#a sentence can be about different characters but has to have the same theme; it can cover a stretch of time if it's one guy's perspective

[hadleysmis]

Palestine and Les Misérables parallel, told by Shahd Safi

From We Are Not Numbers (WANN)

Firstly, to establish the context for the article we will discuss: WANN is a project started from 2015 which collated experience from Palestinians living in Gaza to a wide English speaking audience.

There is even a book which is under the same name that tells of fifty-nine Palestinian youth voices from Gaza.

You can read about the book (by reading it of course) but also from this article written quite recently at the end of April this year.

The specific article I will be primarily focusing on this post, however, dates to 2021 by Shahd Safi; an article from WANN titled, 'Les misérables of Gaza: If you [became] one of les misérables, would you give up the fight or revolt?'

The article begins with the very applicable quote from Victor Hugo about the necessity of the book, and that as long as misery, injustice, and inequality exist on Earth; books like Les Misérables cannot be useless.

The first parallel that is pointed out is the imprisonment of Jean Valjean for the enormous years-long sentencing for stealing a loaf of bread. This is not far from the truth for Gazans.

The author, Safi, had faced three wars in the first decade of her life, and found her childhood to be filled with tragedy and pessimism despite having been born with enthusiastic and energetic personality.

A story of poverty itself can easily be paralleled to the contemporary situation in Gaza, in which Safi provides a chart for the percentage of poverty (as of 2017) in Palestine:

Poverty Percentages among Individuals according estimation of consumption and poverty for localities (small area estimation) by Governorate in Palestine 2017. Source: Palestinian Central Bureau of Statistics   

Relating to the theme of misery and depression, Palestine ranks among the top three most depressed countries in the Arab world, with numbers of 37% of the Palestinian population reported to be struggling with depression.

'Hopelessness is the point where death starts to occupy and control one’s thoughts; it is the bridge between depression and death. Since 2015, the number of suicides in Gaza has been rising at a frightening rate – as a sensible response to unlivable conditions. Despite the fact that suicide is a major taboo in our society and an unforgivable sin in Islam, it has become the only way out for many Gazans.'

In Safi's original conclusion of the article, she sums up her thoughts:

'Les Misérables and the Gazan story may well have different plots and perspectives, but they both share themes of pain and grief. For instance, I’m sure that every single Gazan has experienced a young child running up to their side, begging for money to buy cheap biscuits or tissues. This causes feelings of embarrassment and hopelessness, to realize that you can’t even help these little miserable children in the street. In addition, both Les misérables of nineteenth-century Paris and Les misérables of today’s Gaza experience social prejudices, arbitrary detentions, and failed revolts.

Yet we also have in common positive experiences: stories of love, success, hope, and most importantly, the will and deep desire to overcome our oppressive circumstances.

Reading has always been my escape, and while it was hard for me to run from the pain I live in to pain I can only imagine, I don’t regret reading this novel. It gives me a large amount of hope, especially through the character of Jean Valjean. He was able to change from a bad person to a very kind-hearted angel, and I hope that happens to politicians and people in charge in Gaza and everywhere else.'

She ends her article with a poem, which she used a line from it for the title of the article.

To revolt, is to believe

in the music angry spirits

play, to let your heart listen to their

pain, and most importantly to take action whenever

Safi returns back to speak on the current assault on Palestine by Israel. The date is not shown in her revision.

If you became one of the miserables, would you give up the fight

or take the responsibility to change and revolt?

'... the story of Les Misérables is even more relevant to what’s happening now, which reveals the racism in the mentality and mindset of the Israeli occupation.'

In her last paragraph, she reaches out to the audience:

'Let me take this chance to appreciate the solidarity we receive from those of you who truly believe in humanity and to assure you that your support on social media is totally meaningful and powerful. From my desk in my room here in Gaza, where I am so freaking afraid from the noises of war and the airstrikes — I’m reaching out to ask you to also please, please boycott Israel and help end our misery.'

You can read the rest of the article here:

You can also to donate to WANN here:

You can read more articles relating to the voices of young Palestinians from WANN here:

[themirokai]

I got this comment on a story from my Other AO3 Account this morning.

(Info redacted because I prefer keeping these accounts separate but no one follows me on the side blog I have for that account.)

The story was posted almost a year ago and is relatively “popular” by my average statistics even though it has tropes and themes that are big turnoffs for a lot of people (hence separate accounts). This popularity is undoubtedly because it’s a Marvel Loki story and that fandom is massive.

So there is obviously an algorithm or a bot scrubbing ao3 statistics and leaving this comment on fics that meet a certain metric with the main character of the fic inserted into the comment.

I had a little time to kill this morning so I decided to investigate further. And y’all this is so predatory. Come on this journey with me. It made me mad. It may make you mad.

First, if you go to Webnovel’s website, you HAVE to choose between male lead or female lead stories before you can go any further. WTF?

And that’s weird, but this gets so much worse. This is basically a pay-to-read site that has different subscription models. Which… okay BUT! The authors don’t get paid! Look at that comment again. They’re promising a supportive and nurturing community, but zero monetary compensation. It’s basically, “post your stuff here so we can get paid and you can get… nice vibes?” I mean look at this Orwellian writing:

Using the phrase “pay-to-read model” in the same sentence as “qualitative changes in lifestyles for authors” deliberately makes you think that you can get paid and maybe even make a living on this website. But that’s not actually what it says and authors will not receive one red cent.

Oh but wait, the worst is still to come. In case this breaks containment (which I kind of hope it does) this is where I mention that I’m a lawyer in the US.

I don’t do intellectual property or copyright law but I do read and write contracts for a living. So I went to look at their terms of service. It was fun!

Highlights the first, in which Webnovel gets a license to do basically whatever they want with content you post on their site. This is how they get to be paid for people reading authors’ writing without paying them anything.

Highlights the second, in which Webnovel takes no responsibility for illegally profiting off of fan fic. This all says that the writer is 100% responsible for everything the writer posts (even though only Webnovel is making money from it).

Highlights the third which say that by posting, the author is representing that they have the legal right to use and to let Webnovel use the content according to these terms. So if a writer posts fan fiction and Webnovel makes money from people reading the fan fiction, and the House of the Mouse catches wise, these sections say that that’s ALL on the writer.

So that’s a little skeevy to start off with but the thing that is seriously shitty and made me make this post was that these assholes are coming to ao3. They are actively recruiting people in comments on their fan fiction. And they are saying they are big fans of the character you’re writing about and that they share your interests.

They are recruiting fan fiction writers and giving every impression that you can make money from posting fan fiction on their site and hiding the fact that you absolutely cannot but they can make money off of you while you try, deep in their terms of service which no one but a lawyer who writes fan fic and has some time to kill will read.

I see posts on here regularly from people who don’t understand how this stuff works, don’t understand that they (and others) can not legally make a financial profit from fan fiction. And there are tons of people who will not take the time to dig into the details.

Don’t deal with these bastards. Fuck Webnovel.

[rorygilmoresbisexuallighting]

The Daddy's Little Toy author situation just goes to show how anti ideology has hurt people. Like an author is in jail for fiction fucking fiction! From what I know the author is placed in prison or is being held in jail awaiting sentencing currently. For from what I'm gathering a completely fictional story. You don't have to like what she's writing to think that people shouldn't go to jail over fiction. That the thing. Also who the hell gets to decide what is and isn't simply vent or awareness spreading and what is and isn't titillating. Also many trauma survivors create vent art that may sexualize their trauma but it's still vent art. I understand Australia's free speech laws are different than America's but this is the same country that's forcing people to upload their ID to access any social media site essentially. You don't have to like the story to essentially say "you shouldn't go to jail for that". Fiction is not and never will be equivalent to actual CSAM. And supporting obscenity laws will never be for the benefit of the public. And it's harmful to equate real CSAM with fucking fiction. You cannot be anti-censorship for fiction and then draw the line at things you don't like . Like imagine if your horny Sebaciel fanart put you in JAIL under CSAM charges. With the same cell as real people who actually exploited real children or wanted to look for and use real exploited children. "Stop imposing your American views on everything!". How is it imposing my American views to say that free speech should be a right for everyone not just people on America and that thought crime isn't real and shouldn't be normalized. Studies don't show a causal link between consuming dark romance media and actually committing abusive acts or consuming fictional depictions of CSA and actually harming people if anything artistic expression can get out some pent up frustration. People with intrusive thoughts may have intrusive sexual thoughts about inappropriate things and write them down what if those are found and it's considered CSAM even if it's fiction? Like thought crime as a concept should not be normalized. Fiction is fiction. I've only seen the snipbits going around social media. But like I hated it thought it was gross so I refused to listen to it anymore and went about my day. No one should go to jail over fiction yes even if that fiction has problematic themes. For example I am. Trans person I don't think anyone should go to jail for writing a transphobic book. I might hate the author but I won't advocate for their arrest and imprisonment. Like I've seen and stumbled upon much horny Sebaciel fanart and I don't think any of those artists should go to jail or be on a register with people who've actually exploited or aides in the exploitation of REAL CHILDREN. Obscenity laws are bad things and we shouldn't normalize them. From what I've heard the book doesn't even talk about sexual contact between an adult and minor it mentions the audit man listing I've the character when they were a minor but many non-banned dark romance books have that and the writers aren't jailed. Obscenity laws are bad. No one should be in jail over fiction.

[cripplecharacters]

How to Support People with Facial Differences - the Face Equality Week 2024 Special

[large text: How to Support People with Facial Differences - the Face Equality Week 2024 Special]

Today is the 13th of May, which means that the Face Equality Week has just started. This year's theme is “My Face is a Masterpiece” which is probably my favorite sentence ever said about having a facial difference. Huge fan, should be used way more often in my opinion.

Because of this occasion, I would like to share some thoughts about Face Equality that I think are rather entry-level, i.e. you don't need to know much to execute these, but you can still support us.

Stop the stare.

I know it's fun to stare - or so I guess, at least - but maybe you shouldn't. Next time you see someone who has a scar or who's face does not move the same way as yours, just mind your business. We can tell when you're “discreetly” looking.

