manipulation #ryan haywood #be safe #tommyinnit #technoblade #dream #goes for all content creators #do not idolize people

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millenniumblog · 3 years ago

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[ID: A chart describing the core values of each of the nine Enneagram personality types with YuGiOh characters correlated to each of the types.]

YuGiOh Enneagram Analysis, Part #1

Please note that this is the “boring” informational post about Enneagram with the Types listed and explained as well as a few other things. The next post is what has the actual, in-depth character profiles promised!

Introduction & Motivation

Over the past several months, I have been trying to analyze my strengths and weaknesses as a writer and learn more. I have been writing fanfiction since I was a little kid, making my first FF.net account in 2003 when I would have been twelve years old. Even before that, I was a lurker and wrote fics to share with my childhood best friend on paper or floppy discs.

YuGiOh came into my life at some point shortly thereafter. I know this, because I spent my thirteenth birthday in a comic book shop, mostly watching some of my male friends play the trading card game. I had some of the cards, but I was never much of a player, unable to keep up with the seemingly rapid rule changes. Besides that, I was always way more interested in the story and characters than I was in the card game. I remember I even wanted to call “YuGiOh cards” “Duel Monsters” instead to make it seem a little closer to tween-y LARPing.

Eventually, I gave up on collecting cards or trying to ply the game. I felt that while my male friends didn’t mind me being around when they played, they weren’t extremely interested in helping me learn or keep up. I felt I had other strengths, so I started carrying around a notebook even more than I already did. I started my fledgling forays into online fandom. And YuGiOh was a big part of the beginning of that.

I can’t remember posting any YuGiOh fic in particular, and I’m sure that if I had it would make me cringe now. What I do remember is reading some and also spending a lot of time lying on my bed, headphones plugged into a small purple stereo, listening to the first of the two American-released CDs with YuGiOh-inspired music on them. In particular, the last three tracks were pieces of music from the original score composed for the 4Kids dub, which is - for some reason - different from the original Japanese music.

During that time, I would fantasize and conjure my own YuGiOh plots in my head, most of which were focused on the Ancient Egyptian and more spooky, spiritual, and horror themes in the show. I was really fascinated with the reincarnation angle, though my understanding of and opinions on how that works have grown with time.

Years went by, and I didn’t think about YuGiOh much at all. Then, something happened in 2018. I don’t know what got in my head, but it was like all the joy I once found in thinking about the YuGiOh characters came back in a giddy conversation with my childhood best friend. Then, for a little while, it wouldn’t leave me alone.

I started writing for the fandom then, and after several detours, I’m trying to get back in the groove of it.

My approach to the tone of YuGiOh-fanning is that it’s a bit serious, but it’s also with a tongue placed in my cheek because of how incomprehensible or silly the plot can be on a meta level. Sometimes, it almost brings tears to my eyes by being so over-the-top about something that, in the real world, would make no sense at all. But the drama, in the context of the universe, somehow rings true.

I think that’s all owing to how most of the primary characters are just... really freaking great characters.

It has often puzzled me. Like, did Takahashi do all this layering on purpose? Is it really there, or did earnest fanon just make it seem like it? And, as a person, I am always here for a good fan-and-canon symbiosis.

This post is going to be, from here on, an effort to match the YuGiOh characters to the 9 Enneagram Personality Types. I am writing this for my own benefit as I continue to work on my pet YuGiOh fanfiction project, It’s Always Sunny in Domino City, which is a mixture of YGOTAS-vibes-and-concepts taken seriously and a sincere take on fanfiction for the actual canon. It’s dramedy about a sizeable chunk of the main cast a few years post-canon with some canon divergence such as the Memory World arc not yet and possibly never-happening. If that sounds like something you’d like, I would humbly request you check it out!

Either way, this will be an in-depth character analysis cheatsheet for all of the characters above, based on my observations, opinions, and feelings. I invite discussion, but it’s fine if we need to agree to totally disagree!

If you are interested and enjoy what’s below the Read More and in the coming second post, then you are welcome to utilize the character analyses to aid you in your own fanwork!

Enneagram

What is Enneagram, and why am I using it?

Enneagram is a personality categorization system that one might compare to the somewhat better-known MBTI. However, in the words of excellent writing-advice YouTuber, Abbie Emmons:

MBTI shows us how we behave.

Enneagram shows us what we believe.

I will be referencing Abbie’s video Using The ENNEAGRAM To Write CONFLICTED CHARACTERS and her free Enneagram-cheatsheet, available in the description of the linked video. Whether it’s before you continue reading or after, if you’re interested in writing, I would highly recommend you check out her channel!

The Enneagram system has nine basic personality types that overlap and interact in really interesting ways. It is not a hard science, and it’s not a horoscope. Instead, it’s supposed to be “based on conventional wisdom and modern psychology.” All I can say is that with every set of characters I’ve tried it with, it works! Once you get the hang of it, it feels kind of like ~✰~magic~✰~!

Below, I will list Abbie’s simplified definitions of each of the personality types, in order:

Type 1: The Reformer

The Rational, Idealistic Type:

Principled, Purposeful, Self-Controlled, and Perfectionistic

Basic Fear: Of being corrupt/evil, defective

Basic Desire: To be good, to have integrity, to be balanced

Key Motivations: Want to be right, to strive higher and improve everything, to be consistent with their ideals, to justify themselves, to be beyond criticism so as not to be condemned by anyone.

Type 2: The Helper

The Caring, Interpersonal Type:

Generous, Demonstrative, People-Pleasing, and Possessive

Basic Fear: Of being unwanted, unworthy of being loved

Basic Desire: To feel loved

Key Motivations: Want to be loved, to express their feelings for others, to be needed and appreciated, to get others to respond to them, to vindicate their claims about themselves.

Type 3: The Achiever

The Success-Oriented, Pragmatic Type:

Adaptable, Excelling, Driven, and Image-Conscious

Basic Fear: Of being worthless

Basic Desire: To feel valuable and worthwhile

Key Motivations: Want to be affirmed, to distinguish themselves from others, to have attention, to be admired, and to impress others.

Type 4: The Individualist

The Sensitive, Introspective Type:

Expressive, Dramatic, Self-Absorbed, and Temperamental

Basic Fear: That they have no identity or personal significance

Basic Desire: To find themselves and their significance (to create an identity)

Key Motivations: Want to express themselves and their individuality, to create and surround themselves with beauty, to maintain certain moods and feelings, to withdraw to protect their self-image, to take care of emotional needs before attending to anything else, to attract a "rescuer."

Type 5: The Investigator

The Intense, Cerebral Type:

Perceptive, Innovative, Secretive, and Isolated

Basic Fear: Being useless, helpless, or incapable

Basic Desire: To be capable and competent

Key Motivations: Want to possess knowledge, to understand the environment, to have everything figured out as a way of defending the self from threats from the environment.

Type 6: The Loyalist

The Committed, Security-Oriented Type:

Engaging, Responsible, Anxious, and Suspicious

Basic Fear: Of being without support and guidance

Basic Desire: To have security and support

Key Motivations: Want to have security, to feel supported by others, to have certitude and reassurance, to test the attitudes of others toward them, to fight against anxiety and insecurity.

Type 7: The Enthusiast

The Busy, Variety-Seeking Type:

Spontaneous, Versatile, Acquisitive, and Scattered

Basic Fear: Of being deprived and in pain

Basic Desire: To be satisfied and content—to have their needs fulfilled

Key Motivations: Want to maintain their freedom and happiness, to avoid missing out on worthwhile experiences, to keep themselves excited and occupied, to avoid and discharge pain.

Type 8: The Challenger

The Powerful, Dominating Type:

Self-Confident, Decisive, Willful, and Confrontational

Basic Fear: Of being harmed or controlled by others

Basic Desire: To protect themselves (to be in control of their own life and destiny)

Key Motivations: Want to be self-reliant, to prove their strength and resist weakness, to be important in their world, to dominate the environment, and to stay in control of their situation.

Type 9: The Peacemaker

The Easygoing, Self-Effacing Type:

Receptive, Reassuring, Agreeable, and Complacent

Basic Fear: Of loss and separation

Basic Desire: To have inner stability, "peace of mind"

Key Motivations: Want to create harmony in their environment, to avoid conflicts and tension, to preserve things as they are, to resist whatever would upset or disturb them.

Now that you’ve seen all those, what do you think your favorite character is? In YuGiOh or anything else! It works great for original characters and even yourself and your loved ones.

The actual Character Profiles will be in coming post(s), but continue reading if you want me to explain more about how and why the Enneagram is a great personality typing system. #nonspon, or whatever.

The Enneagram Chart

Now, you could just go to the Enneagram Institute’s page on How the System Works, but below I’ll cut it down to only the parts I’m interested in and explain those in a way that helps me.

