#a lot of this interaction was vague and like

[rainydayssj]

I agree with a lot of this. I always appreciate it more when a show lets the viewer make their own interpretations, which allows them to interact with the story, as opposed to laying everything out at all times.

However, I think the problem for me at least was not that the storylines were “too vague” it was that they were barely there at all. As in the opportunity costs of the narrative choices they made weren’t explored either. Kind of a “all those cuts and for what?” issue.

An example being the choice to timeskip to the end of Caitlyn’s dictator arc. This loses out on some great development but ok, with this frame of mind they could switch to instead focus on how Caitlyn will redeem herself in the eyes of both her mother’s legacy and in Vi’s eyes? Maybe she can explore the power of forgiveness and maturity and what it means to make these choices when lives outside of yourself (Zaun) depend on it? But they didn’t?? Do anything like that either?? Caitlyn isn’t allowed to grow, only feel regret and fatigue. Same thing with Vi, Mel, Sevika…

Almost everything character-wise was put into “turbo-fuck-it-just-get-to-the-finale” mode. It’s like they weren’t even trying to leave things for interpretation… more like touch-and-go tying up loose ends to justify sticking everyone on the same side in the same place for the finale. Which is, objectively bad writing.

I’m choosing to do the same as you by filling in the gaps with my own interpretation, but I think it’s still justified to point out the gaping chasms of what could’ve been, given the quality of writing we know they’re capable of.

I knew we would eventually reach a point where masses of people would misinterpret Arcane, but I never imagined it would be this bad.

Yes, I absolutely agree that season 2 was rushed, especially Act 3, and it is undeniable that the series would have benefited from at least one more episode if not an entire act. However, the current discourse about the show is so superficial that it's impossible to have a conversation about anything deeper but a mere synopsis of the characters and story.

So many of you expected this series to hold your hand and dumb everything down so you can understand it. But when it wasn't the case, you all started rioting and calling the characters vague, the plot bad, and the ships underdeveloped.

The amount of people who value spoken text more than the actions of the characters is worrying. And more worrying than that is the amount of those who interpret the said actions so superficially. I can't believe it needs to be explained that it wasn't Vi's death that led to the "good" timeline, but the lack of hextech. The result would have been the same if either of them had died. It wasn't about Vi, but about the child that died because of dangerous technology and that therefore that technology must not be used. The mischaracterization of Vi in general is insane. Call me biased and unfair, but the moment I hear you don't like her I will assume you didn't understand the show.

Also, the whole discourse around Caitvi scene in episode 8 is giving brainsmooth. No, Vi didn't choose Cait over Jinx, quite the opposite. No, Cait didn't plan all of it to fuck Vi. No, Vi didn't do it because she felt forced or because she is a horny animal who doesn't care about her sister. No, them fucking in a cell is not about the class difference, but about the fact that Vi felt an insane rush of emotions after realizing that Cait would let go of her revenge and help Jinx escape, all for her. Yes, I do agree that it would be nice if we got a longer conversation between Vi and Caitlyn and it would feel great to hear Cait apologize, but I'll always value actions over words. Her talking to Jinx, recognizing that she is just as bad as her, and choosing to trust Vi that her sister can change, thus letting Jinx escape will always mean more than any verbal apology and I'll die on that hill.

Also, it was Jinx's decision to let go and walk away. It was not about Vi trying to get to Vander, but about Jinx being tired of everything. Even if that fight didn't happen, the result would be the same: Jinx would leave because she knows that Vi couldn't do that. She knew that the two of them couldn't have a normal life together and that Vi would never give up on her. Jinx didn't "die" because Vi pushed her or failed her, but because she loved her too much. Whether you believe that she is dead or that she escaped, it's her decision either way.

Again, I agree that too much happened too quickly, but stop confusing your stupidity and inability to read between the lines with the quality of the series.

Arcane is flawed but still brilliant.

[lollytea]

There's a little interaction between Boq and Nessa near the start of the movie that I only vaguely registered the first time as Nessa taking notice of Boq and him making a silly face at her. But watching it again I get that its more of a moment of mutual understanding. When Madame Morrible is introduced to address the students and everybody gives her a standing ovation, Boq struggles to see her over the taller students in front of him. He makes a few frustrated gestures with his hands, trying to hype himself up to ask them to move but social awkwardness wins out and he gives up. Nessa notices him struggling and looks to him curiously. When Boq catches her eye, he gestures in front of him and makes a "this guy, am I right?" face. Nessa laughs and shrugs hopelessly, probably relating to the experience and agreeing that it's super annoying. I like that moment a lot.