Don't call us deformed. 

Knowing how the people you're trying to support actually call themselves should be an absolute first step, but most people still fail here. Most of us don't appreciate being called “deformed”. I certainly don't. Say “facial difference”, or “disfigurement” if you must. It's 2024. Leave “deformed” to medical reports from the 70s.

No more “What happened?!”s.

If you aren't a doctor, there's a high-to-100% chance that it's none of your business. It's cool that you're curious - keep it to yourself.

Stop insinuating that we are ugly.

“Support people who are ugly!” isn't very supportive. I would say, not in the slightest. Say “people who don't fit the current beauty standards” if that's what you mean. 

Or, to go with this year's theme, “people whose faces are masterpieces” : )

Use critical thinking online.

Is the reaction photo actually funny, or is it just a person with a craniofacial condition? Is the meme actually a meme, or is it just making fun of a person with a facial disfigurement? Is body-shaming suddenly hilarious to you when the person shamed has strabismus? 

If the entire punchline is “lol they have a disability xd”, it's ableism. Plain and simple.

To go with the point above - your joke is probably not funny.

We get it! You can't help telling us how "you're going to hell for laughing" (which yeah, probably) and how we remind you of the ugliest character you have ever seen. I guarantee you that we heard it, and that you are behaving like an edgy middle schooler who hasn't "found out" yet. It's boring and annoying. Also ableist, but you're aware of that already if you're saying that you're going to hell.

Stop with the goddamn trigger warnings. 

We aren't “body horror”, we aren't “gore”, we aren't something that you need to advise your viewers to use their discretion over. Every “graphic footage: child with neurofibromatosis” and “#tw burn scar” is a sign of ableism and disfiguremisia. People with facial differences deserve to be seen. Ableds can survive seeing a person without a nose.

Do a basic reading on what disfiguremisia is.

New word! And an important one. It's a brand of ableism that intersects with more or less everything, and it means discrimination and hatred of people with facial differences/disfigurements. The bullying, harassment, endless name-calling, and microaggressions are all results of disfiguremisia. The ways in which everything is harder for us isn't some unchangeable rule of how the world works, it's just an extremely prevalent type of discrimination.

Understand that we are people.

I know, revolutionary - and yet impossible for so many people to get. We can be a visual representation of evil when it's necessary, we can be a feel-good inspirational story on a morning talk-show, but not much else, it seems. In reality, we are complex, we have our own lives, we can be happy and sad and have the same exact joys and worries that you have.

Hey, artists - facial differences don't make you evil.

Title stolen from a great essay by Lise Deguire (link). When's the last time you saw a positive character with a facial difference that wasn't inspiration porn? I mean a character that's not edgy, full of angst, a murderer, or a villain. Based on what you see in the media, you'd think that having a scar renders you evil on the spot, but in reality it just makes you loathe how artists apparently think you are like. It's boring, it's overdone, it's ableism. Stop doing this, and start noticing when it's being done. Point it out if your friend is writing their new villain to be an evil burn survivor. This kind of portrayal needed to stop ages ago, but tomorrow will be a great time as well.

Before you reply with “I've never seen this” - Darth Vader, Lion King’s Scar (subtle name, great thing to teach kids!), Freddy Krueger, Voldemort, we could be here forever. You're just not paying attention.

Pay attention to where we are not included.

As discussed, there are some places where you see us all the time. But where do you not see us?

Advertisements (unless it's for a scar-removal cream, of course). Fashion shows. Magazine covers. Romance movies where we are the main character.

We deserve to see ourselves in what's around us in the same way able-bodied people do. Trying to make it seem like we don't exist - that's deliberate. 

Interact with our art.

We draw, write, sing, act in movies, we do everything. Support us in the most tangible way - leave us a nice comment, read our books, listen to our songs. Watch movies where actual people with facial differences star, not pseudoinspirational stories about how “being disfigured is ok” where they shove an able-bodied actor into a full face prosthetic just to not have an actor with a disfigurement on set.

Include us.

As this year's Face Equality Week calls for, include us. In art, in movies, in books, in your life. Show us as positive people who are valuable, who are a part of your community - I guarantee that we are in every one that's out there. The world is hostile and unwelcoming to people with facial differences - be the change, wherever you are.

I know that it is different from the usual posts I make, but I hope it was somewhat educational. I just like to use every occasion that I can to force Face Equality into people's heads. To make this at least a bit about writing to keep the blog's theme, I will say that if you want to write about us, you need to care about us in real life as well. Otherwise, it's pointless and, as representation, genuinely worthless.

Below the readmore are some links/resources that you can click to educate yourself further. A lot of them lead to Face Equality International because they have just about everything you should know. If you want to be a better ally to people with facial differences, I heavily recommend them.

#MyFaceIsAMasterpiece

mod Sasza

https://faceequalityinternational.org/2023/04/why-i-will-not-hide/

https://www.psychologytoday.com/gb/blog/disability-is-diversity/202111/hidden-community-the-movement-face-equality

https://faceequalityinternational.org/2022/05/facial-differences-in-the-media/

https://faceequalityinternational.org/2023/04/advertising-excludes-women-with-faces-like-mine/

https://www.phoenix-society.org/resources/burn-community-bookshelf

https://faceequalityinternational.org/about-fei/international-face-equality-week/

https://faceequalityinternational.org/2023/04/hidden-from-view-women-with-facial-differences-in-the-media/

https://www.phoenix-society.org/resources/i-dont-see-your-scars

Thanks for actually clicking the readmore

[honey-skulls]

Ena saying, after being asked "you have a job??": "it's more of a lifestyle. That's my destiny, what more could i do?............god knows the rest"

And after being called "boss lady", saying "oh I'm no longer the boss of myself"

....

Bbg did you get forced into this job??? Did you not have a choice?????

And with the fact that she doesn't allow herself to have any fun or feel any real joy as long as she's working

and the flashback(?) scene of her in a war(?) with bullets raining on her from her hat?

Girl, what happened to you, I'm getting seriously worried

+ the weird ENA racism going on in that whole universe apparently

And the whole thing of her constantly saying "god bless you" and "you are still a child of god" to everyone who does business with her, yet when the genie start absolving her of her sins and saying she's forgiven, and starting to turn her into an angel. Only to realise she's an Ena, and immediately going "nevermind, you're unforgiven", and saying that nobody would ever be punished for the sin of being born, "except you"

There's a serious theme of not having a choice. or rather, never being given one

No choice in what you can do, how you're perceived. Pushed around and almost never respected, and all of this just because of her "species", something she had (probably ?) no control over

Some people are polite, and some even like her, but i don't think she has a single friend

Something series!Ena also kinda has.

Jugement just because of what she is, and a lack of fun, though hers seems a lot more like depression, with how she's genuinely trying to feel joy and keeps seeking it out.

She also has a friend, but only one, and Moony's kind of a jerk to her sometimes, but it feels more like her ego rather than genuine distaste towards Ena.

She also responds differently to the people talking to her

Where bbq!Ena's foreign speaking characters will have subtitles/what Ena is choosing(?) to hear be slightly toned down, it still gets the idea across of how they're insulting her, and she responds accordingly. Meanwhile, series!Ena will have foreign characters insult her just the same, but the subtitles/what she's choosing to hear are completely different sometimes (Merci(?)), sounding friendly and supportive, and she responds kindly and like they were a friend

And also the fact that when bbq!Ena deviates from what she was supposed to do (go to the bathroom to stop the smoke), and goes to the purge event. A choice. She immediately regrets it, hates it, looses an arm, wants to leave, and ends up getting eaten and dying in a bad ending

The second she made an actual choice herself, she fucking died

No choices allowed. No agency

I'm so curious about what the deal is with the ENA hate in that world

Edit: ALSO the shaman is the only one who's exactly on the same wavelength as her, they even finish each other's sentences

The shaman is also really disliked and an outcast, just like her

And he tells her "YOU are here because *you want* to be. I can see it in your eyes"

More mention of choice and freedom

Edit 2: start of the purge event when meanie Ena says "I crave freedom, and the genie is my only escape !"

Edit 3: the half hand guy with the red threads say "Glory it is to see your actions while YOU are trapped here, in captivity"

Edit 4: the guy stuck in the building who's struggling to get out, and stops to stare at you if you get close

Once the door closes and everything gets half destroyed half auctioned off, and it's pretty much a wasteland, you find him on the ground, looking off into the abyss, saying "i was born with a purpose from the bells of creation. My soul was poured into the river of time, and my flesh under the pressure of life. A disturbing relief is what is in front of me"

He was trapped, just like her, but now he's free

And the bells of creation...the guy in the cave said "the key to enter the bathroom, two isn't enough. They say if you hear three, you can see it. Ask not for whom the bell tolls, ENA. Bells."

[nowoyas]

Trying to make sense of the Nanowrimo statement to the best of my abilities and fuck, man. It's hard.

It's hard because it seems to me that, first and foremost, the organization itself has forgotten the fucking point.

Nanowrimo was never about the words themselves. It was never about having fifty thousand marketable words to sell to publishing companies and then to the masses. It was a challenge, and it was hard, and it is hard, and it's supposed to be. The point is that it's hard. It's hard to sit down and carve out time and create a world and create characters and turn these things into a coherent plot with themes and emotional impact and an ending that's satisfying. It's hard to go back and make changes and edit those into something likable, something that feels worth reading. It's hard to find a beautifully-written scene in your document and have to make the decision that it's beautiful but it doesn't work in the broader context. It's fucking hard.

Writing and editing are skills. You build them and you hone them. Writing the way the challenge initially encouraged--don't listen to that voice in your head that's nitpicking every word on the page, put off the criticism for a later date, for now just let go and get your thoughts out--is even a different skill from writing in general. Some people don't particularly care about refining that skill to some end goal or another, and simply want to play. Some people sit down and try to improve and improve and improve because that is meaningful to them. Some are in a weird in-between where they don't really know what they want, and some have always liked the idea of writing and wanted a place to start. The challenge was a good place for this--sit down, put your butt in a chair, open a blank document, and by the end of the month, try to put fifty thousand words in that document.