Unlike in astrology or MBTI, which are both more restrictive in different ways, the relative position of each type matters a bit on the Enneagram chart, because it can be used to visualize a lot of things about a person!

The Basic Chart

The Types are shown in a clockwise fashion with “1″ in the 1 o’clock position on an analog clock. The interior lines mean things, but I have trouble reading it without further delineation.

Centers of Response

Below are two small charts, displayed side-by-side. (If it’s too small, try right-click, open in new tab!)

The chart on the left shows the three “centers.” The “centers” indicate the first ‘processing language�� a person would use to respond to stimuli.

Type 8, Type 9, and Type 1 respond first based on instinct (primal, gut-feeling). If you want to go Freudian, this is from the id.

Type 2, Type 3, and Type 4 respond first based on feelings (social or personal desires, the heart). If you want to go Freudian, this is from the ego.

Type 5, Type 6, and Type 7 respond first based on thoughts (analytical rather than emotional, the head). If you want to go Freudian, this is from the superego.

Remember that, of course, every single type and person engages their instincts, their emotions, and their thoughts at different times and to different degrees, and some of these are learned or changed behaviors. This is about what their innate drive toward that would be.

Likewise, the same “centers” can also be used for the chart on the right. You will notice that all three of these are defined by what is typically considered a negative emotion. This is because this is about a person’s instinctive, not particularly conscious emotional response when they are backed into a corner and deprived of something that is core to the needs of their personality type.

Type 8, Type 9, and Type 1 tend to respond to a threat to their psychic well-being with anger/rage.

Type 2, Type 3, and Type 4 tend to respond to a threat to their psychic well-being with shame.

Type 5, Type 6, and Type 7 tend to respond to a threat to their psychic well-being with fear.

Stress vs. Growth

We all know that there are times when a person isn’t acting like themselves, for better or for worse. Usually, “You’re not acting like yourself,” means that a person is behaving badly. Of course, it’s way easier to withdraw and bristle and defend rather than growing in the midst of adversity. However, it is certainly possible to experience character growth in response to experiences, good and bad. Unlike a lot of other personality typing schemes, the Enneagram has a way to display and predict what stress and growth do to a person.

The Enneagram never suggests that any Type is an island unto itself. Every person contains multitudes, but a person’s Type is likely to remain relatively stable throughout their lives, once they have had a chance to develop any personality at all. This means that when a person is stressed or growing that they do not become the type they emulate. Rather, they are more highly expressing that aspects of their personality that reflect those drives and desires but in a way that is either fraught, sickly, or unwell (in the case of stress), or aspirational, flying-high, and incorporating the hard-lessons into who a person is going to be going forward (in the case of growth). The latter, especially, isn’t a sustainable mode, while a stressed person can become more entrenched in their bad habits and defensive coping mechanisms.

Stress

Note the white, directional arrows. Each number has an arrow point pointing to it and an arrow leading away from it. The point indicates that this is the stress manifestation for the Type at the origin of that arrow. The origin of each arrow indicates the Type being described.

Confused? Let me finally give you a YuGiOh example.

When I was trying to identify the Types of the characters, defining Marik was difficult, because he has a “Yami,” or Dark Side, which has its own personality and will but which is not its own separate soul or person than Marik himself. Rather, it’s a kind of fantasy/magic-assisted personality splintering where Yami Marik is a full manifestation of the negative traits Marik needed to embody to survive.

So, for reference:

When stressed, Type 1 behaves more like Type 4.

When stressed, Type 2 behaves more like Type 8.

When stressed, Type 3 behaves more like Type 9.

When stressed, Type 4 behaves more like Type 2.

When stressed, Type 5 behaves more like Type 7.

When stressed, Type 6 behaves more like Type 3.

When stressed, Type 7 behaves more like Type 1.

When stressed, Type 8 behaves more like Type 5.

When stressed, Type 9 behaves more like Type 6.

Alternatively, you can use these sequences to follow the stress lines:

1-4-2-8-5-7-1

9-6-3-9

Growth

Think of the above-explanation in reverse.

The sequence:

1-7-5-8-2-4-1

9-3-6-9

As a Type 1 grows, they incorporate more positive traits of Type 7.

As a Type 2 grows, they incorporate more positive traits of Type 4.

As a Type 3 grows, they incorporate more positive traits of Type 6.

As a Type 4 grows, they incorporate more positive traits of Type 1.

As a Type 5 grows, they incorporate more positive traits of Type 8.

As a Type 6 grows, they incorporate more positive traits of Type 9.

As a Type 7 grows, they incorporate more positive traits of Type 5.

As a Type 8 grows, they incorporate more positive traits of Type 2.

As a Type 9 grows, they incorporate more positive traits of Type 3.

Wings

The final thing to know about the Enneagram chart for my purposes is about wings. The wing of your personality traits accounts for the complementary and contradictory aspects of your personality. They are the inconsistencies that make you human, predicted and jumped in. Typically, a person is not thought to have both possible wings but one or the other. A wing is one of the two adjacent Types to yours, the number before, or the number after, and it is annotated, for example:

Type 1, Wing 2: 1w2

Type 1, Wing 9: 1w9

Link to Part 2 Here!

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smmahamazing · 4 years ago

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There's been a pep in my step today because......

It's MirSan day!!!!!

I'm so excited to finally share with you guys a fic that I've been working on since last October. It's gone through some big changes, but I'm proud of it. And EVEN BETTER is that I've teamed up with @eliza-faust-diary, who has created an amazing piece of art to go with it! I'm itching for y'all to see it! So I'll get off my soapbox LOL. Make sure you guys check out the MirSan Collection on AO3 and everything posted from @dayofmirsan!

Thanks to the mods for setting this up!

Summary: Miroku Kibe has been irrevocably in love with Sango Tanaka for years. His fear of rejection has always kept him from attempting to get to know her, but when he finds her all by herself at an engagement party, will Miroku take the chance he's given and talk to her?

Read on AO3 and FFN

"So anyways, we didn't find our way back home until the next morning, and we still never found her shoes again!"

Miroku attempted a heartfelt chuckle. Apparently, the last bit of her story was supposed to be some big finale, or a play on words, or an inside joke that he wasn't part of? To be honest, he hadn't been paying all that much attention. He had been trying to find a way out of the conversation for quite a while, but the girl in question ('Is her name Yuki? No….Yuca…..or is that the vegetable?') seemed to talk a mile a minute. And there had been no shortage of stories to tell, much to his disappointment.

"Well…" Miroku stuttered, trying to spit out a sentence that didn't involve trying to figure out her name. "I think I see….I'm just gonna….head over there."

It was probably the flimsiest getway he had ever used on a girl, but his brain felt like mush after sitting through too many of her idiotic stories, and Miroku desperately needed to isolate himself. There was only so much socializing he could do in one night and he didn't want to use up all the energy he could spare for some random girl he cared nothing for.

Miroku walked over to the kitchen and pulled out a fresh beer from the fridge. After taking a generous first sip, he lightly leaned back on the countertop and looked out into the living room. The kitchen was designed with an open room concept, with only a small bar separating it from the living room. From his spot, Miroku could oversee the rest of the party guests mingling throughout the apartment.

He recognized a couple of faces that he might have seen around campus over the years, but for the most part found himself amongst a crowd of people of which he didn't have an inkling of who they were. It didn't bother him much though, not when he could hear Kagome's boisterous laugh from across the living room. He let a small smirk don his face as he once again raised his drink to his lips for another sip.

Today was Inuyasha and Kagome's engagement party.

Miroku normally didn't go to shindigs like this, but over the past couple of years, Kagome had grown to be a very good friend of Miroku's, and he wanted to support her in any way he knew how. That, and Inuyasha practically begged him to come.

Engagement parties were not Inuyasha's thing. Parties in general would tend to put him in a foul mood, and Inuyasha did whatever he could to worm his way out of attending one. But all Kagome needed to do was give Inuyasha those big, soulful, puppy dog eyes of hers, and the next thing you know, he was front and center for the biggest event of the year - until the wedding that is.

Inuyasha didn't have many friends, at least not friends that he could proudly call his own. Most of the partygoers were mutual friends of both Inuyasha and Kagome, but Miroku knew that they only came to be on friendly terms with the surly hanyou because of his bubbly, outgoing fianceé.

Miroku's friendship with Inuyasha also fell under that category. He met Kagome during his internship at her family's shrine a few years ago - even though they all went to high school together - where they became fast friends due to Kagome's friendly personality, which of course led him to also becoming friends with her boyfriend-now-fiance - but Miroku could say with confidence that his friendship with Inuyasha had grown to something bigger than just being acquainted through Kagome.

Which was still a wild concept for Miroku to grasp. Miroku wouldn't say he was introverted, but he mostly liked to keep to himself. He was an only child to a set of parents who died when he was young, putting him under the guardianship of an old family friend - Mushin. Mushin did his best to raise Miroku, but he didn't really have a great idea about what it was like to raise a child, and Miroku learned early on it was better to grow up than just acting like the child he was.