[piratecaptainscaptainpirates]

Alright so MY opinion for the most interesting way Stede and Izzy's interactions in s2e5 could've gone

Now personally I'm glad they didn't do anything that could be read as flirty, not only because I don't think that makes sense for Stede but also because I just don't think that would've scanned coherently with how Stede has just got back together with the love of his life and all. BUT I do also agree that once Izzy is chill his personality becomes a very bland vaguely hostile sort of swear-y guy that everyone's strongest feelings about are kinda like "ehhh I guess he's chill now??"

So here's what I think. Izzy should've tried to be First Mate Izzy to Stede, applying that sort of weird intensity to Stede's way of doing piracy.

I just think there's a lot of comedic potential there. Izzy starts encouraging Stede to find more Stede-y outfits (because that is what Captain Stede Does and if there's one thing Izzy will do it's form a very strict and narrow perception of his captain's behavior), perfect way to segue into the cursed suit plotline. He's visibly uncomfortable about Stede's sense of style still but you can see him internally reminding himself that He's Chill Now. He gets really intense about Stede's leadership style. When the crew are scared of the suit, he's stomping around going "HEY! Fucking TALK it THROUGH!" Maybe Olu expresses a real geniune emotion about how he misses Zheng and you can see Izzy sweating before he gives the most awkward little "good. I'm. proud. of you. for not bottling it up???" and it actually makes Olu feel better. He sees Ed across the deck doing something fruity such as using a hairbrush as a microphone to sing a song to himself as he works and you can see the homophobia struggling to resurface but he has a comedic flashback to Stede telling him something very basic like "don't be an asshole" as he takes notes and then Izzy takes a deep breath and walks away to go scream in a broom closet or something

[queer-ragnelle]

Understand is is a very weird question to get out the blue so no offence taken if this gets left in the inbox, but I was wondering how (if at all) to integrate transgender knights into arthurian retellings/adaptations ect while trying to keep it vaguely true to the medievalisms of the whole thing? I know its easy and liberating to just go 'fuck it everything queer' and its a totally valid way to go about it, but (as a trans person) I like having a narrative examine queerphobia and other structual issues with the setting - gives the whole thing a bit of meat (in my personal tastes). That being said, it feels like its a nightmare to try and have a transmasc knight stay stealth in this place! Everyone feels like theyre getting stipped and tended to after breaking a rib in a joust or merlin shows up and is a dick about pronouns and outs you to get you married to a Roman king. Stuff like that - things that feel a little easier to dodge when its a civillian character, not an ruling class.

Is this a 'kill the cop in your brain' kinda deal? As a queer storyteller yourself do you have any tips or strategies or tools you use to crowbar this kinda stuff a little easier together? Or do you know any stories/retellings/academic texts ect that cover these kinda things (even if its in a 'for the love of god, don't do that' way). Love the work you do for this fandom a lot, regardless of your answer! Hope you have a good day.

Hello anon! This is a great question.

Now let me preface this by saying I’m not transgender and I’m not a medievalist. There are plenty of trans medievalists on tumblr, but I’m not one of ‘em. So my answer is coming from a queer but cis author and enthusiast perspective. I'm going to provide lots of links to read things as well so everyone can draw their own conclusions from the material.

I think a large part of this does come down to “kill the cop in your head.” But at the same time, I’ve been exactly where you are wondering, “How can I make this story feel authentic to its era without torturing the trans characters?” Because you’re right, there’s a lot of nudity and close proximity interaction between knights in the medieval stories and Merlin is totally the type to be a dick about pronouns. I've also searched and struggled to find a medieval-set story that manages to incorporate queerness in a period-appropriate way (so far as we can guess) while balancing the narrative as to not tip into something deeply unpleasant for the target audience to read. (See: the series by Lavinia Collins, which has great queer rep, yay! But tons of horrors previously unseen and still unnecessary, boo!) So where does that leave us?

Well first I’m going to give you an example of how not to handle transness in an Arthurian story....

