#TURNS OUT ITS NOT THAT

[sleepymccoy]

@bisexualninej because this made me laugh I give you special dispensation to not be into spones lol

[payasita]

Just wanted to second thatisbloodyfantastic’s comment from a few days ago about how wonderfully written your post about getting ADHD meds was. So cathartic to read!! I was just diagnosed with ADHD for the first time (in my late twenties 🙃) a couple months ago and I’m still coming to terms with it and struggling to find meds that actually work. Your description of that daily executive function struggle as “The Weighted Nothings” resonated so deeply with me I’m bringing it to my therapist and also stealing it as a band name sorry

lmao thank you, I didn't think that was still going around! go right ahead I'm proud of that description

good luck on your own journey! I sincerely hope it's way easier than mine was

[sparrowlucero]

like the most politically neutered movie of all time unironically

[razzafrazzle]

Just Checking In! (aka Something About Red Triangles)

[hinamie]

morning glory

[aerequets]

the mortifying ordeal of being known

--

I think with Yor being so perceptive, she picks up on little things often (like we saw in ch 103). i believe this would impact loid more so than the usual person, because he is a spy and fakes every part of himself, so to be seen is simultaneously desirable and horrifying. like, it makes him torn between wanting to accept and reciprocate the love, or distancing himself so that it doesn't happen again.

thats mostly what the last panel is about, that dichotomy between 'omg this person noticed this about me, is this love' and 'oh shit this person noticed this about me, is this Doom'

just some thoughts i had🤪

[shyaringan]

Head Archivist of the Magnus Institute, London

(day 1)

[ciearcab]

ghandharva

[mroddmod]

everyone be quiet i'm manifesting

[wasyago]

quiet hours

closeups under the cut :]

i really like these

[stil-lindigo]

Bisan is calling for another global strike!

I saw some posts just outlining Jan 21st, and wanted to clarify that Bisan has called for a full seven days of action.

What a global strike would look like is:

calling in sick to work

purchasing bare essentials ahead of the week so you can observe the general boycott of goods / buying as little as you genuinely can

putting in a concerted effort to elevate Palestinian voices and make it clear that this strike is in support of a permanent ceasefire!

For those who will have to purchase necessary goods during this time, please observe the brands that the BDS movement is asking us to boycott!

♢♢♢

Right now is also a good time to mention some better uses for your money during this week.

Available e-sims in Gaza are running low!!

Mirna El Helbawi and her team are working round the clock to continue to connect Palestinians as Israel does its best to cut them off from the rest of the world.

You can learn how to purchase and send e-sims here, and below you’ll find a list of what is currently needed (the areas in brackets indicate what region you should select to buy e-sims in).

--

CareforGaza is an organisation that does verifiably good work, distributing supplies directly to Palestinian families.

They have a Gofundme set up at the moment, but because of Gofundme’s poor track record regarding refusing to transfer funds to Palestinians, I’d recommend continuing to donate directly to their PayPal here.

Good luck to all of you. Don't turn away from Palestine!

[koobiie]

A lone swordsman stands in the chamber. He seems... quite lost.

[crazysodomite]

playing with my phonetaur

[dredgesnails]

so... wild life, huh?

[cacturne]

damn that was easy

[aethersea]

another thing fantasy writers should keep track of is how much of their worldbuilding is aesthetic-based. it's not unlike the sci-fi hardness scale, which measures how closely a story holds to known, real principles of science. The Martian is extremely hard sci-fi, with nearly every detail being grounded in realistic fact as we know it; Star Trek is extremely soft sci-fi, with a vaguely plausible "space travel and no resource scarcity" premise used as a foundation for the wildest ideas the writers' room could come up with. and much as Star Trek fuckin rules, there's nothing wrong with aesthetic-based fantasy worldbuilding!