In the end, Miroku had a hard time relating to most kids his age. He didn't watch the same type of television shows, play games, or collect action figures like the boys he grew up around. Others found him...intimidating, which led to a lonely childhood. But as the years went by, Miroku found that he began to care less and less about the whispered gossip that followed him as he grew up.

Miroku knew Inuyasha also had a rough childhood; perhaps that was the reason they gravitated to each other so easily. Not that they talked about it all that much. That was the great thing about their friendship, it didn't require a lot of talking.

His friendship with Kagome gave him enough of that. That girl really knew how to talk.

Miroku was shaken from his thoughts as Inuyasha sidled up to him, jabbing his fist into his shoulder lightly before leaning up against the countertop beside Miroku, his own drink in hand. "So, have you grown the balls to go talk to her yet, or are you gonna hide in my kitchen all night?"

"I don't know what you're talking about, my friend," Miroku answered, keeping his eye contact on anything but the hanyou beside him.

Because it was a lie. Miroku knew exactly who Inuyasha was talking about.

Sango Tanaka.

Miroku had been in love with her for years. Practically all his life if he was dramatic about it.

Miroku first met Sango when they were in high school. She was a "rough and tough" type of girl, known to play a variety of sports, depending on the season, and trained in a number of martial arts. Her family came from a long line of tajiya, and that was a title she wore proudly. Sango was loud, and opinionated, and didn't take anyone's shit. She never failed to go after what she wanted, and she gave it her all every time.

She was everything Miroku wasn't, and funnily enough, she was everything Miroku ever could have wanted.

He still remembered the first time he had ever laid eyes on Sango. It was the first day of high school, and Miroku had just walked into his history classroom. There had still been ten minutes before the bell was scheduled to ring, signaling everyone to start making their way to their first class of the day. Miroku always liked getting to his classes as early as possible so he could get the best seat.

When he was in middle school, he would always be the first one to enter the classroom, but not this day. Sitting in the front row was a girl, enraptured in a small paperback book. Long, velvet brown hair that went halfway down her back. She wore a faded pink long sleeved shirt that accentuated the natural muscle of her arms, and when she turned around to stare him down with those hazel eyes, Miroku was sure he stopped breathing.

She was the most beautiful girl he had ever seen. Miroku didn’t know how long he had been standing there staring at her. It wasn't until she gave him a simple greeting that Miroku snapped himself back to reality. He responded with a small greeting of his own, choosing the seat right behind her. At that moment, Miroku knew she'd be the only girl for him.

They spent the rest of the time together in companionable silence. Soon enough, the bell rang and slowly students started trickling into the classroom. She didn't seem to have any friends in this class, which was all the better for Miroku. It felt like he could have a part of her without having to share with anyone else.

She didn't speak to him again after that first day. Several times, Miroku had attempted to work up the courage to talk to her - about anything - but he chickened out every time, and his fear of her reaction to him only grew worse as the years went by. The more he looked on at her life from the background, the more intimidated he was of her. Yet, it only made his fondness for her grow.

She was spunky. By the time they ended their first year, it was known throughout the school that Sango was not a girl to be trifled with. The biggest factor in that perception of her was the fight that year between Sango and another girl - Aki was her name? The girl in question was a real piece of work; generally thought of as "popular", but really, that was just a code word for the term "bitch". Miroku hadn't been there to personally see it, but the rumor was that Aki had been bullying another girl - a transfer from a religious school in the next city over - and ended up in a fist fight with Sango. Aki threw the first punch, but Sango made sure she'd throw the last, while simultaneously making sure everybody understood that bullies at Hiro High wouldn't be tolerated.

She was given a week's suspension for her part in the fight, but she ended up making a life-long friend in the girl she had defended, Kagome Higurashi. They were inseparable ever since.

Sango's sense of loyalty was both something that Miroku had a hard time grasping, yet something he desperately wanted from her. Despite his sometimes asocial mannerisms, Miroku hadn't been a loner in high school; he had his own small group of friends he would sit with at lunch, or work with on group projects. The term 'friends', though, seemed a little much to define the relationships he held with those people. 'Acquaintance' was a better term. They might all shoot the shit together every now and then, but he never let his guard down around any of them.

The Miroku Kibe that they knew was a fake, hidden by a well tailored mask. His friends were nice enough people, and it wasn't lost to Miroku that they trusted him enough with some of their deeper thoughts. But no matter how much he wanted to let them into his own heart, he always managed to pull back at the last second, placing another wall between himself and the world.

Miroku fantasized about letting Sango be the person to break all his walls. He was certain if anyone could do it, she could.

But there had never been a chance for them, Miroku's own cowardice made sure of that. Instead, he sat on the sidelines, watching Sango and Kagome grow into close friends. Eventually their group of two turned into three when Kagome introduced Sango to Inuyasha. He was the "new kid" their second year of high school, and Kagome had been tasked with showing him around and making sure he felt "welcomed".

Of course 'welcomed' meant showing the new kid where the lunchroom was and where the best junk food machines were, not getting caught making out in the janitors closet, but to each his own, you know?

And yet, here he was, almost eight years since their sophomore year, attending Kagome and Inuyasha's engagement party. Honestly, it had been of no surprise to Miroku to hear about their engagement. Inuyasha and Kagome were your textbook definition of "high school sweethearts". If Miroku believed in the whole "soulmate thing", he’d describe them as just that. They were polar opposites, like fire and ice. Inuyasha, the grumpy hanyou, and Kagome, the sweet girl next door.

Sometimes, Miroku could just gag from the cuteness of it all.

The couple that had been conversing with Kagome in the living room finally moved away, giving both Miroku and Inuyasha a clear view of the sliding glass doors that led out to the patio. Standing by herself, gazing out at the city below, was Sango. She was wearing a striped magenta shirt, the same color she wore on the day they met, with a pair of forest green pants. Even without all glittery jewelry or immaculate dresses, Sango was still the most beautiful woman at the party.

It was the perfect opportunity for Miroku to finally talk to her. All he had to do was walk up to her and start a conversation; nothing flashy or flirty, just small talk. He'd been doing it all night with random girls who felt the need to invade his personal space, so this should be easy.

The golf ball lodged in Miroku's throat said otherwise, as Miroku nearly choked on the beer he was drinking at the mere thought of trying to talk to her.

"Dude, you're being pathetic," Inuyasha said. Miroku finally turned his way to glare at him, but Inuyasha merely scoffed at him. "Don't give me that look, you haven't heard a single word I've said, too busy in la la land thinking about Sango."

"And how long did it take for you to propose to Kagome?" Miroku tried to circumvent the conversation away from himself, but Inuyasha was far too stubborn to let Miroku off the hook.

"Nuh uh, don't even try and compare us, it's not the same thing and you know it."

"Inuyasha - "

"Look, we both know that Sango is going to end up being Kagome's maid of honor, and if I'm being honest, you're the only person I would trust to be my best man."

Miroku was taken aback by Inuyasha's statement. Being a best man….It was a role he didn't think he'd ever really get to play. He never let anyone in deep enough for their first thought of the person who would play a pivotal role in something as important as a wedding to be Miroku. Inuyasha refused to look at him now, obviously embarrassed at such a display of emotion.

"I...would be honored to be your best man, Inuyasha," Miroku said slowly, almost in a hushed whisper. This felt like such an intimate moment for them, and Miroku did not wish to share it with anyone who could easily eavesdrop on their conversation.

"Keh, whatever." Miroku wanted to chuckle at his abrupt change in demeanor. Perhaps this is why they could work so well as friends; while others might be put off by Inuyasha's rough temperament, Miroku was always able to let his constant mood swings slide right off his shoulders.

"Anyways, with that being said, you and Sango will have to see a lot of each other to help out with this damn wedding, and I need you with your best foot forward," Inuyasha stepped around him to grab two unopened beers from the fridge. He took the half empty drink currently in Miroku's hand and replaced them with the unopened beers.

"Don't fuck this up," was the last thing Inuyasha told him as he turned away from him to walk back towards Kagome, leaving Miroku to stand by himself in the kitchen holding two cold beer cans. The cans began to sweat from the change in temperature, causing Miroku to grip them tighter so that they wouldn't slide right out of his hands.

Miroku could feel his body start to perspire. He could only hope that the purple t-shirt he donned for tonight would be dark enough to hide the sweat stains that he was sure would start to show up under his arms. Miroku swallowed the lump in his throat, and after a deep inhale and exhale, started making his way across the apartment.

'Hello, my name is Miroku? And you are?' No, that's too forthcoming, he could be more suave then that. 'Ahh Sango. It's such a beautiful night out, would you care for a beverage?' Ugh, somehow that almost sounded worse than the first one. 'I love you, please bear my children!'