The book Once & Future and its sequel Sword in the Stars by Amy Rose Capetta and Cory McCarthy went with the phenomenon you already described as, “fuck it, everything queer.” It doesn't take place in the past, but does use the medieval stories as more than reference, it's not as divergent as something like Port Eternity by C. J. Cherryh, the reincarnated characters do interact with the past directly at times, so I'm using it as an example.

Anyway most characters are either gay (umbrella term) or trans. Except the way trans characters are treated sucks majorly (in my opinion). I completely lost faith in book 1 after the introduction of Lamorak, a gender fluid knight who uses they/them pronouns. Merlin misgenders them and gets corrected by Kay, to which Merlin does this whole self flagellation routine about. Lamorak is also disabled, missing their left hand. (Why isn't it Bedwyr? Anyway not the point...) Lamorak gets no dialogue here whatsoever, all agency is completely stripped from them regarding their disability and their gender identity. Double whammy.

This is worsened when Percival gets introduced, as Merlin then makes a point of asking for pronoun clarification in the most obnoxious way possible. To which Percival takes no offense at the weird slight against his sibling and tells Merlin his pronouns.

But what about the sequel? Surely these two queer authors improved with time.....

Is this a joke? Is this the best way they could indicate the inclusive realm of Avalon? Why not just describe the women as they are, all shapes and sizes, and let the reader figure it out? The authorial intent would be so obvious by this point. Instead they say it… like that. Gag.

It only gets worse when Mordred is born. Then they're weird about a literal infant.

What in the bio essentialism? If the characters have been living in a future that’s broken out of the gender binary, the baby’s genitals should be irrelevant. Gwen’s literally saying Mordred is going to fulfill the evil prophecy because he was born with a penis. Even if this is intended to be a teaching moment, I hate how it’s handled. These quotes are in order of appearance in the books, so after the subtextual implications of all that came before, this last part really doesn’t sit right with me. Sorry I find these books completely abhorrent. They've won awards, they’re beloved by many. Maybe it's me. But no thanks.

Honestly, so long as you're not blatantly offensive with your handling of such things, I think you'll be fine. It's important to remember that even if one is part of a demographic they're depicting, it's always a good idea to hire sensitivity readers and take that feedback seriously. Not everyone will love your work, there will be advice you don't utilize, with time you'll be able to weed out the bad faith feedback, (the "all depiction is glorification" crowd) and ignore it. But it's so important to open oneself up to constructive criticism so you can learn and your work can develop into the best possible version of itself.

Now let's get to some ways you can go about researching a way to do this that fits in your story. It’s important to remember that throughout human history, many people lived stealth their whole lives and we don’t know about them for that reason, not because no transgender folks ever lived authentically and happily in medieval times. So it’s never impossible to incorporate a trans character into a story who experiences no direct violence, even if the world they live in isn’t presented as a queer utopia. The other thing is that public opinion regarding queerness, cross dressing, etc have varied a lot over the centuries and were vastly different depending on location. Not every “woman” found in armor would have been treated as poorly as Joan of Arc. So there’s lots of wiggle room for interpretation when you go about writing these narratives. The majority of my examples deal with the ruling class so they address the concerns you mentioned with added scrutiny a noble would face if they were to experiment with gender presentation compared to a commoner. I’ll be spoiling the plots of everything on the list to make clear why I’m suggesting them.

My initial advice would be to read medieval literature with queer themes followed by essays on the subject. The best examples I know of are:

Yde et Olive

Transmasc knight (good ending). 12th century French romance. Yde’s mother Clarisse died giving birth to her & later when Yde reaches maturity, her father makes advances, so she disguises herself as a man & flees. Yde becomes a successful knight & is married to the king’s only daughter, Olive. When it comes time to consummate the marriage, Yde must confess the truth of his identity to Olive, who vows to keep it secret. This is overheard by the king who then attempts to uncover Yde’s identity but is stopped by an angel who chastises the king for harassing such a good vassal. Then Yde is transformed into a man, the king dies, & Yde is able to have a child with Olive. They name him Croissant as if it couldn’t get any more French than it already was. Anyway the story alternates pronouns for Yde given the situation which is pretty neat & in the end he gets to live his best life! Yay!