How does it make you feel to try? Your wrists ache and you don't feel like any of the words were any good, but didn't you learn something about the process? Re-reading it, don't you think it sounds better if you swap these two sentences, if you replace this word, if you take out this comma? Maybe you didn't hit 50k words. Maybe you only wrote 10k. But isn't it cool, that you wrote ten thousand words? Doesn't it feel nice that you did something? We can try again. We can keep getting better, or just throwing ourselves into it for fun or whatever, and we can do it again and again.

I guess I don't completely know where I'm going with this post. If you've followed me or many tumblr users for any amount of time, you've probably already heard a thousand times about how generative AI hurts the environment so many of us have been so desperately trying to save, about how generative AI is again and again used to exploit big authors, little authors, up-and-coming authors, first time authors, people posting on Ao3 as a hobby, people self-publishing e-books on Amazon, traditionally published authors, and everyone in between. You've probably seen the statements from developers of these "tools", things like how being required to obtain permission for everything in the database used to train the language model would destroy the tool entirely. You've seen posts about new AI tools scraping Ao3 so they can make money off someone else's hobby and putting the legality of the site itself at risk. For an organization that used to dedicate itself to making writing more accessible for people and for creating a community of writers, Nanowrimo has spent the past several years systematically cracking that community to bits, and now, it's made an official statement claiming that the exploitation of writers in its community is okay, because otherwise, someone might find it too hard to complete a challenge that's meant to be hard to begin with.

I couldn't thank Nanowrimo enough for what it did for me when I started out. I don't know how to find community in the same way. But you can bet that I've deleted my account, and I'll be finding my own path forward without it. Thanks for the fucking memories, I guess.

[with-my-murder-flute]

Re: The Tomb of Dragons ship situation/ending, spoilers for A Companion to Wolves and Angel of the Crows

Like I respect Addison's right to write the stories that feel meaningful to her, she doesn't have to just feed us fanbait, not every author has to do that

but I was white-knuckling up to the very last sentence of the book

I have trust issues ever since A Companion to Wolves, where the first book ends and you're like. I guess they have somehow found a way to survive and be happy in their unusual approach to society's sexual mores! And then the next book begins and it's like "Oh actually the main character is just resigned to permanent unhappiness with this, maybe he will dredge up a thin trickle of joy in life focusing on something totally different." And I'll be honest, I put that book down and never picked it up again, because I did the good girl Catholic thing and thought "Oh well I'll never experience sexual joy or deep enduring love but maybe I'll have like idk a career or some shit" long enough for one lifetime. NO MORE. I just gave up and went back to Every Marine a Wolfbrother.

And then Angel of the Crows was like, "I got shot down every single time I reached for queer joy or relationships and the one relationship that does remain is not really what I want or need and maybe I am a bit fundamentally unlovable, but I'll survive, we get by," and I was, again... I recognize this is not a story for me. It's not what I want from a story. But also, I am so disappointed and tired here.

So with this series I was just so much like... she does not owe us fanbait, I have trained myself to think it's tacky and bad to get upset that an author has not provided the exact kind of representation we want exactly how we want it. I watched the Good Omens fandom explosions and don't want to do that.

But at the same time. We have been hearing about the extreme gay agony of this beautiful muppet for FOUR BOOKS STRAIGHT. He is the world's most sopping wet little meow meow, and quite respectfully, if you do not want your fans to form a frenzy and start burning down uninhabited buildings due to an overload of unrequited textual sexual tension, MAYBE DON'T FOCUS ON IT QUITE SO MUCH.

So I'm here at the end of Tomb of Dragons going, "I guess I'm okay with this? I guess I can live? It's not exactly what I wanted and it's not delivered to the degree I wanted, but I guess we can get by here."

Is this what Stockholm Syndrome feels like? I literally don't believe Stockholm Syndrome is a real thing, I think it's been bunk since the day it was created, but also, this feels like what Stockholm Syndrome would feel like.

I will probably be able to like the new love interest! I can see myself in the future being happy with the way the story ended up going in, once I get over the fact that it went there! This makes sense and I can see it and reconciling all those feelings is what fanfiction's for!

I just also... am not so excited to see what else Addison's working on now. Because this overarching theme or emotional focus on the yearning for warmth and closeness and empathy and touch and desire, and the realization that you will just have to make do with slightly unsatisfying substitutes instead, is just way too similar to the defeatist ways I learned to approach life with when I was a child. It's exactly the mindset I wanted to get away from then and am still learning to let go of now.

I don't want to squash the fandom with my disappointment and negativity, and if fandom does just turn into everyone being angry and bitter that the author personally flipped them the bird and actually everything about these books is proof that they've always been shit, no thanks, not hanging out with that again. If I stick around, it's for Thara getting railed in exactly the way he wants in some happier future, and figuring out what that would look like.

[writers-potion]

Got anything for dialogue

Writing Dialogue 101

Dialogue is conversation, nothing more, nothing less. The catch is: diagloue is EDITED conversation. It must be more concise, purposeful and witty than the everyday sentences we speak, while sounding natural.

The Purpose of Dialogue

Diaglue is definitely a fiction elements that pops everything up and out. Thus, dialogue is going to have more impact than your normal paragraphs, in order to:

Characterizes/reveals motives

Sets the mood in the story

Intensifies the story conflict

Creates tension and suspense

Speeds up your scenes

Add bits of setting/backgronud

Communicates the theme

Matching the Dialogue to the Genre

The dialogue in a book should speak the reader's language. There is a type of voice that suits each genre/category of fiction, and we must understand what matches the reader expectations and rhythm of the plot we are writing.

Magical Dialogue

"Do not kill him even now. For he has not hurt me. And in any case I do not wish him to be slain in this evil mood. He was great once, of a nobel kind that we should not dare to raise our hands against." - The Lord of the Rings, J.R.R. Tolkein

"As much as I want you and want to be with you and part of you, I can't rear myself away from the realness of my responsiblities." - The Bridges of Madison County, Robert James Waller

This is the language of The Hobbit, Star Wars, The Lord of the Rings, The Wonderful Wizard of Oz.

When writing literary and mainstream fiction (that is targeted at the general public rather than a target audience), we need to go with what sounds real, even with a magical setting

Science fiction and fantasy can be more unreal, i.e. things like "May the Force Be With You."

In romance, magical dialogue takes on a differen form. It's magical in that it transcends the way we talk to each other in normal society. Magical in that all of it makes perfect sense and is said in such eloquent langauge that we marvel at it while at the same time knowing that if we are left to ourselves, we would say something absolutely banal.

Cryptic Dialogue

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night, then you throw it away. The condom, I mean. Not the stranger." - Fight Club, Chuck Palahniuk

This is the dialogue in literary and religious stories that dealw ith abstract ideas and vague concepts and has double meanings. Readers aren't meant to understand theses right away.

These bits of dialogue plant sublimnal messages in the reader's mind that help communicate the theme later on, ultimately making sense.

Cryptic dialogue is difficult to do well. If we're not careful, we'll end up sounding preachy, moralistic and dogmatic.

You need to be able to view the world in different perspectives.

Descriptive Dialogue

The literary, fantasy and historical story often relies on dialogue for worldbuilding (expplaining history, magic rules, etc.)

The author's goal in descriptive dialogue is to provide the reader with information. However, the character's goal cannot be sacrificed for the author's. Dialogue can still have tension and suspense and can be inserted into a scene of action so the story doesn't bog down while the readers get some info.

Shadowy Dialogue

In shadowy dialogue, the character's job is to keep the reader suspended in a state of terror/suspense. Then you periodically tighten and loosen the tension.

The key here is uncertainty. The reader cannot trust the speaker, so we're always questioning him, wondering whether he's speaking truthfully or is presenting the full picture.

Keep the tone as dark of possible, using action and background as supporting tools.

Make it cryptic, or even better, offering an omnious threat of what is to come.

Provocative Dialogue

This is the type of dialogue that conveys the theme, talking about the "universla truth" your book is trying to convey.

Readers like to be challenged in their thinking, provoked to consider other ways of thinking, and shaken up in their belief systems with a fresh perspective about the world.

Consider this example from To Kill A Mockingbird:

"...but there is one way in this country in which all men are created equal - there is one humna institution that makes a pauper the equal of a Rockfeller, the stupid man the equal of an Einstein, and the ignornant man the equal of any college president."

There is no way we can read this and not think about something that is bigger than our daily lives.

Make your readers squirm, and shock them out of their comfort zones.

Uncencored Dialogue

Uncencored dialogue in YA stories are of young people, but that doesn't mean it's filled with hip-hop words and slag.

While adults cencor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy and honest.

Readers of YA novels expect realism, so make it as authentic as possible. The last thing we want to is for our characters to be brash and honest, but NOT sound like they've just stepped out of Planet Way Cool.

For example:

"What if he doesn't like me back?" "You are too much of a chicken to do anything aboutit but mope."

As an adult, how often do you admit fear of rejection out loud to another, or call out your friend to her face? In YA-type of dialogue though, we can just write what comes into these characters' minds.

So that sums up the different types of dialogue. Consider the nature of your plot, what your readers and the genre of the story you are writing to choose an appropriate way for your characters to speak!

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[unholybacon355]

Everything stays in the family

Park Jihyo x G!P Huh Yunjin

Word Count: 6.8K

TW: Incest.

[PART 2] [PART 3] [PART 4] [PART 5]

DISCLAIMER: I'm adding this disclaimer because I think it's necessary.

This story have some taboo themes like incesto to name one. I need to say that obviously some of the things I wrote here aren't good and by any means I'm trying to make it look like good and normal things. Read at your own discretion.

Everything you see here is fiction and many things in this story are not really good. This is for fun and only for that. Also, all the characters you see here are adults and Jihyo is older, but I'm not specifying how old she is.

Another thing to say is that I have no clue about how human bodies actually work, so you can't expect me to be very accurate about some things. I'm not saying what because I want you to figure it out as you read.

Last thing to say is that I've been posting this story for a while on Ao3 and just now I'm doing it here. Because that I gonna post the two first chapters as one here, and this chapter gonna be full of sad things but this is necessary for the plot and background. So the smut really start on the next chapter, chapter that gonna be posted really soon here.