(sidenote we're not calling this 'soft fantasy' bc there's already a hard/soft divide in fantasy: hard magic follows consistent rules, like "earthbenders can always and only bend earth", and soft magic follows vague rules that often just ~feel right~, like the Force. this frankly kinda maps, but I'm not talking about just the magic, I'm talking about the worldbuilding as a whole.

actually for the purposes of this post we're calling it grounded vs airy fantasy, bc that's succinct and sounds cool.)

a great example of grounded fantasy is Dungeon Meshi: the dungeon ecosystem is meticulously thought out, the plot is driven by the very realistic need to eat well while adventuring, the story touches on both social and psychological effects of the whole 'no one dies forever down here' situation, the list goes on. the worldbuilding wants to be engaged with on a mechanical level and it rewards that engagement.

deliberately airy fantasy is less common, because in a funny way it's much harder to do. people tend to like explanations. it takes skill to pull off "the world is this way because I said so." Narnia manages: these kids fall into a magic world through the back of a wardrobe, befriend talking beavers who drink tea, get weapons from Santa Claus, dance with Bacchus and his maenads, and sail to the edge of the world, without ever breaking suspension of disbelief. it works because every new thing that happens fits the vibes. it's all just vibes! engaging with the worldbuilding on a mechanical level wouldn't just be futile, it'd be missing the point entirely.

the reason I started off calling this aesthetic-based is that an airy story will usually lean hard on an existing aesthetic, ideally one that's widely known by the target audience. Lewis was drawing on fables, fairy tales, myths, children's stories, and the vague idea of ~medieval europe~ that is to this day our most generic fantasy setting. when a prince falls in love with a fallen star, when there are giants who welcome lost children warmly and fatten them up for the feast, it all fits because these are things we'd expect to find in this story. none of this jars against what we've already seen.

and the point of it is to be wondrous and whimsical, to set the tone for the story Lewis wants to tell. and it does a great job! the airy worldbuilding serves the purposes of the story, and it's no less elegant than Ryōko Kui's elaborately grounded dungeon. neither kind of worldbuilding is better than the other.

however.

you do have to know which one you're doing.

the whole reason I'm writing this is that I saw yet another long, entertaining post dragging GRRM for absolute filth. asoiaf is a fun one because on some axes it's pretty grounded (political fuck-around-and-find-out, rumors spread farther than fact, fastest way to lose a war is to let your people starve, etc), but on others it's entirely airy (some people have magic Just Cause, the various peoples are each based on an aesthetic/stereotype/cliché with no real thought to how they influence each other as neighbors, the super-long seasons have no effect on ecology, etc).

and again! none of this is actually bad! (well ok some of those stereotypes are quite bigoted. but other than that this isn't bad.) there's nothing wrong with the season thing being there to highlight how the nobles are focused on short-sighted wars for power instead of storing up resources for the extremely dangerous and inevitable winter, that's a nice allegory, and the looming threat of many harsh years set the narrative tone. and you can always mix and match airy and grounded worldbuilding – everyone does it, frankly it's a necessity, because sooner or later the answer to every worldbuilding question is "because the author wanted it to be that way." the only completely grounded writing is nonfiction.

the problem is when you pretend that your entirely airy worldbuilding is actually super duper grounded. like, for instance, claiming that your vibes-based depiction of Medieval Europe (Gritty Edition) is completely historical, and then never even showing anyone spinning. or sniffing dismissively at Tolkien for not detailing Aragorn's tax policy, and then never addressing how a pre-industrial grain-based agricultural society is going years without harvesting any crops. (stored grain goes bad! you can't even mouse-proof your silos, how are you going to deal with mold?) and the list goes on.

the man went up on national television and invited us to engage with his worldbuilding mechanically, and then if you actually do that, it shatters like spun sugar under the pressure. doesn't he realize that's not the part of the story that's load-bearing! he should've directed our focus to the political machinations and extensive trope deconstruction, not the handwavey bit.

point is, as a fantasy writer there will always be some amount of your worldbuilding that boils down to 'because I said so,' and there's nothing wrong with that. nor is there anything wrong with making that your whole thing – airy worldbuilding can be beautiful and inspiring. but you have to be aware of what you're doing, because if you ask your readers to engage with the worldbuilding in gritty mechanical detail, you had better have some actual mechanics to show them.