Le Roman de Silence

Transmasc knight (bad ending). A 13th century French romance about a baby girl named Silence. Silence is raised as a boy because King Eban won’t allow women to inherit property. Like many medieval romances, the hero's adventure is often punctuated with personified emotions (Dame Fortune, Lady Love, etc) but Silence is tormented by Nature & Nurture as he comes into adulthood. He becomes a knight & eventually takes on an "impossible" quest, to capture Merlin, which supposedly can only be done by a woman. Content warning for the ending, it does not go well for Silence. Merlin reveals his backstory, & he’s forced to take a feminized version of his name, live as a woman, & marry the king to keep his lands.

Wigalois by Wirnt von Grafenberg

A 13th century German romance that follows Gawain’s son, Wigalois [Gingalain], but this ain’t about him. There’s a character Marine who fights as a knight. She’s consistently referred to with she/her pronouns, but she’s renowned for her knightly virtues & fights alongside the men in the war. She’s treated very well narratively & dies in battle after apprehending a high-value hostage. Everyone mourns her & there’s a big funeral held in her honor. So even if Marine never presented herself as a man the way Yde or Silence do, she provides an example of a female thriving in a male role. Food for thought.

Parzival by Wolfram von Eschenbach

Another German banger from the 13th century. This one’s about a cis male knight but Parzival has transmasc vibes. Trust me. Here’s my favorite article about it called The Clothes Make The Man - Parzival Dressed & Undressed by Michael D. Amey that really illustrates what I mean.

After that, you can check out these retellings:

The Story of Silence by Alex Myers

I bought this but haven't read it yet. It’s a retelling about the aforementioned Le Roman de Silence. This book uses neutral they/them pronouns to refer to Silence, which I can say from experience sometimes causes confusion with readers, so it's good to study how this author did it & determine if that method feels right for you. (If you ever decide to do something like that with a character.)

Spear by Nicola Griffith + Spear's Author's Note

I enjoyed this one, beautiful prose. It didn’t feel like the most comprehensive Grail Quest retelling, but Peretur can be interpreted as a butch lesbian or transmasc, it’s ambiguous. She only uses masculine pronouns when stealth, otherwise using she/her, but it has a happy ending! It’s firmly set in the era & felt authentic on that front while letting the queer characters relax. Peretur isn’t alone. (A/G/L enjoyers keep winning + sapphic lady of the lake ftw + the other hotties Peretur pulled.) Definitely worth checking out.

The Bright Sword by Lev Grossman

This book just came out in 2024. Including it here is already a spoiler given the topic but I’m going to spoil fully from this point on so ignore this if that’s a problem. This is the best example I can give for your reading/writing tastes based on the ask; Dinadan is a trans man. His transness isn’t revealed in the main character Collum’s pov, but in Dinadan’s backstory pov, opening in his childhood. He & his twin brother were sent to different schools but young Dinadan would leave the girl’s school to practice knightly skills with the fay, which retroactively explains why he has a fairy sword that Collum was admiring. In exchange for this training, the fay ask that Dinadan slay Merlin. Which he agrees to while never believing he actually can, but the wrath of the fay in the afterlife is worth his ability to live as a knight. I love how it was all handled firstly because Dinadan has a fighting style that works for his smaller frame & because every knight has a different fighting style (Dagonet’s is “If it sucks hit da bricks.”) Dinadan doesn’t stick out like a sore thumb yet his physicality is accounted for. Secondly Dinadan explains the lengths he goes to in order to stay stealth from obvious ones like binding his breasts to pretending to shave his face every couple days & wearing a packer. Later on, Dinadan’s secrets are revealed when he goes swimming in the ocean with Palomides (who evidentially already knew) & Collum joins them. Collum had no idea, which I think brings up an interesting point about all of this which also reminds me of Gawain not recognizing that Beaumains was Gareth—the power of expectation. Just as Gawain expected to find a kitchen boy & would have no reason to assume his brother (who hit puberty since they last saw each other) would be stealth in the kitchens so therefore didn’t recognize him, Collum expects to find men as knights of the Round Table, so when Sir Dinadan is introduced, & Collum had heard of him before, Dinadan’s stature & high voice don’t register to Collum as anything but traits that this guy Dinadan happens to have. Learning Dinadan’s secret in the presence of another knight who already knows & is chill about it also encourages Collum to be accepting too. So giving Dinadan at least one ally in his corner throughout the story went a long way. In the end Merlin, who can only be killed by a man (which is why Nimue had to settle for sealing him away) is stabbed by Dinadan. So it’s like a reverse Silence/Éowyn situation that Dinadan’s gender is affirmed in his ability to kill Merlin. This book also includes the part from Le Morte d’Arthur where Dinadan’s forced to wear a dress, which in this context is very transphobic, but that’s the point. It’s made better when Dinadan gets to go insano style on Merlin so he gets payback. Just a heads up about that.