Summary: Things in Yunjin's life really turn upside down when someone unexpected returns from her past. After that everything becomes chaos in her life.

CHAPTER ONE

“Why is it so hard for you to call her like that? Just say it and that's it”

"Why? Maybe because she is not my mother… Not the real one at least.”

Chaewon stared at Yunjin before continuing, perhaps pondering her words or perhaps thinking of something completely different. One could never be sure with this girl. “You just admitted that you see her like a mother. It shouldn’t be that much of a problem just calling her that.”

Yunjin hugged her girlfriend around her waist and settled better next to her on the bed. “I know, it's just… It doesn't seem fair.” She pronounced the last part of that sentence lowering her voice, as if she thought she was saying something bad. “Yes, she has been very good to me and she helps me in everything she can without me even needing to ask. But I think I still owe something to my mother.” The redhead rested her head on her girlfriend's shoulder.

"Love. You don't owe that woman anything. She doesn't even talk to you anymore.” She gave the other girl a quick little kiss on the top of her nose before continuing. “It's like she has already forgotten that she is your mother, instead Jihyo has been taking care of you all this time. ”

“You make me look like the bad girl here.”

“None of that, I'm simply pointing out facts.”

“Well, I guess I'm avoiding calling her that because that would be accepting that my real mother doesn't love me anymore.”

Chaewon took her girlfriend's face with both hands and covered it with small kisses to try to change the sad expression that had taken over her. “If you lose a mother you will gain another fantastic one.” Another round of kisses on Yunjin's face and her expression began to change. “Plus I think it's a little bit hot.”

“EEEEEEEEWWWWWWW! It's my mother you're talking about.”

“Do you see how it is not so difficult? “You just need the right motivation.”

“My girlfriend trying to seduce my father's wife is not the kind of motivation I would expect.” As soon as she finished the sentence she couldn't contain her laughter, which quickly spread to her girlfriend. She kissed her back, laughing, and they both fell back on the bed. Yunjin had to admit that although sometimes the most random phrase one could expect could come out of Chaewon's mouth, or not, but when she was right she really was. “Her birthday is coming up, it would be a good gift. “I just hope she doesn't think I do so I don't feel displaced.”

“I'm sure she will understand and she will be happy. She's going to have two new daughters at the same time."

“Are you still with that idea? The truth is it is still too early to know that. There is still about a month left to know for sure.”

“It's just a feeling, but I want a younger sister.”

“Not only is it enough for you to want to steal my mother, you also plan to steal my new sister.”

“You really accepted the idea of calling her mother very quickly.”

“I do it partly to make you ashamed of making those horny jokes, even though I know it's no use.” Both girls laughed happily at Yunjin's words.

“Of course it's of no use. But you know I only find her hot because she looks a lot like you.” As soon as she finished the sentence, Chaewon blew a kiss to her girlfriend, which made the two of them burst into uncontrollable laughter.

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Hours later, Yunjin drives home later than she should have been. She had promised Jihyo that she would help her with some things around the house, but because of her girlfriend Yunjin had missed the time. Even though she knew Jihyo wouldn't be upset, she was still worried that she didn't get home on time.

Her father's wife had always been very good to her. From the moment they met she treated her well, even before they became a couple with her father they already got along well. The truth was that Jihyo was a kind and happy woman, hardworking and very brave; but from what Yunjin had heard she was also very strict at work. Jihyo was a boss who liked the company rules and the delivery times of reports, or other activities, to be respected.

Jihyo and Yunjin's father had known each other a long time before she was born. Jihyo had originally been friends with Yunjin’s biological mother, but she had moved away a couple of years after Yunjin was born and she disappeared from her family's life for many years. After a successful career abroad she had returned to the country and her destiny ended up reuniting her with Yunjin's father. This after her parents' marriage failed.

Some time after resuming their friendship, Jihyo and Yunjae (Yunjin's father) had formed a company together. Company that to this day continued to grow and allowed them to live well, not surrounded by luxury but comfortably. Parallel to their work relationship, their personal relationship became increasingly closer, to the point that it was impossible for them to continue denying what they felt and they began dating.

While they both talked to Yunjin about her relationship and Jihyo always respected that her daughter came first for Yunjae, she didn't really care. It's not that she was indifferent to the matter, but she had already accepted a long time ago that her mother was not going to return and that her family would never be together again. On the other hand, she was very happy to see her father happy with her again. She could see that Jihyo was good for her father and that could only mean that she was the one for him. So as far as Yunjin was concerned, as long as Jihyo didn't hurt Yunjae she had no reason to poke around in their relationship.

On top of all that was the fact that Jihyo had never tried to assert herself as Yunjin's mother. She knew that she wasn't and that it wasn't her place to take that role either, no matter how much she might love Yunjin; And the truth was that the girl was very grateful for that. By this point she had already spent many years without a mother, practically all of her adolescence, so she had to learn to live without a mother figure around her. You could say that the closest thing she had to that was Chaewon's mother who always took care of her, but it was still not the same.

Nowadays, Yunjin hardly thinks about her mother anymore. Not after putting up with her lies for so long, when she stood her up, when she didn't show up to her school presentations, or because one day she simply stopped texting back to her. Because some time before Jihyo entered her life, her mother had begun to distance herself definitively, and by the time her father began the new relationship, they practically no longer spoke. Now the only contact Yunjin had with her mother was when she sent her a text to congratulate her on Christmas or her birthday, but nothing more.

For all these reasons it bothered her that she had forgotten to help Jihyo, especially now that they knew the woman was pregnant. Although she was only a couple of months pregnant, her body had already begun to show signs of change, which was why she along with Yunjae had decided that Jihyo should rest more. She now worked from home and only did the essentials, no long meetings or staying up late filling out paperwork and putting everything in order. For that she had employees, and they even took care of her and tried to make sure she didn't overexert herself. Which is why Jihyo ended up scolding them, claiming that she was only carrying a baby inside her, and that she had not become incapacitated overnight.

Even more so, she resented not having arrived on time due to the fact that Yunjae had had to make an emergency trip and would be away from home for a few weeks, so now Yunjin and Jihyo were alone. And although she knew that nothing would happen also knew the woman well enough to assume that Jihyo would try to do everything by herself. So she hurried to drive home as fast as she could without breaking the law.

When she finally arrived at her destination, she was struck by the fact that there was an unknown car parked on the sidewalk in front of the house, but she thought it could be a company employee who came for something that couldn't wait. Or maybe it was an Jihyo's friend who came to help where Yunjin had failed. Trying to push the thoughts of her guilt out of her mind, she hurried to put her own vehicle in the garage and sneak into the house, trying not to interrupt if Jihyo was in an important meeting. Certainly Yunjin would have never imagined the true nature of the conversation that was taking place in the living room.

The first thing that caught her attention was seeing Jihyo and her companion in the living room. Well, from the posture and expression of her stepmother you could easily tell that she was not comfortable at all, which made Yunjin think that it was definitely something related to her work. But then why were they be here and not in the office? Jihyo had a fully equipped office in the house, where such a meeting would normally have taken place. It was not normal for her to use the room for such things.

Now somewhat intrigued, Yunjin tried to sneak to the stairs that will take her to the second floor and the safety of her room, but when she was already setting foot on the first step she heard a sob coming from the living room. Something strange was definitely going on there. Although Jihyo was strict at work, never to the point of making her employees cry, that was something that could never be expected of her. But apparently that sob hadn't come from her stepmother either. Yunjin froze for a second until her desire to know what was happening was stronger than her, then she slowly turned and approached the entrance of the living room.

With her back pressed against the hallway wall, Yunjin could now hear what was being said inside the room. Jihyo was talking to a woman, who had a strangely familiar voice, but Yunjin was not able to identify it among the employees she knew. Straining her ears she tried to better understand what both women were saying, perhaps she did understand what they were talking about and could know the reason for the sobs.

“How dare you after everything I did for you?” The stranger said.

"Sorry? Did I listen well? Because according to my memories I was the one who had to leave, or have you already forgotten?” Jihyo was definitely angry, even though she tried to hide it, Yunjin could tell. In her mind she could almost visualize Jihyo clenching her jaw to suppress her rage.

“If I hadn't intervened, things would have been much worse for you.”

Even being on the other side of the wall, Yunjin could clearly hear Jihyo snort through her nose, almost as if trying to release some pressure from a boiler that was about to explode. Anyone who knew the woman well knew that it took a lot to get her to this point.

“I saved your and your brother's asses and all I got was the company blaming me for what happened. You two were the cause of all the losses the company had, but nevertheless the one they ran into and ended up transferring to another country was me. It took me years of hard work to make a name for myself again. ”

“What did you want me to do? My family would have lost everything if it was known that it was our fault. I couldn't put my husband and daughter through that shame, no…”

“But yet you ended up abandoning them.” Jihyo cut her off abruptly, to which the woman let out a small sob. “And control those fake tears, you're not going to fool me again.”

Apparently the woman came from Jihyo's past, and in Yunjin's head an idea was forming of who this mysterious person could be; but she wanted with all her might to be wrong. Never before had she wished so much that she was making a mistake.

“That has nothing to do with you. But of course, you benefited from it anyway. “You couldn’t stay out of Yunjae’s bed and you tried to steal my daughter.” Yunjin's heart skipped a beat, what she was hearing couldn't be true.

“My relationship with Yunjae is none of your business, and as for Yunjin. You should take better care of your words. I was the one who was there for her on all those occasions when you failed her, I was the one who had to teach her things that her mother was supposed to show her. Regardless of how things ended between you and Yunjae, she wasn't the one to blame. Yunjin still loves you, she even keeps waiting for you to call her on important dates. She tries to hide it, but I can tell how she gets sad on her birthday or Christmas.”

“You're a bitch who stole my family, don't try to lecture me.” The tone of the woman, Yunjin's biological mother, had changed drastically. Now it could be clearly seen that she was also very angry.