Miroku stopped just before the sliding glass doors and mentally slapped himself. He needed to keep his wits about him! Miroku was a handsome, cool guy; talking to a beautiful woman like Sango should be as normal as breathing. He could strike up a simple conversation with her, right?

For Inuyasha. And Kagome.

And for himself.

Miroku could feel and see the slight trembling of his hand as he used the two pointer fingers of his right hand to slide the door open. It was a cool night, and Miroku was greeted with a crisp breeze. He greedily inhaled the clean breeze that carried wafts of patchouli to his nose. Gods, she was his favourite scent.

Sango didn't seem to hear him enter the balcony, or at least if she did she had yet to make a move to see who was disturbing her peace.

'Oh god, what if she wants to be alone and I'm just here to annoy her?'

Miroku shoved his negative thoughts aside, determined to give her a good impression of himself. He stretched his neck from one side to the other, cracking it a little to release some tension as he took that one last step towards her, his back straightened but not locked up, his head held high in an attempt to look calm and aloof.

And then he fell.

He fell.

A weirdly high pitched yelp erupted from his throat as his feet twitched and scuffed across the cement floor of the balcony, pushing his body too far forward for his feet to catch. What sort of loser trips over his own feet? All he had to do was take one small step and he would have been golden. Instead, he was slowly tripping over his own two fucking feet, still keeping hold of the two beer cans, as if their presence was actually important in the grand scheme of things. The only thing that could have been worse would be to face plant right on her bountiful breasts.

Which he fucking did.

Miroku was sure he had never been so embarrassed in his entire life. It wasn't as if Miroku hadn't dreamt of this moment - nuzzling his nose in the warmth of her soft skin, peppering her bare chest with tiny butterfly kisses. But this wasn't a dream, it was reality, and Miroku's reality included him basically motorboating a woman who he didn't know personally and didn't know him on a very public apartment balcony.

'Just fucking kill me now…'

Miroku tried to lift himself up as quickly as he could. He really did, but for some reason he just couldn't let go of those damn beer cans. He clutched them as if they were his lifelines, putting more and more of his full weight on the woman under him. Luckily, due to all her training, Sango could probably lift two of Miroku, and was able to help steady him.

"Oh my gosh, are you okay?!" She exclaimed, unfazed by where his head had been and more concerned about his own wellbeing. She had taken his face in both hands, trying to assess if he had taken any injuries.

"Uhhh…" Say something you fool! Miroku's head felt fuzzy with her face so close to his. He tried to tell her he was okay, perhaps impart a most fervent apology on landed directly on her chest, but he couldn't seem to form a coherent sentence no matter how hard he thought about it. He had never been so close to her to take in the gold flecks that made her cinnamon eyes sparkle, and he was quickly becoming lost in them.

Instead, he belted out a cracked, "Beer?", still holding on to those damn cans.

Miroku hoped the ground would open up a portal to hell and drag him into it at this point. There was no way she'd want anything to do with him after this fiasco of a first encounter. Well, technically their second encounter. Either way, Miroku was fucked.

He thought that anyways, until he heard her chuckle, her lips turned up in a soft smile. She acted like he said something funny, not in a 'I'm laughing at you' way, but a 'wow you're funny' kind of way.

It was like music to his ears.

"A beer sounds good right now, thank you," she said, taking one of the beer cans out of his hands once he was steady on his feet. Miroku couldn't believe it, he was doing it! He was actually having a conversation with her! She wasn't rejecting him and accepted his offering of having a drink together! Even though he made a total fool of himself, nearly launching himself and the drinks off the balcony…..launching the drinks….The drinks….

THE DRINKS.

"Wait, Sango don't - "

It was too late. Miroku had been too far in his own thoughts to think about the fact that he had shaken up the carbonated alcoholic beverages quite a bit during his tumble, and Sango had already flipped the tab into the aluminum can. The next few seconds felt like forever, played in slow motion. The can let out a faint hiss before a small geyser of beer exploded upward, the can continuing to overflow with foam. Sango let out a small shriek, covering her face as best she could as she became drenched in beer.

Miroku stood there, still as a statue, as he watched streams of beer slowly trickle down her face. Their movements had a soft quality to it, as if they were caressing the soft lines of her cheek, gliding down the line of her nose and outlining her plump lips.

It was downright cruel how turned on he could get in a situation that was probably embarrassing for Sango. He should be doing something, like running inside to grab her a towel or asking her if she was okay. Instead, he was staring - no, leering - at her like some kind of pervert.

The thought was enough to break Miroku from his thoughts. He had a reputation for being a lecher amongst the ladies, but that was a persona he didn't want associated with Sango. After all, she wasn't just any woman; she was someone he could see spending his life with. Which he actively did.

He lurched forward slightly, still unsure of exactly what he should be doing for her, but unwilling to just stand there. There was a small table with a couple of chairs pushed to the right side of the balcony. Miroku threw the arm that held his own beer in that direction, intending on setting it down to cover all his attention on her. Unfortunately, he wasn't paying enough attention to the can to make sure it was set on the table properly.

The can slipped from his hands, slowly making its descent, past the edge of the table, and straight for the ground.

Miroku barely heard the plonk of the can hitting the ground, nor the hissing that came right before the can exploded, twirling along the ground at their feet, covering them both with the sticky liquid.

In a feat that would have made the soccer team at their high school proud, Miroku used the side of his foot to kick the can straight through a gap in the bars of the balcony. The can continued to spew beer through the air as it made its descent onto an unsuspecting car parked on the opposite side of the street, the sickening crunch of the can cracking the windshield echoing off the walls of the buildings on either side of the road.

He didn't know what would have been worse, letting the can continue to douse them with beer or vandalize an automobile. Either way, he only hoped some God would have pity on him and allow the Earth to swallow him whole.

Of course, he could never be so lucky.

"Oh my...I am so sorry, let me get you a towel!" He said, spinning in place and practically barrelling through the sliding glass door.

It seemed like no one else in the apartment had any clue what transpired outside, too busy with the jovial nature of celebrating the engagement of two young people in love. It gave Miroku a small bit of relief, knowing that Sango was free from the embarrassment that came with the snickers and stares of being laughed at.

It wasn't enough to steady his shaking hands as he began rummaging through Kagome's kitchen cupboards, trying to find something big and deep enough to fill with water. Three cupboards in, Miroku found a large mixing bowl and began filling it with water, searching through more drawers to find the kitchen towels, practically grabbing the whole stack once he found them. Once he had everything, he carefully made his way through the crowd of people. By now, he started to receive a few weird looks from anyone who bothered to look towards him as he passed by, but no one tried to stop him or ask about what he was doing.

He ignored it all in favor of the woman standing outside. She was fiddling with the ends of her blouse that now clung to her form from the stickiness of the beer. He awkwardly pinched his knuckle before reaching for the door in an attempt to keep his eyes looking anywhere but her body. This was absolutely not the time for his philandering ways to make this woman hate him more than she probably does already. He could see the small movements of her shoulders as she shivered when a quick breeze hit her, and any lecherous thoughts he might have had drifted away as guilt began to constrict his chest.

This was obviously a sign that they were never meant to be. How could a sophisticated and beautiful woman like Sango be interested in a schmuck like Miroku? The man couldn't even do something as simple as handing her a can of beer, how was he supposed to take care of her?

Not that she'd want him to take care of her, or needed anyone to do so. She was strong, and smart, and so fucking talented; she could do anything she set her mind to. Miroku could only hope to be even half the person she was, and a woman like Sango didn't mingle with people as lame as Miroku.

He carefully made his way through the back door, immediately set the bowl of water and towels onto the small table sitting off to the side and pulled the chair out for Sango to sit in.

"I-I brought a bowl of warm water and some towels to wipe the beer off with. Here, you can sit here. If you want to anyways, or you can stand if that makes you feel more comfortable or…." Miroku turned his body away from hers, grimacing as his tongue continued to word vomit in front of her. He couldn't believe he was still finding new ways to completely embarrass himself in front of her.

But instead of a stern glare or a heated comment about him, he was greeted with a small but warm chuckle.

"Thank you," she smiled at him, taking the offered seat and one of the dry towels, submerging it into the water and wringing it out.

He couldn't stop from staring at her, watching the way the muscles in her hands grew taut as she squeezed the towel, or the way a few errant droplets of water would cascade down her arms as she rubbed the towel into her skin.

She was truly gorgeous. The setting sun made her positively glow, her freshly cleaned skin gleaming when the light hit it just right. She sighed contentedly as she continued to wash away the sticky substance, paying extra attention to her face and chest. Miroku pulled up the other chair and fumbled with one of the dry towels, keeping himself too busy to notice the way she ran the damp towel over her collarbones. The towel wasn't squeezed out as much this time around, and it was almost painful for Miroku to watch as several small rivulets of water ran down her shirt, molding around the tops of her breasts.