Some fantasy/scifi that’s not Arthurian but may help, as Arthuriana is largely fantasy to begin with, this may help you determine where on the spectrum your taste/writing falls regarding the bending of reality/history to fit your narrative.

Orlando: A Biography by Virginia Woolf

1928 novel about a character named Orlando living during the reign of Elizabeth I. Orlando is born male, then at some point in his early adulthood, falls into a deep sleep from which he awakens the exact same person, now metamorphosed to be female. Orlando, for her part, adopts this new role immediately & keeps on moving. She lives for 300 years as such & has many adventures, including an instance where she then presents as a man to elude marriage. Transitioned so she could cross dress in the other direction. She would’ve done numbers on tumblr. Ultimately, Orlando does marry… a gnc sea captain! The success of their marriage is attributed to their similarities in gender non-conformity. Even though this book only remains in the late medieval era for the opening, I think it’s a poignant example of a transgender individual living their life in their time & still getting to enjoy themselves without excessive suffering that may provide lots of inspiration.

The Left Hand of Darkness by Ursula K Le Guin

1970 Hugo & Nebula award winning novel. A fascinating examination of gender from the point of view of a cis man named Genly Ai having to reconcile his interpretation of the gender binary when confronted with a society who operates outside that. His travels with ambisexual Estravan challenges what Ai understands about the universe. His ignorance forms the backbone of the narrative as he grows close to a person from this other society. Even if it’s not a medieval setting, it may help you develop a narrative voice regarding this subject you’re able to bring to your work. Also it’s just really good.

The Privilege of the Sword by Ellen Kushner

2007 Locus award winner, Nebula & Gaylactic Spectrum nominee. High fantasy medieval setting. Katherine is a country girl brought to the big city Riverside by her uncle the Duke where she’s offered the opportunity to train as swordsman (ie cross dress) instead of political marriage. She’s unsure of the reasoning behind her uncle’s motivations for doing this, but goes along with it & kicks ass. A preview is available on Google books (linked).

The Realm of the Elderlings by Robin Hobb

This is my favorite series ever. It spans 16 books published between 1995-2017. The fandom on tumblr & ao3 is hugely active. (Avoid tags to dodge major spoilers or check it out for amazing art & many quotes!) The series has many gnc characters in a fantasy medieval setting. First & foremost, The Fool, who’s in all the books & whose gender ambiguity is mentioned book 1, to which he says, “None of your business.” The character ever. Without getting too specific, there are several trans characters including gender fluid characters who will alternate between masc/fem presentation & pronouns. This is my favorite example of gender fluid characters in any fantasy I’ve read, especially since there are several & each feels unique. In The Liveship Traders trilogy, Amber coaches another woman how to hide her period while pretending to be a ship’s boy by using a sock, so if anyone finds the blood on it, she can say she cut her foot. Little things like that really deepened the realism in an otherwise fantastical story for me, because addressing those details answers questions my overly analytical mind would ask & wonder about if unacknowledged.

Lastly I'd like to suggest the article Armour of an Alienating Identity by Jeffrey Jerome Cohen. While it doesn't mention Parzival (the text), it does mention Perceval (the character), as well as Gareth Beaumains, Lancelot, Gawain, Yvain, and even Arthur himself. It goes on to reference endless examples to support its thesis including Greek heroes such as Achilles and Odysseus with references to many different medieval stories from Old English Beowulf to the Irish Ulster cycle to the works of Geoffrey Chaucer. Most (if not all) of the texts mentioned in this essay can be found on my blog for cross reference if you desire, although the article already contains many quotes.

Okay I think that’s all I got. I’ve given you a ton to think about and read. Ultimately I don’t think there’s a clean cut answer for this. Nuance, you know? Having hired an editor and many sensitivity readers myself, it really is just a professional a vibe check sometimes. You write what you want to the best of your ability, then other people weigh in, and you keep tweaking it until it’s as good as you can possibly make it. During development, and even in its final form, there will be people who don’t enjoy your story and that’s fine. It isn’t for everyone, it’s for you and your audience. No single experience in this life is the same so each fictional depiction emulating life will also be unique, there’s no “right” answer on how to write this or anything else, only the way you want to.