“You abandoned them and they took me in. End of story." In the other room Yunjin heard someone stand up. “Now you should go. I have nothing more to talk to you about. Yunjae is away, I'll tell him to contact you when he gets back. Whether he does it or not depends entirely on him. And as for Yunjin, she should be arriving any minute, but I'm not going to let her see you like this. Not today. You no longer have the right to hurt her, much less in my house.”

“It's your house only because you stole my family. That you will not forget."

“The one that should remember is you. Remember how you left your family for an adventure that only lasted a couple of months. If you care so much about your daughter, you should have stayed with her instead of chasing an idiot.”

Yunjin couldn't believe what she was hearing. Her parents had never told her the real reason why her mother had left. Although they talked to her, she always suspected that there was something more behind the whole situation. Now that she was finding out everything, she would have liked it to happen differently.

“Damn bitch, don't tell me what to do!” Yunjin's mother was clearly losing her temper, and the girl, unable to take it anymore, quickly stood up and entered the room facing both women.

Sure enough standing in front of Jihyo, who looked like she was hurting herself because her jaw was so clenched, was the woman who had given birth to Yunjin. The same one that had dumped her, the same one that had forgotten about her and now burst into her life as if nothing had happened. Just now that everything seemed to be going well.

"Mother!" Was all Yunjin could say as she burst into the room. She could now see the two women standing in front of each other, both with unfriendly expressions. At the sudden appearance of the girl Jihyo changed her expression drastically. Going in a matter of seconds from having the sternest look Yunjin had ever seen on her, to an expression of deep concern.

The other woman on her part seemed to get even angrier. She had a vein in her temple that was about to burst, and she seemed to be blowing steam out of her nose from how angry she was. "Damned!" She yelled at Jihyo. “It was probably your idea for her to listen to our conversation. You can’t stop putting things in my daughter’s head.” With the most poisonous look she had she tried to pounce on Jihyo, but in a reflex action Yunjin put herself between both women.

“Mom, what are you doing?!” Yunjin couldn't believe what was happening. "Stop." She added, but her voice barely came out. From one moment to the next her throat had dried up to the point where it was difficult for her to speak.

“Yunjin… I… Get away from this bitch. Don't you see that she's trying to turn you against me?” While the woman spoke she changed her tone on more than one occasion. First surprise, then confusion, and finally impregnating her words with rage and venom.

“Mom, no…” Yunjin slowly lowered her arms that she had opened without realizing it, to prevent her own mother from reaching Jihyo. “Is everything I heard true?”

"Daughter. Don't believe this bitch, she just wants to play the victim. She is trying to turn you against me.”

"Mother. Is it true or not?" At some point Yunjin's eyes had started to water. “Is it true that you abandoned my father for an affair? Just for that?”

“Don't listen to her my love… All this woman wants is to destroy my family.”

“‘WE ARE NOT YOUR FAMILY ANYMORE!’” The scream escaped from Yunjin like a reflex, like an outlet for all the rage and pain she was suddenly feeling. “You abandoned us for nothing, you no longer have the right to call us family.”

“Daughter… I…”

“GO away, just go. I don't want to know about you anymore. And also leave my father alone, now we are happy with someone who loves us and cares about us.” Yunjin was really holding back her tears, and gathering all her strength so that her voice wouldn't end up breaking.

“Daughter, that woman…”

“You heard her,” Jihyo intervened, advancing and putting herself between Yunjin and her mother. “You have to leave, I won't repeat it again.” The expression on Jihyo's face was as stern as her muscles would allow her to express. At first glance you could see that the woman was not playing.

"Bitch. You’re going to find out who you’re messing with.” Despite the hatred printed in her words, the woman took her bag and headed for the exit.

“No, I'm not going to do it. I already know what kind of vermin you are, I learned it a long time ago. But if you still care about something, you are not going to come near this house again or everyone is going to find out what happened in that company.”

Both women held each other's gaze for a few seconds that seemed eternal, then letting out a cry of frustration, Yunjin's mother left the house, slamming the door loudly. Inside Jihyo and Yunjin stood as they were for a few minutes, listening as the woman started the car and collided with what seemed to be a flowerpot in the garden, to finally leave.

Suddenly Yunjin found herself surrounded by Jihyo's arms, in an attempt to comfort and contain her. But the demonstration of affection had the opposite effect and Yunjin could no longer hold back her tears. She burst into tears hugging the woman standing next to her as tightly as she could. The woman who had defended her from her own mother, which made her cry even more. And even though she could feel her tears falling onto Jihyo's expensive suit she couldn't help but continue crying.

Yunjin thought she was over her mother, but this sudden intrusion had clearly shown her that was not the case. Besides, now she didn't know what hurt her more, whether her mother's lies, how she had treated Jihyo, or that she was the one who had to defend her from her mother. Right now the only thing Yunjin was sure of was that she felt an emptiness in her heart and she didn't want to let go of Jihyo for any reason.

For her part, the woman said nothing. She just kept hugging Yunjin tightly and stroking her hair from time to time. Every once in a while she would kiss her on the head and try to clean the tears out a little, but she didn't try to say anything or stop Yunjin from crying. She knew it was better to let her release all her grief, but what Jihyo didn't know was that this spontaneous display of affection only made Yunjin cry more.

Yunjin had just kicked her mother out of her life, which she certainly deserved, and it was Jihyo who was supporting her in this strange situation. She couldn't believe that just a few hours ago she had doubted whether she should call Jihyo mother or not, and now the woman had earned it. It wasn't like she didn't deserve it before, but now she herself had shown that she loved Yunjin more than her own mother. It was incredible how life could turn upside down in just a second.

They stayed hugging like that for a long time, so long that they began to get tired, but Jihyo did nothing to move the girl from the spot. She just let her cry as much as she wanted, as much as she needed to. However, Yunjin suddenly realized that she was hugging a pregnant woman, that Jihyo had gone through a very difficult time, and that she couldn't force her to stand for so long. Yunjin slowly released her hug and turned her face away from the older woman's body, careful not to make any sudden movements.

“You should sit down” She whispered looking at the woman, but Jihyo just wiped the tears from Yunjin's face with her sleeve. “It's not good for you to be on your feet for so long.”

"Dear." Jihyo said with a kind smile on her face, showing how worried she was for the girl. “I'm fine, I'm more worried about you.” In a reflex action, Yunjin couldn't help but hug her again.

"Let's sit. I do not want anything to happen to you." Jihyo let herself be guided by the girl to the couch where they both sat one beside the other.

Yunjin didn't know what to say, and for her part Jihyo didn't want to force her to speak. So they stayed silent as Yunjin slowly leaned down and hugged Jihyo again. The older woman once again surrounded her with her arms, in a rather maternal attitude, which made Yunjin shed another tear. It was incredible how she had never noticed how Jihyo always treated her like her own daughter.

Yunjin was once again lost in her thoughts as she hugged Jihyo, so she didn't notice that she had started crying again. Now they were small tears that ran down her cheeks, which also ended up on Jihyo's suit. But the older woman again said nothing, Yunjin's well-being was still more important to her than a piece of clothing.

Again they stood there hugging for what seemed like an eternity, and again Jihyo let the girl cry in peace. Yunjin was really grateful for that gesture, all she needed right now was peace. A peace that it pained her to remember had been taken away by her mother.

"Dear." Jihyo whispered in Yunjin's ear when they had been like this for quite some time. “I know it hurts you and that you should let it all out, but it's too late. ”For a second Yunjin thought that she would be reprimanded for taking up the woman's time, but she was greatly surprised when Jihyo continued. “I guess you haven't had dinner yet. Do you want me to order something to eat? We can talk about what happened while the food arrives.”

Holding back tears, Yunjin separated from Jihyo and nodded. She was sure that now she herself couldn't speak, her throat hurt a little and she felt a little dizzy, but in fact she also suddenly felt very hungry.

"Very good. Give me a second." Then Jihyo in another maternal gesture kissed Yunjin forehead before taking her own phone and opening an application to order some dinner. After a few minutes she put the phone aside again and put her hands around Yunjin's. “Do you want to talk now?”

Again Yunjin nodded her head. “But I need to wash my face first.” She added with a small sigh, before getting up to go to the bathroom. She returned minutes later, a little clearer and with her face clean of all traces of tears. She still had red eyes though. “Is everything you said before true… About my mother?” Yunjin asked, finally sitting down next to the older woman.

“I don't know how much you heard, but everything I said is true. Many years ago I had to leave my life behind because of her and your uncle.”

“Is it also true that she left us to pursue another man?” Yunjin asked as she felt a knot forming in the pit of her stomach.

“That is also true. But you should ask your father about that, I have no authority and I shouldn't get involved in that matter. It's something you have to resolve between yourselves, however I'm going to say that Yunjae didn't tell you anything trying not to hurt you.”

Yunjin stifled a small sob that threatened to make her cry again, but gathering all her strength she managed to suppress the cry. “Okay, I'll wait for my father to come back to talk to him. But I have a couple more questions that I would like you to answer.”

“Shoot and we'll see if I'm in a position to respond.”

The conversation that followed was long and in many parts Yunjin was on the verge of crying again, but Jihyo always managed to comfort her in time. Some of the girl's questions were not answered, either because Jihyo believed it wasn't her thing or simply because she didn't want to delve into certain topics right now. Anyway, after two long hours and a dinner in between, Yunjin was visibly calmer.

The girl sent a couple of texts to her girlfriend telling Chaewon in general terms what had happened, and promising that the next day she would update her on everything that had happened. Then she and jihyo decided that it was late and they should rest, so they got ready to go to bed. The older woman said goodbye to Yunjin with a new kiss on her forehead and made her promise that if she needed anything from Jihyo she would not hesitate to go talk to her. Which planted a strange seed in the girl's head.

Minutes later, when Jihyo was ready to get into bed, she heard Yunjin knock on her bedroom door, with small, timid knocks. “Come in, you can come in,” the older woman said loudly so the girl could hear her. "What's wrong dear?" She asked when Yunjin was inside the room.

“Jihyo… Can I ask you a favor?” Yunjin asked the question by looking away and trying to hide her hands in the sleeves of her pajamas. “It's actually silly, so if you don't want to it's fine, but…” she swallowed and thought that she couldn't continue.