The sound of the water splashing as she dunked the towel back in acted like a slap to the face, reminding him he needed to keep his eyes to himself. Instead, he submerged his own dry towel halfway so that he could wipe off his own beer soaked skin.

"You seem familiar,"

Miroku paused. Despite the fact they were both sitting together, he hasn't expected her to want to talk with him. It was a question disguised as a statement, one that he wasn't quite sure how to answer. Not in a way that wouldn't make him seem like a stalker, anyways.

"I believe we went to the same high school,"

"You went to Hiro High, too? What a small world," she chuckled as she continued to stare at him. Her eyes widened slightly as a thought seemed to pass by the forefront on her mind. "Wait...didn't we have a class together?"

'Several,' was the first response to come to mind, but he didn't want to make it seem like he was keeping any sort of tabs on her over the years.

"Yes, I believe so. That's where I recognized Kagome when we first met,"

Miroku could feel himself beginning to sweat under her vigilant gaze.

"History,"

A confused look sprawled across his face. "Come again?"

"That's where I recognize you from. Freshman year. You were the kid that got to class almost as early as me,"

Miroku was stunned. They had shared a small handful of classes together over their high school years, but the one that stuck out the most for her was first period history during their freshman year? That was nearly ten years ago!

"Uhh….y-yes. With Mr. Myoga,"

"Sometimes, I don't know how we made it through that class," she laughed, remembering the long mornings of boring anecdotes and not enough energy to spare between the class.

"Well, someone as….aged, as Mr. Myoga had many stories to tell about the vibrant history of Japan," Miroku's lips curved up slightly. One of the benefits of being a flea youkai was living through each monumental event that made up the history of Japan. Although his method of teaching it was...lacking.

"He made the topic so boring! He preferred listening to the sound of his own voice more than actually teaching us about the subject. Honestly, it should be illegal to hold such a boring class that early in the morning."

"Fewer words could be truer," Miroku grinned, delighting in the easy smile that steadily grew on her face. She was so beautiful when she smiled. The edges of her lips almost seemed to touch the wrinkles around her eyes as she smiled, small dimples becoming noticeable on her cheeks as she talked.

It was obvious that Sango lived a very happy and joyous life.

"So, what's the story with you and Kagome? How'd you meet?"

Miroku never expected for Sango to take control of the conversation like she did. He expected that he would be the one to ask her a litany of dumb, intrusive questions about their friends engagement, the weather, or how her day had gone. And she would smile politely at him as he rambled, giving him simple, flat answers in an attempt to humor him.

Instead, she barrelled through, asking him a variety of simple 'get to know you' questions - What did you major in? Where do you work? What's your favorite color? Pepsi or Coke? - with the perfect opportunity for Miroku to turn the question back on her as soon as he answered. Perhaps she could sense how nervous he was around her. It was definitely easier than Miroku doing it all on his own, that's for sure.

It wasn't long before the both of them were laughing and joking around with each other. Part of him couldn't believe how easy it was to talk to Sango, although it wasn't a huge surprise. Miroku found practically every aspect of her life interesting and would gladly sit and converse with her for hours - eternity if she'd let him.

There was one thing he had to know; was she dating someone? It would be a devastating blow if she was, but after getting to know her for just a little bit, Miroku knew he needed her in his life. Even if he couldn't have her the way he truly wanted her.

Now all he needed to do was come up with a way to ask her that wasn't creepy or weird. Or intrusive.

'Just act….natural…'

"So, how have you and your date enjoyed the party so far?"

Nice. Smooth and natural.

"Oh, I didn't come here with anyone," she responded hesitantly.

"My apologies! I didn't mean to assume,"

"It's okay, I understand," Sango smiled, although it didn't shine through her eyes like before. She turned her attention to something off in the distance, wringing her hands together in her lap. Miroku suddenly felt a little selfish bringing the subject up at all.

"I hope I didn't upset you somehow. I swear on my father's grave that was never my intention,"

"What? Oh, no!" Sango turned back to him with wide eyes. "I didn't think that at all! It's just…" She looked away again, staring intently at her hands folded in her lap. "It's just...sort of a touchy subject for me right now. I've not had the best luck in the dating circuit,"

"Forgive me Sango, I have a hard time believing a woman as beautiful as you has a hard time getting anything she wants,"

Miroku's statement caused a pink blush to cover her cheeks.

"Yeah, well, that's just the problem, isn't it?" Sango mumbled. Miroku kept silent, watching the indecision flash across Sango's face, either caused by her deliberating her next words or whether or not she wanted to say something at all.

She looked up at him next, face still a little pink from embarrassment, yet she looked up at him with an air of determination. Her eyes were hard and resolute, but Miroku could see the tenderness behind it all.

"Most of the guys I've dated think I'm too assertive."

Miroku was unsurprised by this, but a part of him still had a hard time believing such a thing could be said about Sango. Her assertiveness was something to be cherished, not looked down upon.

"Sounds like most guys are just too insecure to handle you,"

Sango let out a small breath of laughter. "I'm sure they would all balk at the insinuation that they have crippling male egos. Much easier to dump me and go about their lives,"

"Well, that's just their loss, isn't it?"

Sango couldn't help but lock eyes with the mysterious man sitting next to her. She had heard that phrase before from a variety of people. It was always someone else's loss when she was kicked to the curb, and it always made her so angry whenever she heard it. It certainly never seemed like it was a loss to them; if anything, they acted better off. People usually said that to her in a veiled attempt to comfort her, knowing it was because of her own temperament that they left.

Sango always had quite the mouth on her, and unless she could learn to tame it, no man would give her any time of day.

Yet, she didn't get the same vibes from Miroku. He seemed truly genuine when he said it was their loss. As if it was better for her to be her rude, straight to the point, brash self instead of the meek, silent woman in the background most men wanted her to be.

Sango was truly intrigued by this man.

She wasn't lying when she said she remembered him from their shared history class. Although, he had been more of a background character in the story of her life. She could recall them sharing a few classes over the years, and she had heard through the grapevine that he was sort of a ladies man, but they effectively went different ways after high school, and Sango pushed back any thoughts of him to the back of her mind.

Then one day, he was suddenly thrust back into her life via her best friend since forever, Kagome.

It was nice to know that Kagome had a friend she could talk to about her work. Sango was the dutiful best friend, always giving Kagome the time and attention she deserved as she talked about her day, but oftentimes Kagome would get caught up in the history of an artefact or a traditional dance, which was likely to go right over Sango's head. Miroku became a sort of conduit for Kagome's ramblings, saving Sango from having to pretend to be as knowledgeable about the subject as Kagome, or ask a million questions.

It was a friendship that blossomed over the years, as they do when Kagome is involved. Kagome's stories started to involve more of Miroku and less of work, eventually even adding Inuyasha to the mix. Yet, despite all the talk, Sango had yet to meet the famed 'Miroku'.

Kagome always said good things about him. He was quiet with an old soul. He had far more wisdom than most people his age and he never backed down at lending out a helping hand. A real gentleman.

Inuyasha's only helpful comments on the subject were that he was a 'lecherous monk'.

Which led to some confusing ideas about the man.

She still wasn't sure what to think about him. She could tell he was nervous; it was cute, the way he stuttered and rambled. And despite the rumors of him being a ladies man, he never seemed to ogle her or make her feel uncomfortable - despite literally landing his face in her chest. Their conversations so far had been easy and fun, something she really hadn't felt with another person in quite a long time.

Miroku was in heaven. He didn't think he could ever tire of talking to her, or listening to her talk about anything. She was funny, able to pull a joke out of the most basic of topics. And opinionated. Miroku was always up for a good debate, and he was sure Sango could give him a run for his money.

He didn't know how much time had passed as they stared at one another, probably only minutes yet it felt like hours. There was a heat developing between the two - not a smouldering heat, like the sun, that enveloped your whole body, but a soft warmth, like a candle, that started in the tips of the fingers, working its way slowly up the arms to take root in the chest. She just...looked him up and down with those wide cinnamon eyes, not in a lewd way, but with a sense that he was something new, something she had never seen before.

Once again, Miroku was stunned by her beauty. She truly was a goddess among mortals. Was it considered excessive the amount of times he obsessed over her looks? Possibly, but Miroku didn't care. Sango was a woman deserving of unbridled attention.

This was it. This was his in. He was gonna be confident and suave and somehow convince her to go on a date with him. He was going to use everything he learned from all the women he's been with and use it for good. For Sango.

"Sango, I - "

"Hey you two!" The raucous sounds of the party inside became louder as someone Miroku didn't recognize leaned their head outside. "It's time to toast the newly engaged couple!" And without another look back, they disappeared back inside, leaving the door wide open for them to follow.

Miroku could have screamed.

Why couldn't anything go right when it came to Sango? Their whole ambiance was ruined now. She was distracted by the party inside, and now there was even more of a chance someone will try and come outside.