Hopefully now you have some tools to help you learn how best to express your vision. I know they gave me a lot of insight and ideas I lacked before when writing trans characters in my books. Thank you for trusting me with this question and good luck with your project! Take care! :^)

[totallyjustabunchofhocuspocus]

Thiiiiiiiiiisssss. Like, being completely honest, a lot of the issues we've been complaining about have pretty much always existed in the show--they've just been covered up by the really awesome character dynamics. Like--okay, when I was in college my dad and his wife bought a house that had been owned by an eccentric retired English professor and he'd done up his living room to look like a Shakespearian-era theater. I'm not exaggerating. The walls were painted to look like curtains, there were wall sconces with torchlight lightbulbs, there were murals, there were fucking GARGOYLES, it was amazing. And then my dad's wife painted over all the artwork and murals and took down the cool sconces and the gargoyles and let me tell you, EVERY flaw in that room became obvious. There were cracks in the walls, the baseboards were crooked, the lighting was really poor, the floorboards had water damage. None of which had been noticeable before because you walked in and it was like walking onto the set of a period drama. Anyway--it really feels like the show has lost what made it special this season because we hardly see the mains that we all fell in love with interacting, and all the beautiful details and side characters that made it interesting are just...not there. The flaws in the design are made more obvious because there's nothing else to draw the eye.

HenRen are sidelined like they're always sidelined except for child drama, but we don't have Hen and Chim bestieism to distract us from that fact.

Bobby and Athena are not addressing any of the issues in their marriage like they never do, but we don't have Bobby aggressively dad-ing everyone around him or Athena being a badass WITHOUT blatantly abusing her badge or sweet moments with Harry and May to distract us.

Buck is emotionally intelligent and mature until the story requires him to be an idiot who has the emotional maturity of a blueberry scone, like always but now we don't get to see him be smitten with his boyfriend or have beautiful moments with Chris or Maddie or Eddie to distract us (the scene with Jee was great and a perfect distraction...for the thirty seconds it lasted)

Eddie is three life-altering traumas in a trench coat pretending to be a functional human being like he always is, but now there's no Chris scenes to distract us.

There's just flat out no Ravi, May, Sue, etc to add to the scenery to distract us. And sorry, Brad is a piss-poor substitute.

This got way longer than I intended, but I'm really just so disappointed that in the face of *makes vague gesture at the state of the world* my comfort show has jumped on the general trend of "what is the absolute least we can give the consumer before they rebel?"

Like, we have PROVEN that we will forgive many, MANY flaws in the story for these characters...but they're not giving us the characters!

So yeah, there's cracks in the walls, the baseboards are crooked, and there's waterstains on the floor.

i think so many of the current problems in 911 could be fixed if they’d just let the characters have actual conversations with each other like they used to

[teoft]

It's like Tumblr has become almost a diary for me, thanks to no character limit and a read more button. This atmosphere of acceptance and understanding helps a lot too.

I'll get back to posting actual art, juggling with Twitter and Bluesky along with commissions is taking up a lot of my time.

Anyway, thoughts about art community and being social

For the longest time I've had this feeling of being an outsider in this vague community of artists that see as colleagues of sorts. Like I meet all the "criteria" of being in the group, and yet don't really feel like I'm part of it. Well, it seems I am right in some way, and the reason is that they interact with each other, while I sit here drawing alone.

Unfortunately I've always been prone to isolate myself from others. I grew up feeling like I should be ashamed of loving to draw, since it was always fanart monsters, creatures and cool guys instead of "proper art" like animals and portraits. Before social media, I only drew for myself and never showed anything to anybody. I hid my art from my family, from the world, so that I wouldn't be judged. I think it is one of the biggest reasons why I have trouble interacting with people in the context of art (tbh I'm shit at being social anyway but that's a whole another problem).

Even when I had a scanner and means to post my art online, I never did, due to the whole "if you put something online it'll be there forever" mindset. My first actual account anywhere online must've been Facebook in 2010ish, where I only had a few friends. It was the perfect place for me to finally post anything online, and so I did: I used to post pretty much everything I drew on there. Slowly gaining courage, I eventually made my original Tumblr account, then Deviantart, Twitter, etc.