"Calm down. It doesn’t matter what it is, just ask.”

"Good." Yunjin swallowed again. “You already did a lot for me today, more than I would have been able to ask for. But I wanted to ask you… I wanted to know if I can sleep with you tonight.” Yunjin finally shoot.

For a small second Jihyo's face lit up with a wide smile. “Of course you can, no problem.” She gestured for Yunjin to close the door t, and join her on the bed. Shyly Yunjin walked slowly until she reached the edge of the large bed, thought about it for a few seconds and finally got into the place that her father would normally use.

"Thank you. For what happened before, and for letting me sleep with you.”

“No problem, it's the least I can do for you. I may not show it but I care about you. ”

"I know. I've always noticed it, and I'm grateful to you for that. I’m glad it’s not like in the movies.”

“Are you glad I’m not the evil stepmother trying to steal the father's fortune? Honey, you can’t claim victory yet.” It was obviously a joke and Yunjin knew it, so she couldn't help but let out a small chuckle. “Now that you are happier, we should sleep. We both need to rest.”

“Ok evil stepmother.” It was Jihyo who couldn't help but laugh this time, as she turned off the light.

“Be careful, maybe I have a hidden cauldron in the basement.” For the first time since they met, Jihyo allowed herself to tickle Yunjin, to which the girl responded with more laughter.

“What happened to sleeping?” Yunjin asked with a laugh. "The one who needs rest the most is you, I don't want anything to happen to my brother."

“Now you sound like your father. Killjoy." Yunjin wasn't able to see the small pout Jihyo made, but that only meant how comfortable the woman felt being around her. A strange connection had formed that night between the two of them. "Good night."

"Good night."

That time they did remain silent, trying to sleep, covered up to their necks next to each other. However, the minutes passed and Yunjin was unable to fall asleep, there were too many things in her head that did not let her rest. She felt a little tormented by everything that had happened just a few hours ago, so Yunjin instinctively approached Jihyo. It had been so many years since she had last slept with her mother that she wasn't even able to remember how she felt. There was nothing left of that familiar warmth that once existed between them. All she had right now was the woman who was lying next to her.

Without really knowing why she was doing it, Yunjin clung closer to Jihyo and tried to hug her from behind. She slowly circled her waist, until she froze when she felt the woman move. But far from scolding her or pushing her away, Jihyo intertwined her fingers with the girl's, while she herself clung a little closer to Yunjin's body. Without saying a word Jihyo took Yunjin's hand and raised it to her chest.

The girl had to hold back tears once again at Jihyo's gesture. She had already lost count of how many times something the woman did had almost brought her to tears that day. "Thank you." She whispered so quietly that it was impossible for Jihyo to have heard her, since she was saying it more to herself.

Again the minutes passed and again Yunjin couldn't sleep, but this time for a different reason. “Jihyo. Can I ask you another question?” Said in almost a whisper.

“The last one of the night. You have classes tomorrow, don't forget. You know your father gets angry if you miss school.”

Yunjin gave a small smile before speaking again. “Today I was discussing it with Chaewon, and the truth is… I was going to ask you at some point anyway, but I guess after what happened today I don't want to wait anymore… You still don't have to answer right away, and it's totally valid if you tell me no.”

“Yunjin, just ask the question. I promise to think carefully before answering.”

"Okay. I wanted to know if you are okay with me calling you… mother?” The girl could feel a knot forming again in the pit of her stomach, and she prepared to run away at any moment.

Jihyo, for her part, remained silent for a few long seconds, contemplating her response. Then she brought Yunjin's hand up to her face and placed a small kiss on the girl's fingers. “Of course you can, but only on one condition.”

Yunjin's heart stopped for a second upon hearing the answer, but all happiness escaped upon knowing that there was a condition. Without really knowing what to think, she felt Jihyo turn to face her, and although Yunjin couldn't see her because of the darkness, she knew that Jihyo was looking directly into her eyes.

“You can call me mother only if you let me call you daughter.” Now Yunjin was about to suffer cardiac arrest. At this moment that conversation she had had with Chawon the same afternoon seemed so far away, she couldn't believe that it had been on the same day.

With a huge smile Yunjin approached and kissed Jihyo on the cheek. “Then we have a deal… Mother” She felt strange the first time she said it, the first time Yunjin called this woman mother, but at the same time she felt warm. The mere mention of the word manifested a deep connection between the two of them, which although it already existed. Now she was strengthened from one moment to the next.

Jihyo kissed her back by gently pressing her lips against Yunjin's forehead, like she had done so many times that day. “Now you should sleep, or Yunjae is going to scold me for keeping you up late.”

“If you don't tell him, he won't find out.”

“Smart girl, come here.” Jihyo pulled Yunjin close to her, in a warm hug. “I don't want the first thing I have to do as your mother is scolds you.”

"Goodnight mother." Yunjin responded between giggles, while she also hugged her mother.

"Good night, daughter." With a new kiss on Yunjin's forehead, both women prepared to sleep, this time for good. One next to the other, hugging each other. Finally Yunjin's heart was calm, and the girl managed to fall asleep with her head resting on Jihyo's chest.

The next morning they had breakfast together, laughing and trying not to think too much about all the bad things that had happened the day before. They also did not abuse the status they had both earned, after all Jihyo already used to call Yunjin “Honey” or “Dear” in an affectionate way. For her part, the girl was used to calling the woman by her first name, not because she was disrespectful because it had been Jihyo herself who asked her to do so.

After the lively breakfast Yunjin got ready to go to university, and Jihyo sat at her desk next to a steaming cup of coffee. The woman was still wearing her pajamas, but since she worked from home and she was the boss, there was no problem with that. When Yunjin came to say goodbye to her and announce that she was leaving, Jihyo was already immersed in reports and client orders. Even so, she took a minute to wish her daughter a happy day and say goodbye to her.

------------------------------------------------------------------------------------------------------------- 

“You have the SD card with you, right?” Yunjin's eyes widened as her girlfriend opened the car’s door. It had been about half an hour since she left the house, and with all the hustle and bustle of the night before and the cheerful chatter of the morning Yunjin had completely forgotten about the SD card that contained their project. “You forgot itr!” Chaewon quickly accused her when she saw the expression on Yunjin’s face.

“A lot of things happened last night, don't scold me…” Yunjin pouted very sincerely, to which Chaewon responded by rolling her eyes.

“If you don't start the car now and we go back to your house to look for that memory, I'm going to accuse you of your father.”

“Why does everyone suddenly want to accuse me of my father?”

“Because you listen to him, and because you're a daddy's girl.” This time it was Yunjin who rolled her eyes at her girlfriend's words and the giggle that came after. But she ended up laughing with her.

Not wanting to waste any more time, Yunjin started the car and headed towards her home. The girl took advantage of the trip back home to update her girlfriend on the events of the previous night, or at least tell her everything as best she could considering that they were almost late for college. They were probably going to miss the first period of class, but that was better than arriving empty-handed at the project review.

Chaewon let her girlfriend talk while patting her thigh to try to comfort her. She would have liked to do more at that moment, but she was prevented by the fact that Yunjin was driving almost at excess speed and trying not to hit anyone. Fortunately they had the afternoon free, so she was sure that later she would have plenty of time to talk and comfort her properly.

“Do you at least remember where you put it?” Chaewon asked when they were outside the house.

“Yesssss, I already told you. It can only be in one place.” Yunjin almost ran out of the car and didn't even bother to turn off the engine, they wouldn't be there for more than a few minutes.

She was very sure that she had the damn memory with her before going to bed the night before, she was carrying it next to her phone. Which meant that Yunjin had most likely forgotten it on her father's nightstand, so it must still be there.

She quickly headed to Jihyo's office to let her know that she would go to the room to check if the memory was there, but Yunjin found the office empty. Maybe her mother had gotten up to use the bathroom, or she had had to go to the office for something important. Whatever the case Yunjin didn't have time for that now, so she abandoned the idea of telling Jihyo and preferred to just go see if she found the damn card.

Yunjin went up to the second floor and turning down the hallway she faced the door of the room where she had spent the previous night. Normally Yunjin didn't go in there if she didn't need to, but it was clear that this was an occasion where she did. So she opened the door and quickly entered her parents' room. So fast that she forgot to knock on the door in case Jihyo was in there. A mistake that Yunin instantly regretted, because what she saw left her frozen in the spot.

She saw Jihyo lying on the bed with her head hanging over the edge closest to the door, only this time the woman was completely naked. She didn't have any piece of clothing covering her body, and she certainly didn't need it for what she was doing. As Yunjin could tell.

Jihyo played with her heavy tits, which had certainly grown since she'd gotten pregnant, while her other hand held a wand vibrator to her crotch. The woman had her eyes tightly closed as she made small moans, which had surely been the reason why she did not hear Yunjin enter. Who was now gawking at her mother's naked body.

For some strange reason the sight of those huge tits, topped by large brown nipples, was triggering something in Yunjin. That added to the moans and as Jihyo's hips rose and her pussy lips opened in an attempt to engulf the head of the vibrator, all that together had begun to send a lot of blood to Yunjin crotch, where an erection was now forming. It was that or maybe it was the perfect mop of hair that hid Jihyo’s clitoris from Yunjin's view that was making her member throb. Maybe it was all of that combined or what had given the girl the fastest and most painful erection she had ever had in her life. Not even the many depraved things she had done with Chaewon had brought her to that point.

All of this happened in just a few seconds. In a fleeting moment that was interrupted when Jihyo massaged one of her nipples more than necessary, causing a stream of milk to fly that ended up right in Yunjin's face. The girl screamed out of pure instinct, thus interrupting her mother in that very private moment. Jihyo, for her part, opened her eyes wide and stared at Yunjin in shock, petrified in the mid of her movement. With her hips raised and the vibrator pressing against her vagina lips.

[sunthyme]

Ahhh... Savanaclaw. I said the obvious redos were gonna be a trend but I literally didn't redo anything with them 💀💀💀. They came out fine...