"Well, I guess we should be getting back inside," Sango sighed, slowly pushing her chair back to stand up.

"Sango, wait!" Miroku leapt to his feet. He just needed one more minute with her! He didn't want this opportunity to go to waste. "I-I'd really like to see you again. Can..I..can I get your number? You know, we can...make plans or...something."

Well, it wasn't his best bit of courting, but it was better than being a coward and not talking to her, he supposed. And if she said no? At least he would have a definite answer.

She looked at him for another moment before giving him a soft smile. "I'd like that," she said, holding her hand out for his phone.

Miroku scrambled for the device sitting in his front pocket, unlocking it and bringing up a 'New Contact' screen before holding it out to her with shaky hands. She tapped away, keeping the screen close to her face. She kept the phone to her face for a good amount of time, longer than she needed to if she was just putting her contact information. She pulled out her own phone from her pocket and waited for it to vibrate with a notification before closing out his own phone and handing it back to him.

"I'll see you around, Miroku?" Sango asked, so innocently yet Miroku we sure there was a layer of seduction there.

In a last ditch attempt to be anything but the loser he felt he had been all night, Miroku responded with confidence. "I look forward to it, my dear Sango,"

Sango departed after that, not before giving him a once over with her eyes and sporting what Miroku would describe as a 'devilish' grin.

That one look would carry Miroku into the next year, he was sure of it.

Miroku became deaf and blind when it came to the party inside, opening his phone back up and going straight to his messaging app. There would be time later for him to memorize her number - you know, just in case he accidentally lost it before they could set up a date - but he was curious to see what she texted to herself.

He expected to see 'Sango Tanaka' as the subject line, but was surprised to see a different name under the most recent message:

Slayer🍑😘

[Sent @ 6:15 PM] Next Friday, 7PM, Tanaka Dojo 📿

There was….much for Miroku to unpack here. The first of which was the nickname she gave herself. It was well known that the peach emoji was frequently used to represent one's derriere. Was her choice to use that particular emoji a coincidence, or was she privy to the fact that Miroku was indeed an ass man?

Especially when it came to Sango's gloriously toned and plump backside.

Miroku could have written an entire dissertation on why Sango chose that nickname if he had the time. Instead, he gravitated towards the message she sent herself. Normally people sent little one word messages, just enough to bridge the gap between cellular devices. Instead, it looked like Sango set up the details for their first date.

Their first date.

Just thinking those three little words left him feeling giddy, his heart pumping so heavily in his chest, Miroku could practically see the organ trying to rip itself from its fleshy prison.

Miroku finally looked up from his phone and gazed inside at the party. Just like earlier, the crowd of guests inside parted in just the right way so that he had a perfect view of Sango. She was leaning backwards against the kitchen counter, cradling a slender glass of something bubbly - probably champagne. She was standing by herself, a gentle smile on her face as she watched everyone gather around the Kagome and a slightly nervous looking Inuyasha.

It was like looking at a freshly finished puzzle. Every piece meticulously placed in just the right way, resulting in a release of endorphins just by looking at the fruits of one's hard work.

Sango was his puzzle.

There were still a few pieces to put together here and there, but the hard part was over with. Now was the time for Miroku to take those few random puzzle pieces and finish his work of art.

A life with Sango.

Perhaps he was a tad crazy for having such strong emotions for this woman, but who was he to argue with the pounding of his heart whenever he saw her picture or the butterflies in his stomach whenever she spoke. If his feelings for her were wrong, then he didn't want to be right. He would show them all that Miroku Kibe and Sango Tanaka were meant to be together.

Miroku closed his phone and shoved it into his pocket, resolute in the path he was about to take. Despite the loud, raucous energy of the crowd inside, Miroku could feel several pairs of eyes on him as he made his way inside. Not too long ago, Miroku might have been put off by the interfering actions of his friends, but now he could only feel thankful for them. Thankful that they would let him share even a smidgen of their spotlight, even just between the three of them.

The sounds of the crowd, the eyes of his curious friends, he ignored them all in favor of the woman standing by herself in the kitchen as he walked towards the bar to grab his own glass of already poured champagne. Sango looked up in his direction as he approached and offered him a warm smile. Miroku simply smiled back, leaning back against the kitchen counter beside her.

Sango deserved to have someone to stand by her - whether it be at the store or waiting for the bus, through bad times and good times, even at your best friends engagement party. And Miroku was going to be the one to do just that.

Because she was just the girl he had been looking for.

#dayofmirsan #day of MirSan 2021 #mirsan #inuyasha #its finally here!!!

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davids-cartoon-corkboard · 4 years ago

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I have said a Lot about the “Raph is a system” theory over the past several months, so this is something of a compilation post. It’s got some new stuff, it’s got some old stuff. (You’re reading Part 1) (Part 2 is here) (Part 3 is here)

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Firstly, “system” is the term for someone with Dissociative Identity Disorder, or DID. (The term can also apply to some folks with OSDD.) Someone might develop DID after experiencing long-term trauma at an early age- roughly five or six years old. To paraphrase the DSM-V:

1. We’ve seen three (possibly four) distinct personality states who speak, act, and perceive others differently.

2. The personality states, or “alters”, don’t necessarily share memory, and Donnie insinuated in “The Clothes Don’t Make the Turtle” that Raph has a bad memory in general.

3. Problems arise when alters don’t get along or aren’t on the same page. That none of them seem to be quite aware they’re a system doesn’t help either; it’s hard to work on communication and cooperation when you don’t know they need to be worked on!

4. This whole situation isn’t a normal part of a broadly accepted cultural or religious practice, or just Raph playing make-believe. (Though I wonder if he had “imaginary friends” when he was younger...)

5. It’s also not because Raph’s been smoking the devil’s lettuce or whatever. “Pizza Puffs” was one long weed joke and he was the only one “sober” (not poisoned) throughout! We don’t see this happen to other mutants, so it’s not a bizarre side effect of mutagen either.

(I’ve seen a few people joke that Mikey has “multiple personalities”, but that’s a tad yikesy and also just plain incorrect. His “doctor” personas are something he does deliberately, and youngest siblings are just Like That.)

So yeah, Raph is pretty heavily DID-coded. We’ve seen four alters so far:

“Host” Raph (HR): He’s our everyday Raph. A “host” is an alter who fronts most of the time and takes care of “business as usual” situations. They are often unaware of past traumatic events, such that they can appear “normal”. (Ex: the host of a child who lives with an abusive parent could be unaware of the abuse. Otherwise, they might cry or be uncooperative whenever the parent is near, further invoking their wrath. This unawareness allows them to be a “good child”, and stay under the parent’s radar sometimes.) Some systems have more than one host, but that the others have shown up so rarely in this story suggests HR is the only host (for now?).

Savage Raph (SR): Debuting in “Man vs. Sewer”, he’s a survival-oriented alter. HR probably could have defeated the Sando Brothers on his own under normal circumstances, but being in the middle of a breakdown doesn’t do much for your fighting skills. SR got pulled to the front to deal with them instead.

“Red” Raph (RR): “Red” is just a placeholder since we don’t actually know his name yet (or even if he has one, not all alters do), though I’ve also heard folks call him “Angel”. He’s got a “tough love” approach to problem-solving, which was probably a helpful thing in the past. LDM were no doubt rowdy children! We were (officially) introduced to him in “Pizza Puffs”.

Mind Raph (MR): MR could just be a manifestation of HR's thought process via Cartoon Goofery, but that possibility doesn’t give me anything to work with so I’m ignoring it. He’s pretty similar to HR, maybe a tad more upbeat. We (officially) met him in “Raph’s Ride-Along”.

When “Pizza Puffs” first aired, I was like “ah yes, this is the alter who has the cranky edgelord tendencies we’ve seen in previous iterations of Raph. He probably broods on rooftops in the rain when he’s in a bad mood.” Combining that with the whole “Red Angel” thing gives off some Batman vibes. And, of course, SR is similar to the Hulk. Those two heroes are pretty different, but they do have one major thing in common...

A sudden, violent loss. Given how prevalent rushing water is throughout “Man vs. Sewer”, I’m thinking a flood came through and separated Raph from his family. (You could probably argue that turbulent water symbolizes a turbulent subconscious? 🤷) Again, DID stems from long-term trauma, so Raph must have been gone for... a while. A couple of months, maybe more? It’s hard to say exactly; we have a little wiggle room when applying human developmental psychology to a human/turtle mutant. Since Splinter still needed to care for the other three, he wouldn’t have been able to devote much time to searching for Raph, and the New York City sewers go on for miles and miles. The longer Raph was alone, the more convinced he would have been that the others had drowned and he was the only survivor.