Still, all I did was throw my art out there in hopes of somebody liking it. I didn't really know how to interact with the people who commented on my posts, so instead I mostly just... made more art. I did have some friend groups here and there, but either they ended up falling apart or my social battery drained in such a way that I slowly drifted away. I had gotten used to just being by myself and relying only on myself in the online art world.

During my design studies, I started putting more thought and work on promoting myself, so that it could be one career path for me to take. My mindset was that I'll work hard and become "big", even if it meant that one post gained me just one follower. In 2020 I ended up going viral with a meme and suddenly getting tens of thousands of followers. It was great and a welcome boost of morale, but unfortunately 2020 was otherwise one of the worst years in my life.

Throughout the years people have come and gone, so the only constant for me has been myself, and my drive to develop my skills. Thus it's been too easy for me to just isolate myself. In a way it has been my strength with regards to art, but sometimes I wish I knew how to make lasting connections. I think/know I might be autistic to some degree, which adds to the difficulty of being social. Though, to be honest, I don't know if I'd gotten this far without my autistic hyperfixations.

I guess the thing I need to do now to fix this problem of loneliness and isolation is to just... slowly try and be more social. To reply to comments and talk to people. All of which is easier said than done. Still, just gotta take that first step and then keep going.

Despite lacking the kind of community I yearn for, it seems I've made a name for myself, enough so that people seem to take pride in knowing me. Or at least that's the impression I've gotten a few times. But still, I am happy that I've had a positive effect on people. After all, my two main motivators in art are that I like doing it, and I like when people enjoy my art.

[paper-worms]

I’ve had a lot of people outside tumblr and irl talk about having a hard time discerning what fear they’d be an avatar of/ associated with. Obv I’m not Jonathan Sims but I have this way of thinking about it that I want to see if others agree with.

I personally interpret interaction with the fears as one of three categories.

1. what fears might “take” you aka like the statement-givers that all die or dissapear, often from something they’ve feared all their life but taken to the extreme.

2. which fears could become an obsession, the thing that would consume you and turn you inhuman. What is the thing that will bring out the worst possible version of you, a version of you spiraled so far down that you’d hurt other people to feed this power and fixation you can’t escape.

3. Random accidents often caused by a chance encounter with a cursed item, creature, or person/avatar. The fears certainly have the power to make you afraid of something you weren’t scared of before. I think everyone can agree that each statement describes a situation none of us would want to be in (idk unless you want to fuck a beetle go off I guess). This will always end in the fear taking you, killing you, trapping you in the backrooms whatever.

I honestly realized quickly assigning other people fears for funsies was uhh… not so funsies when the realization hits that you’d have to literally psychoanalyze them and their traumas for it, so I wouldn’t ever really tell someone exactly what fear they are. Which is also why I don’t feel comfortable fully explaining mine here either, but I can be brief for the sake of an example.

CW: very vague discussions of trauma in relation to the corruption.

I think the lonely or the spider could easily take me. Arachnophobia since I was a kid and lots of intimacy/abandonment issues. But the corruption is the fear that I think could turn me into an avatar. In the worst version of myself I see someone who instead of trying to help myself believe I’m clean, I’d accept it as truth that I’m inherently dirty and want others who validate it as a good thing.

You want to know what fear you’d be an avatar of? Look for what terrifies you so much you’d lose yourself trying to convince your mind that you enjoyed it just to not face the horrifying reality of its presence and how it affects you.

[cinnabeat]

since people mentioned it tho it IS kind of weird how delkiras crest became a sort of deus ex machina or something like that

[buildingunderstanding]

This is something I've been thinking a lot about, especially as someone who was raised Christian, who was raised under "thou shalt have no other gods" before me and "these other Pagan gods mentioned in the Bible or other myths don't exist at all".

"Worship" as a word and as a concept holds a lot of weight in the flavor of Christianity I was raised in. I was taught that actively choosing to go to work over being at church was an act of worship of money, but I was also taught that a lot of the ways Evangelicals or Pentecostals worship is incorrect, that it didn't count as worship because of how performative it is.

I was taught that worship should be personal and intimate and meant a personal relationship with God, but also that it had strict requirements, but thinking about it, I have a hard time defining what those requirements were.