🐾 Savanaclaw 🐾

I'm literally so happy with all of them, ong. They all look so good, if I do say so myself ✨😎✨

🐾 Leona Kingscholar 🐾

Once again, y'all have already seen his up-to-date design but tada!

I actually have a ton of new hc info for his background but I'll rant about that later on my writing acc.

Surprisingly (or not because I'm projecting as always), he's an Environmental Studies and Economics double major with a minor in History. While people might argue there's no way he'd do that much, I beg to differ.

This will be covered later too but my friend and I made a joke that he was originally a political science major but switched after dealing with basically irl political science major BS but like anti-beastman (racism) edition.

🐾 Kiki Adebayo 🐾

Nothing much changed here, except her looking way better.

Unique Magic - "Spirits In The Stars": Once per moon cycle, Kiki can speak to a spirit for up to an hour. The spirit is only visible to her and cannot interact with anything physically.

She's a Business major, her birthday is December 30th (Capricorn). She's also in the Horse-back Riding Club.

🐾 Ruggie Bucchi 🐾

So I rendered out the locs this time and WOO BOY, those are time-consuming. So I decided to give him freckles instead of vitiligo. I also returned his eyes to grey, which pop super well.

Gave him a gold tooth, figured he's been in enough fights to have lost a tooth in the process. He's mixed, with his father was not a native of Sunset Savanna and ditched after his mother became pregnant.

He's also a Business major and wants to open a bakery eventually, named after his grandmother.

🐾 Mandisa Jelani 🐾

So I did my curl studies! YIPPEE!! I hit Mandisa with kinda a full redesign, though their colour palette stayed basically the same.

Unique Magic - "Barking Command": Mandisa's voice, for her next sentence, is able to be heard, regardless of physical barriers.

She's actually a Culinary major, as she comes from a similar background as Ruggie and wishes to provide healthy food to the slums.

Their birthday is March 26th (Aries) and they're in the Track and Field Club.

🐾 Rocío Chávez 🐾

I really did her diff, though god she looks better. Gave her gauges and more blue since most of the dorm is yellow themed.

Unique Magic - "Squirrel Squeak": Once cast, Rocío can speak to animals for twenty-four hours. It has a refractory period of seven days.

She's undecided in her major, born on April 26th (Taurus). She's in the Magical Shift (or Spelldrive) Club.

🐾 Jack Howl 🐾

JACK! MY SON!! 😭😭😭

I believe I actually mentioned this in the OG post but I saw people making Jack Inuit and I am sooooo down for that!

I gave him the condition where one's hair goes grey very early on (my aunt went grey at 13 lol) and changed the style a bit.

Actually, he's the one canonic character that I'm trying to tweak the unique magic of. Because, tbh, I hc that any beastfolk can shift without aid like the mer do but.

He's a Botany major, what a cutie!!

🐾 Abayomi Furaha 🐾

My bbygirl!!! I also gave her locs but they're butterfly ones! Also difficult.

Unique Magic - "Change Your Tune": Abayomi can change the sound of their voice while casting to any sound within its audio range.

She's a Music major and is also in the Pop Music Club. Her birthday is November 28th (Sagittarius).

[dearmyloveleys]

;-; i just wanted to say ty for all your posts in the fof tag. now i'm thinking about ying lei and his yeye ying zhao... and now there is no one left to guard the mountain, but ying lei died in the same way as ying zhao, saving people he cares about

Don’t mention it! I blorb too much about things I really like it embarrasses me at times. I’m just glad you like my takes!! Anyway:

😭😭😭😭 this drama exists to hurt us,, I think more than dying for people he cares about (because nearly everyone who died did that), Ying Lei's characterisation and death provides a unique but tragic pov within the main cast

Ying Lei my poor Ying Lei. We don’t really talk too much about him don’t we. So let’s just talk all about him. CHARACTER ANALYSIS TIME YAY

Ying Lei is unadulterated sunshine and has a good heart. Morally, he is on the same page as the rest of the team. Yet, it absolutely breaks my heart that his fate is to be an outsider within the thematic concern of choice in FoF and resultingly, in the narrative.

His place in the overarching thematic concerns of FoF is unclear when we first meet him - he is simply a wandering half mountain god half demon with a bright disposition. But as with many characters in FoF, their appearances aren't just for naught. Ying Lei's representative theme - the freedom of choice and the ability to choose one's identity - finally shows itself in one of the most beautifully written (am biased) episodes of the series, Episode 17, which is all about choice.

In this episode, Ying Lei vents his displeasure of the Wilderness towards grandpa Ying Zhao

"I hate this place. I hate the Wilderness. It's so bleak and desolate. (…) If I have to stay here forever, I'd rather die. (…) I like the mortal world. I like everything that is vibrant and lively."

To which grandpa Ying Zhao gives him his blessing to head to the Mortal Realm,

"…as your grandfather, I respect your decision. You can be a Mountain God or an ordinary person."

His next sentence cements the plight of many demons (and humans) we encounter in the story,

"For many demons in the Wilderness, their lifelong dream is just three simple words… Have a choice."

These three words all the more juxtaposes Ying Lei's freedom to choose his identity, against every other character who faces this fate of not having a choice.

The Lie Demon, unable to say her true feelings until her moment of death, and Fei, who shares similar sentiments as Ying Lei about the mortal world,

"I'm a beast of calamity, I don't deserve to live in the mortal world. But I really like the bright lights, the liveliness and happiness, and the prosperity here." (Ep 13)

And Zhao Yuanzhou, where even in the same Episode 17, echoes Ying Lei's words,

"If this world gave me life to be manipulated by malicious energy, then I'd rather die."

Same words, but a different way out. Or there isn't one at all.

Ying Lei is the only one whose fate hasn't been carved out in stone for him. Even after Ying Zhao's death, he is still able to leave Kunlun Mountain and rejoin the team because he has the support of other Mountain Gods watching over the temple. He is by no means a pampered and spoiled person but he swims in a wealth of freedom. His bubbly, charming and affectionate personality is a physical manifestation of his unburdened self, unbeholden to any ending, except for the one that he wants.

And yet, he chooses a life with the group of people who never have had the option to choose what and who they want to be. Wen Xiao, the Baize Goddess; Zhao Yuanzhao, the vessel of malicious energy; Bai Jiu, determined to bring his mother back; Pei Sijing, the forced breadwinner of her family's martial heritage. To show his determination to be with this group, he never again dons the mature get-up (full sleeved robes and long hair) - his representation of maturing and accepting his responsibility as a Mountain God - after returning back to the Mortal Realm. Rather, he dons the get-up he first roamed the Mortal Realm with (or similar), metaphorically putting aside all that celestial burden in exchange for the friends that he desires. Just who in the group can as easily shed their very roots and history? His precious freedom to choose ironically makes him the outsider in a group whose only wishes are to be able to choose.

He gets along with the team, but no matter how many times he ties the knot of fate around them, these people were never his fate to begin with. Fate found the rest of them and demanded they be bound. Ying Lei wrestles that rope of fate, trying to get in, albeit with rejection. The narrative demonstrates this:

The team was initially formed without him, and he joined later them of his own accord - his own choice - while the others literally were forced to sign a death contract to be together. In the later episodes, his affection for Bai Jiu is often overshadowed by Bai Jiu's respect for Zhuo Yichen. He also continually tries to get both Bai Jiu and Zhuo Yichen's approval - head pats, anyone? Zhao Yuanzhou doesn't trust him to look after the dragon scale. In their conversation with Bing Yi, their team count is five, instead of six. His closest companions within the team are each other's confidants.

Even at his very end, the narrative still denies him a fate with them. He dies for Bai Jiu who is the only person he loves wholly, and fades away before Bai Jiu wakes from his coma. Neither gets to say goodbye. Bai Jiu who genuinely mourns his death, dies for Yichen. In a story where the cyclical nature of fate runs deep, there is no thread of fate that leads back to him. There is no resolution or reciprocation for Ying Lei's soul and sacrifice. Every thread is cut and never retied, no matter how he tries. Siheng has Sijing left to remember him. Yichen keeps Baijiu close to his heart. Wen Xiao and Yichen wait for Zhao Yuanzhou to return. But no one truly reminisces Ying Lei. The only people to do that are dead.

Ying Lei's tragedy lies in his freedom to choose. In a world where most fate is predetermined and choice is a scarcity, his death is all the more painful as every act is a conscious choice toward an unknown end. He carries a burden after all - the burden of writing his own story. And he braved each step with that brilliant smile of his.

我爱这个世界更多 又如何 So what if I love this world even more? 越平凡越长久 The more ordinary it is, the longer it lasts 月亮跟着我点头 The moon nods along with me 简简单单入梦的人最温柔 Those who step into dreams simply are the gentlest 分不清眼泪和酒 真让人挠头 This inability to distinguish between tears and wine, really makes one scratch their head 月亮和小狗默默跟我走 The moon and a puppy walk with me in silence 岁月从不停留 Time never stops once 少年也不回头 This youth also never turns back 他把故乡和爱留在身后 He leaves behind both his hometown and love

- 英雄不磊落 (Heroes Are Not Upright) | Ying Lei's Theme

[kcokaine]

(TW: assault/abuse mention)

I don’t wanna be devil’s advocate here but it needs to be pointed out that assuming someone likes irl the same things they like in fiction is faulty logic. By the same logic one could just assume you are a murderer or someone who would commit murder or cannibalism irl based on your fic. And what to think of Gege himself? Are we going to assume he is a p*do or, a child murderer or a cannibal for including those themes in his work when he could have written about anything else? (to be clear, I’m NOT assuming any of that because that would be ridiculous.)

It’s perfectly valid to not want to engage in problematic ships but going as far as saying the people who write them are all like that irl is a step too far.

I’ve seen people self admittedly writing underaged incest fics to work out their own trauma about being assaulted as kids. It feels wrong to assume they’re implying what happened to them wasn’t wrong or that they wish to repeat it. We’re all living in the same world and we all cope with it differently. If it helps to explore a horrible scenario creatively to do so I can understand even though I don’t agree or use the same method. Sure, some people out there do horrible things, but the greater part of use is just trying to get by.