How old would he have been? I know the turtles are “different ages”, but they were all mutated at the same time so I’m pretty sure Splinter was just like “the littlest one is the youngest, the biggest one is the oldest, and the medium-sized ones are the middle children.” They’re all probably fourteenish by “Finale”. Back in “MvS”, Leo said, “You know how savage Raph gets when he’s alone”. He didn’t say anything like, “You know how savage Raph gets when he’s alone ever since such-and-such an incident happened”. This suggests that LDM straight-up don’t know something traumatic happened to Raph; they were too little to retain concrete memories of that time. In their minds, Raph has always been like this. Draxum isn’t known for his patience, so even though he wasn’t able to immerse the hatchlings in mutagen for long, they probably mature a bit faster than humans. And since humans usually can’t remember anything from before four years of age, three sounds about right for the turtles, though they would have been stronger and steadier on their feet than any human toddler. I doubt Raph would have survived otherwise.

I think he’s sort of... “stuck” back in that trauma. Catching food, building a fire, making a weapon, and getting camouflage aren’t the behaviors of someone who’s only been gone for a few minutes.

When SR called for help, I don’t think he was expecting anyone to answer.

But Raph did manage to hang onto something as he was swept away! It wasn’t much, but that little ragdoll gave him comfort while he was scared and alone.

(The rabbit design on Bruce’s pajamas is probably a coincidence, but...)

Raph seems the type to have sympathy for odd-looking toys. His knockoff Mrs. Cuddles plushie was the emotional crutch he needed back then.

And then he was separated from that as well. Lowkey associating Mrs. Cuddles with this traumatic event would explain why HR was so scared of her. That he doesn’t remember the trauma means he has no context for this fear, making it seem silly and baseless to him (and to the rest of his family), which is why he denied being scared at all in the first part of the “Mrs. Cuddles” episode. It would also explain why he collects teddy bears instead these days, they are a “safe” toy. (The moral of the story is to not make fun of triggers that seem silly.)

(I wonder what would happen if Mrs. Cuddles encountered Savage Raph? Perhaps he’d be quite sympathetic towards such a lonely little raggedy thing! Timestuck as he is, he probably wouldn’t question why a stuffed animal can talk... and it wouldn't be hard for her to persuade her “new bestest fwiend” to get rid of some “mean ol’ nasty sewew monstews” for her.)

That whole “sewer monsters” thing suggests Raph ran into... something while he was wandering alone. Y’all have heard those rumors about alligators living in the New York City sewers, right? Encountering Leatherhead could trigger a flashback.

It would be pretty easy to introduce Leatherhead into the narrative. One of the episodes the Rise crew had planned was titled “The Island of Dr. Noe”, and alligators have very impressive teeth. The Mirage comics had a story where Leatherhead and several cryptids were brought to an island to be hunted for sport.

Noe seems to have quite a few cronies/friends/rivals he could entertain this way. Since he’s got that obsession with Raph, Noe captures him as well, knocking him out with those darts so he can’t waste his energy trying to escape too soon. (Let’s just assume everyone’s powers are glitchy because they all hit another wave of puberty, meaning they can’t just curbstomp the lower-level villains lol.)

HR wakes up on the island and, of course, starts to panic because he’s lost and alone. While wandering, he runs into Leatherhead, which would trigger a flashback to getting attacked by that alligator all those years ago. But Leatherhead doesn’t want to fight! He’s just as scared and confused as HR is, and could really use a partner to help him survive this island.

HR and SR come into conflict because Leatherhead is/isn’t/is/isn’t/is/isn’t a threat. HR eventually wins out, reasoning that even if Leatherhead is that alligator, it wouldn’t be fair to judge him for what he did back when he was an animal.

But time and dissociation can make memories unclear. That our first look at Leatherhead was in Draxum’s “bluh bluh I’m gonna mutate all the humans” bit in “Bug Busters” means he’s a human-base mutant. He wasn’t the alligator back then, but the hunter tracking it. Leatherhead isn’t one of Noe’s targets, he is one of Noe’s guests! And he wants no one to interfere with his quarry, so he’ll play nice long enough for him and the snapper to take out the rest of the hunters and the freaks. Then the two of them will have the island all to themselves...

Years and years ago, Jack Marlin was a big game hunter prowling the New York City sewers in search of an alligator. He did manage to find and kill one, only to realize it had also been hunting! He had inadvertently saved the strangest little turtle creature.

Marlin had become too skilled at this point, the hunt held no challenge for him. This turtle sounded very young, and he was quite big and strong already. An adult could be tough and intelligent enough to entertain him. Marlin tried to get Raph to lead him back to “the others”. But Raph had been lost for some time, and as far as he knew, his family was dead. Hearing that put Marlin in quite the sour mood. A little mutant snapper is a better catch than none at all, so Marlin tried to haul Raph off. Raph fought back and bit off Marlin’s hand. He escaped, but lost his rabbit in the scuffle. Marlin retreated as well, taking some time to recover, scheme, and hunt other game. (And to pocket that rabbit. The blood loss had made him woozy, and he wanted to have some kind of proof he hadn’t just hallucinated the snapper.) Perhaps he turned that alligator’s hide into a vest, which provided the genetic material for his mutation when he eventually got bit by an oozesquito. Like his Mirage counterpart, Marlin didn’t take losing a limb as a sign he should retire, and instead got a tricked-out prosthetic. Who knows what he could do with it in such a mystic setting as Rise.

Raph eventually reunited with his family, but those distrustful, high-strung survivalist traits he had picked up weren’t helpful anymore. He once again had to be the good and patient big brother who didn’t bite when someone play-tackled him or shook him awake at three in the morning because they’d had a nightmare. Those two states gradually got partitioned off more and more, and now they know little, if anything, about each other.

So Leatherhead and HR are chasing away some mothmen or whatever, and things are going pretty well... until one of them knocks Leatherhead over and a familiar ragdoll rabbit falls out of his pocket. SR realizes that Leatherhead is Marlin and switches in to fight him off again. They’re evenly matched, or perhaps SR is even in danger of losing, when LDM arrive to provide support. Leatherhead is enough of a tactician to know that he should retreat. Donnie and Mikey pursue him while Leo stays behind, placing the rabbit in his stunned brother’s hands. “Remember when Pops made this for you? You were always really gentle with it, ‘cause he wasn’t good at sewing back then...”

(This thing really needs patching up, he’s got sewing stuff for whenever he needs to fix his bears/Blue isn’t a threat on his own/Wasn’t he just back at the lair?/Blue gave back the rabbit/Why does he feel like he got hit by a train?/Blue doesn’t want to fight?/ ...Leo?) And that’s enough for HR to switch back in. He’s probably missing memory from his whole time on the island, so while Leo does his best to tell him what happened, they don’t have enough puzzle pieces between them to truly figure out what's going on.

They defeat the bad guys, release the cryptids, save the day, etc. (Leatherhead managed to lose Donnie and Mikey in the woods. A battle for another day.) Once they return to the lair, HR gets help from Draxum to modify the memory spell from “E-Turtle Sunshine” so he can try to fill in the gaps. Surely he wouldn’t get rejected by his own subconscious... right?

Cue part three in the saga of Raph Punches Himself In The Face. SR isn’t happy that HR is essentially trying to poke at an improperly-healed wound, and attempts to chase him off. HR assumes that SR is just a psychic white blood cell like the Lou Jitsu constructs in Splinter’s mind, and retaliates.

But, of course, fighting is not the answer here. All that accomplishes is giving the body bruises. Eventually HR realizes “stay away” and “back off” are a little different than “get out”, and that SR is just scared. So HR tries another tactic. Over the following days and weeks, he tunes in to calmer memories and just sort of... talks. About what happened yesterday, about his teddy bear collection, about how he finally managed to get a good picture of that pizza pigeon. It takes a while to establish a connection, and even then, it’s spotty at best. Using the spell too much can cause headaches and nightmares. There are days when SR is nearby, and days when he’s not there at all. But he shows up when he can.

And then there’s awkward, stilted conversation and questions neither of them know how to answer and questions neither of them want to answer and more scrapes and bruises and strained silences and apologies, but they finally, finally reach a compromise. SR still doesn’t let HR near those memories, but he tells HR what happened as best he can. (The audience would see those memories, with SR as a voiceover.) Afterwards, HR still visits the mindscape that’s starting to become more solid. They talk some more, they watch light and shadow flow around them, they listen to half-forgotten lullabies on scratchy old cassette tapes. Eventually, HR doesn’t even need to use the memory spell, meditation is enough.

They’ll never get along all the time. But it’s a start.

(SR is going to be so clingy when it finally clicks for him when he finally lets himself believe that his family is alive.)

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This took eight million years lmao. Parts 2 and 3 will come out eventually, they’ll focus more on MR and RR. Let me know if I need to tag this stuff as anything.

The usual disclaimer applies, I am not a system or a mental health professional so if you’re one or both of those things then feel free to give me some of that good good constructive criticism.