In more recent years prior to my leaving the church worship was defined in sermons as "to ascribe worth or value to" and to be honest that scared and confused me. Was I worshiping my art because I found value in it? Was I worshipping my fandoms and fics because they brought me comfort and I held them as dear in my heart?

I didn't believe I could lose my salvation, but it did make me feel like a bad Christian. It made me feel like there was nothing I could ever do that would be enough to be worshiping God correctly or enough.

Then I met Loki and Apollo reintroduced himself to me and I found comfort in the idea of there not being a concept of sin. But I still struggle with the concept of worship.

If I was doing it right, if I was doing enough of it, if the things I did "counted", if I would be punished by the Christian God for trying to figure this out under the umbrella of Paganism.

Worship has kind of become a scary word for me and I often find myself looking for alternative ways to describe my relationship with these other deities. Oddly enough, "devotee" sounds less scary to me than "worshiper". It doesn't carry the emotional baggage that "worshipper" does and it feels more true somehow. I have candles I light and jewelry I wear that I have "devoted" or gifted to my new Gods. I have art that I have created with them in mind that hang on my walls that I consider to be gifts to them.

And while those things can be considered acts of worship...that's still a word that I'm trying to unpack. Some days it feels less icky or scary than other days. Today is a day where it feels scary.

It feels more comfortable to say that I lit a candle to honor Ares than it does to say that I did it in an act of worship. It feels more comfortable to say that I am holding space for these new deities than it does to say that I am worshiping them.

I understand that there are likely dictionary definitions behind the differentiation of the words, and maybe some people find comfort in having different words to describe how their relationships with the gods has evolved.

But for me it just adds pressure of there being a "correct" way to interact with faith, of doing worship in The Right Way or it won't count, or it'll be in vain and won't be accepted.

(I understand that there is to some extent correct ways of interacting with the divine, coming with respect and understanding and those types of things. That's not the type of correctness I mean.)

That type of fear isn't conducive to building a relationship.

I know it's up to me to curate my experience within the internet spaces, I know my struggle with words and concepts are my own and that I can't expect anyone to cater to my own issues. But sometimes seeing these sort of "being devoted to a deity is so much more than worship" is really disheartening. Kinda makes me feel like I'm back in Christianity being given vague and simultaneously very strict rules of what worship is and being warned against doing it incorrectly and earning at best silence from God and at worst some form of punishment.

There is a lot of unpacking and deconstructing I have to do and Loki and Apollo and Artemis have already been so helpful in that area and I want to continue on this journey, but it does get overwhelming at times. Some of that overwhelm does come from debates like this.

Where did the idea of worshiper and devotee being in different levels of worship? Those are literally synonyms lol

[the-magpie-archives]

I know Jared Hopworth is supposed to be a terrifying monster with too many limbs and a body that defies any recognisable form one could relate to humanity, but I can never picture him like that. I've never been able to picture this many-limbed monstrosity, but instead something much more subtle.

A man who at a glance could be normal. From a distance. You know how sometimes if you see a large animal your brain tries to make it into a person? Like that. The shape is that of a person, but wait... It's too big, the proportions are... Off.

There's nothing more terrifying than the slow realisation that something unprovable is very, very wrong.

[shaykai]

Don’t think I’ll ever clean this up/expand upon it, but here’s a little scribble of Vat and (technically) Bane

[dukeofthomas]

Posting my truth

[evil-mcytblrconfessions]

tumblr kww fandom was formed seperately from most other social media corners of the fandom. and that leads to silly things like the commonly used name "kww collab" and kenfies vs kenifies. and probably more. cedar if theres any more im forgetting that u know of say them pls

(in response to this confession)

[atopvisenyashill]

on reflection the fact that we didn’t see laena claim vhagar, and now didn’t see the moment addam got on seasmoke either? kinda annoying me

[nach0]

You are the Realmleaper. You are an anchor without a ship to pull you back up. You are stuck watching retellings of the same play over and over. This time you are...

>The Party's companion >The Rouge's guide >The Kid's protector >The King's informant >The Script's rewriter >The Original's hope >The Researcher's project >The...

Hmm. You don't know yet.

Time to find out!

[averlym]

"one day, i cut him an apple. when he saw it, he laughed" (click for better resolution!) ,,, tag from @elliotly