#you called for help... but nobody came.#rottmnt #rottmnt theory #the 'raph is a system' theory #rottmnt raph #savage raph #mrs. cuddles #leatherhead #jack marlin #plot bunnies free to a good home lmao #long post

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comfy-whumpee · 5 years ago

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Whumping Safely 101

Many people in this community have mental health problems, face various types of discrimination, and have complicated relationships with some parts or types of whump. In particular, I aim this at people who care about the experience of survivors and others with triggers – partially because I am an abuse survivor who often flirts with triggering content as part of my love of whump.

Keeping your blog safe is difficult, takes effort, and is never a perfect process. But as the community grows and grows, it’s really important that we hold ourselves to a high standard. I would argue that this is a responsibility of all content creators, but especially those of us in the messy playground of whump.

I’ve got three sections in here: content warnings, writing with care, and community interaction. I’ve tried to make it navigable. It’s about 1.8k words. Shorter than a lot of drabbles! I welcome good-faith criticism on this topic and further questions on my own views.

Content Warnings

The biggest responsibility, in my opinion, is empowering your reader to make their own decision on whether they want to expose themselves to your writing. This also happens to be by far the easiest way to help people whump safely.

What to warn

This is a big and ever-changing topic. Some things you should warn for as a rule of thumb are anything NSFW, pet whump and box boy whump, drugs and alcohol, medical and hospital content, graphic gore, intimate partner violence, and animal harm. It can be tricky to draw the line of what counts – what needs a warning? If you’re in doubt, just warn it anyway. It doesn’t hurt.

If someone requests a trigger be warned for, even if it’s something that feels obscure or tame, show compassion and agree to the request. This is someone who cares enough about being able to read your writing that they wrote in! They want to be able to read it and enjoy it. You’re being complimented.

Otherwise, look at what other blogs tag for. You’ll see some variation in styles and levels of detail, but it’s a good way to gauge what people think is warn-worthy, when we’re often writing stuff that would already be R-rated in mainstream media.

The easiest way to make sure people don’t see your triggering content is to use a cut. Tumblr is not a very functional website and likes to delete cuts, but a cursory check of your posted content will usually tell you whether it’s worked. With asks, cuts are very spotty, so don’t be afraid to post an ask response separately with a screengrab of the original question. People often then respond to the ask itself with a link to the post, especially if it’s a whole drabble. Tumblr is weird and bad so just do your best.

Content notices

I.e., a quick summary before the drabble, usually in bold, to state what will be coming. I like to distinguish between using content notes (CN) and trigger warnings (TW) to indicate severity. Others might use the old phrase ‘dead dove do not eat’ to indicate this is a heavy piece, and often you will see qualifiers like ‘intense’, ‘mild’, ‘mention’, ‘referenced’ (i.e. it is discussed but not actively happening), and ‘implied’ (as the opposite of ‘explicit’). I’ve also seen a couple of people use ‘vibes’, which is a really nice way of demonstrating that it’s there, but not the focus. A quick paragraph like this, or just a line, lets people make a quick risk assessment on their reading.

This is also important if you’re sending in asks or requests to people. If you want to ask about something triggering, send an inquiry first about whether the blog is okay to hear it.

Tagging

Tagging is a chore, but it’s your primary way of warning people about your content. The main benefit of tagging is that you can be as detailed as you want, because can be tagging for content in general, not just triggers.

In a best case scenario, you’d tag the kind of whump you’re doing, tag triggers, tag characters, and even your ‘verses, because tagging is your index for your blog. If you tag reliably, you help your future self and your readers find stuff, and you also make your blog really dang safe. People who have unusual triggers can blacklist tags, and will pick up on your content tags to help them.

Don’t just tag your own writing. Tag your reblogs, tag your prompts, tag your asks. Yes, edit your asks to add the tags. Tag your images and gifs. Tag your images as images and your gifs as gifs.

If you aren’t up for detailed tagging for whatever reason, just tag for triggering content, and add stuff to that list if you’re asked to. My usual technique is to make a mental note of tags while I’m formatting and editing before posting.

Be aware that your first five tags will be used in search results. If you’re using tags that are associated with kink too, such as ‘shibari’, you might want to rethink your tag order if you don’t want interaction from those blogs. Also think about what tags might come up in non-whump contexts, such as ‘collar’ or ‘PTSD’. Some tactics for getting around this I’ve seen are adding ‘whump’ after the content or writing the tags in past tense (i.e., ‘collared’).

It is also a good idea to watch out for when you might be reblogging something whumpy that is intended as kink / porn / fetish, especially in images. Tagging these as spicy / nsfw / kink is a sensible move.

Writing with Care

Okay, now for the harder stuff.

I mean here to lay out some guidelines for how to write in a way that helps your reader build good faith. This is a much more nuanced topic, and it’s different for everyone. There will always be differing opinions on what should and shouldn’t be written about, what a good depiction of a sensitive topic is, and how to discuss that topic. I tried to strip this back into absolute basics that I hope we can all agree on.

Maybe your whump involves abuse. Maybe it’s gaslighting. Maybe it’s severe mental health problems, or addiction, or slavery, or you write about or analogise real-world issues. Whump deals with the dark stuff, and that’s a big part of its appeal. But don’t ever forget you’re writing the dark stuff.

(Try to) Know what you’re doing

Some of us play fast and loose with plots, medical accuracy, worldbuilding, and other things that get in the way of the pain we crave. This is all well and good, but when we start using whump that speaks true to people’s lived experiences, we shouldn’t be careless with it. I’m particularly talking about things that get represented poorly in mainstream media, such as abusive relationships, issues around marginalisation, mental illness and disability.

Be critical of media that you’ve consumed. Think about how its depicted things that you want to depict in turn. Look for opinions on fictional representations of those issues. Be aware that you might be more ignorant of things than you realise.

Look at how others are writing these issues, particularly if they’re writing from a perspective different to yours. If you haven’t personally experienced what you’re writing about, e.g., if you don’t have PTSD and you want to depict a character who does, seek out stuff written from or with experience. Listen to the experts.

If you’re looking for stuff about representation specifically, I recommend this collection of posts about ‘Braving Diversity’ cultivated by Writing With Colour, who are in themselves a fantastic resource for this topic, and have recommendations for other blogs that deal with intersecting issues.

Listen to others

Missteps are inevitable. Nobody is perfect. If constructive criticism is offered, that’s also a compliment to your writing. Someone read your work and thought about it, and thought you’d care about improving it. They’re offering themselves as a resource for helping you see your work in a new light.

Criticism is hard and sometimes hurtful, but even if we don’t think it’s accurate, there’s often a grain of truth in it. If someone tells you that your writing is harmful, think about why they’ve said that, not whether or not they’re correct. This is an opinion! Opinions are subjective! But what drove someone to send that in?

You don’t have to respond to all your criticism and definitely don’t respond straight away. Being respectful to those who are trying to help you means taking the time to consider it properly. Sometimes, they don’t need a response. Others, you might want to learn more about what they think before deciding. You might have already discussed the topic, in which case, you might just want to reblog your previous posts.

If it’s sent in bad faith or is outright hateful, you’re well within your rights to just delete it and move on. You might get the same criticism over and over again, and that’s exhausting, and you don’t have to retrace your steps for everyone.

But if it’s new, even if it puts your hackles up, you can always stop and wonder why someone felt that strongly about your work.

Take a step back

One of my better-known characters is a pet whumper who conditioned his victim to adore and depend on him. It’s not always easy to represent how deeply messed up that is within the text – though I think that’s part of the challenge – but in meta-commentary, I am always describing him as a creeptastic bastard lacking compassion and self-reflection. I hope to always give the reader the confidence that I know just how wrong it is.

This is a really simple thing you can do just to give readers good faith in you. Show that you know what you’re writing is dark and messed up. Show your understanding for the issues you’re handling and that they’re complicated. It might seem self-evident, but when you’re writing the really dark stuff, or unhealthy relationships, or institutionalised whump, you can inadvertently create the impression that you just think it’s fun. The fact that it’s fiction does not automatically absolve you. Show that you care about doing it right.

Community Interaction

I’m going to keep this one short and sweet because I will almost entirely be preaching to the choir here.

Be polite to others. Imagine saying what you’re saying to their face.

Don’t send anon hate. Just don’t. If you can send criticism off anon, do so.

Nobody is obligated to interact with you.

Nobody is obligated to monitor their own reader base.

If someone says do not interact, do not interact.

If someone says do not interact, why they’ve said that is none of your business.

You don’t need to spread the word about someone’s bad politics.

Ask yourself if your input is needed, or if what you’ve said has already been said.

You don’t have to take a side.

Take care of yourself. Take breaks. Remind yourself that whump is a small part of the world.

That’s all from me, folks. Stay safe.

#discourse...adjacent?#whump community #whump etiquette

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