Not saying any of this to be combative or “calling you out” or anything, but please do take these points into consideration. Going around making sweeping assumptions about people who don’t know on the internet like that is irresponsible.

I'm not even gonna read this whole thing because you clearly didn't read what i said or just lack reading comprehension. In the first sentence you are literally misinterpreting my words already. I didn't say all people that like fictional pedo shit are pedos irl, I said it is many times the case they are attracted to children even irl, i didnt say it has to be the case. I called it a slippery slope and i said it is just not a good look. BECAUSE, those characters look like children shota/loli is the case. You have no fucking business being attracted to those things TRAUMA OR NOT. People use media to cope, thats their thing, they can do that im not taking it away from them. But being attracted to children doesn't make trauma your excuse. Trust me, I'm very open minded and i try to find moral reasoning and understanding in all things. Fetishes, kinks, coping. It's all fine, but there are cases where people are just straight up fucking pedophiles and their harddrive should be checked. Also you explaining to me that gege writing sukuna as a cannibal and meimei as a pedo doesnt make him a cannibal pedo is funny. You think I don't know that? My own characters are all horrible people in many ways and its not because I am that. I'm just making realistic takes on issues in the world that many people have. The problem is fetishization and glorification of those said bad things. People that jerk off to drawings of kids are glorifying those things.

You think george r r martin is an incestious, murderous, rapist, pedophile because he made game of thrones have problematic topics accurate to the period they live in? Realism and fetishization is a massive difference.

I don't think its wrong to like Cersie, Jamie from game of thrones. I don't think its wrong to like meimei. They partake in horrible things but that doesn't mean you agree with them, that doesn't mean you like those things. You like them as characters, their complexity. You don't like loli porn for its complexity, you want to jerk off to little kids in a legal way.

[haru-dipthong]

Ep 4 of my Utena fansub is out!

This has absolutely been the toughest episode yet. It has several difficult phrases, the most dialogue of any episode up to this point, and a few phases that are really important to future episodes and core themes.

This episode's translation discussion

ねえ、じゅり先輩

Can I ask you something, Juri?

The bane of every translator’s existence — 先輩 (senpai). As I’m doing with 様 (sama), I definitely don’t want to include it untranslated as an honorific, but unlike 様 (sama) there’s no English word that could possibly be used in the same context to convey similar information. Instead, I’m trying to slip in some of the hierarchy in the characters’ general speech patterns. Here, the translation invents a whole sentence for Miki to show a bit of deference to Juri, instead of using the honorific.

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テクニックでねじ伏せるようないつもの迫力じゃなくて、なんだか音に潤いを感じるよ。

Your technique is usually so forceful and commanding, but today the notes have a kind of richness to them.

According to jisho.org, ねじ伏せる means “to twist someone's arm and throw them to the ground”. 迫力 means “force, impact, strength”. Touga’s verbiage here is intentionally violent. It indicates that underneath Miki’s polite, almost feminine demeanour and appearance, lies a boy who is already being moulded by patriarchal forces into a force of oppression. It was important to keep that hint of Miki’s potential for violence and oppression in the translation.

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前に言ってた、輝くものでも見つけたのかな？

Did you ever find that "glow" you were talking about earlier? (from ohtori.nu)

It seems you may have found that guiding light you were telling me about. (my translation)

This was a really tough translation, and one that has implications for the future, because I believe 輝くもの is used when listing the council’s reasons for duelling in later episodes, so the translation I chose needed to fit in that context as well.

Depending on the kanji used, もの can mean either “thing” (物) or “person” (者). A Japanese transcript I found actually uses the “person” kanji excusively. So it could be translated as either “something that shines” or “someone that shines”. I think I managed to preserve this ambiguity in the translation: “guiding light” could be a literal light, or it could be a metaphor for a person who’s very important to you.

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自分の中に永遠の美しさを持ってないと引けない曲なんだ

It's an ode to a beautiful life, where things never change. You need to believe in that to play it.

The Japanese literally translates to "This is a song [you/I] can't play unless [you/I] carry [eternal beauty/the beauty of eternity] within yourself". The subject of the sentence is omitted - is he talking in general or specifically about himself? Is 永遠 here acting as a noun (eternity) and の marks 美しさ as belonging to it (beauty of eternity) or is it acting in the genitive case and modifying the noun 美しさ instead (eternal beauty)?

These are all questions that matter in terms of making sense of the line, but not in the immediate sense of the translation, because the translation pivots on a different axis: 自分の中に…持ってないと. In english, translating this literally (carry … inside yourself) sounds unnatural. I think the Japanese gives more of an impression of carrying a worldview of eternal beauty; of seeing the world as a world that has eternal beauty. Textually, what Miki is talking about is carrying a dream of reliving the happiness of the past again, and then keeping it forever. He’s desperately trying to preserve that perfect time in his life, with him and his sister side by side playing that song in the sunlit garden. That's actually what this is about. And his duelling loss, and the scene where the image of the garden shatters, represents him finally being forced to move on from that need for permanence.

Permanence (or as most translations have it, “eternity” — 永遠) is a core theme of the work. All of the characters, in some way, are trying to preserve a form of status quo, or regain and retain a status quo that has been lost to them. Though Miki uses the word 永遠 here, I decided not to directly translate it. Rather than relying on the recurrence of a single noun to carry this theme, I wanted to allow the theme to stand on its own merit. I think translating it variously as “permanence”, “eternity” and other edge cases as I’ve done in this line ("where things never change"), will allow me to better convey this theme of wanting to keep things as they are, and the necessity of change and of letting those things go.

-----

Thank you to my editor @dontbe-lasanya (I still can't believe I get to say "my editor" lol), I'm sure it was as tough to edit as it was to translate!

For all episodes released so far, see the below drive folder. Be sure to follow the blog for updates if you want to watch along!

[dingodad]

genuine thought what do you think of jane's writing for all of postcanon? i feel like its been a big missed opportunity on both timelines to make her go down incredibly similar paths (really weakening a lot of themes about nurture > nature that homestuck previously loved doing), and i feel like everything involving her still is something that dogs the narrative when i read new updates. that could just be me though, i try not to read much opinion on hs2 outside of a few people i trust to post analyses of it LOL

it wouldn't be right of me to comment on this with any confidence or in any depth until i've done my Epilogues reread at the very least, and ideally reread Homestuck proper to get a real grasp on jane as a character, but i have already commented on how easy it is to see jane's descent into fascism as a pretty logical extension of her liberal-conservative leanings in youth.

the bit about both janes being largely the same character is, i feel, part of a completely different problem, which is that since the Epilogues' conclusion the continued story has struggled to make good use out of the two-epilogues premise. only a handful of characters really are meaningfully different across the two epilogues; and within the Epilogues themselves this works perfectly okay! because I don't think "nurture > nature" is really a fair simplification of Homestuck's philosophy; the characters' intrinsic natures are significant driving forces behind the story, and from what I remember of my initial Epilogues-reading experience we were never really meant to think of the two epilogues as different stories. rather, they weave together and echo and reflect each other as they show us how characters with the same nature respond to slightly different stimuli, just like different iterations of the same characters do in Homestuck proper. Jane maintaining a similar presence in each version of the narrative is one way it cements that connection.

it's unfortunate that for Jane it had to come together in such a way that dredged up all these implications about girls getting in the way of yaoi, but ultimately and without a doubt making some of the established human characters into the new villains was the most interesting direction the story could have gone in, and after all the spotlight Dirk has got I think it was about time one of the girls got a chance! and i think that's such an important consideration; if one allows oneself not to be bothered by sentimentalities about which characters they like, and which characters they think would or would not agree with their political opinions, evil Jane is a COOL development for her character. and my personal thoughts on the matter, which are largely echoed by Homestuck's sensibilities as a whole, are that female characters should always be allowed to develop in ways that are COOL, even if they are controversial.

the thing is that by the end of the Epilogues the two stories have truly diverged, and the sequel is given the unenviable task of continuing to give these two radically different takes on Homestuck equal reverence - immediately, the concept of two evil Janes becomes not an anchor keeping two similar worlds together but a redundancy keeping them from meaningfully exploring their differences. put another way, something just isn't COOL anymore when you have to do it twice. hence, I can only assume, the decision to grant one Jane the grace of Redemption while the other only spirals further into villainy.

the two takes on the sequel have taken radically different approaches to solving this quandary; HS^2 dedicated itself to a strict schedule of alternating meat and candy stories, which gave us a lot of variety in the kind of stories told but also contributed significantly to its overall really unfortunate pacing issues. Beyond Canon meanwhile has shown open favouritism to one particular storyline, which has allowed us to really immerse in and engage with that particular world but has all but sentenced the other versions of the characters to languishing in irrelevance the rest of the time. that being said, the glimpses we've seen of the other timeline have been able to set up some really intriguing hooks for future story developments, so it might just be too early to make any real judgements about Jane's treatment in this new medium. "good" Jane was put in a really awkward position by having her arc delegated to an exclusive patreon spinoff with no real place in the main story, but Beyond Canon has communicated a clear intent for this arc to pay off, so i fear we janeheads may just have to cross our fingers and be patient for the time being...

[weaselandfriends]

What makes prose good unto itself (and not just as a delivery mechanism for plot/character)? Despite being an English major I never really grokked this, beyond basic advice like "use significant images."

I would break down prose quality into two major parts, each of which is very broad and can be achieved in many different ways.

Part 1: Is it good aesthetically?

This is very simple. Does the prose sound good? This is usually achieved via a lot of high school English test terms, stuff like assonance, consonance, alliteration, rhyme (internal or not), meter, repetition, etc. but can also be a factor of syntax and word choice: "dismal" is generally a more evocative word than "bad," for instance, though given context one of those words might sound better than the other. Bad is shorter, harsher, more abrupt, compared to dismal which has the S and L sounds that glide. Dismal also sounds more British, which comes with its own array of connotations that can affect how the reader reacts to the word. Compare "I pray you burn in the flames of eternal damnation" to "I hope you die in a fiery death."

Punctuation, sentence length, sentence structure all make some kind of change to the way a sentence reads. Parentheticals, abrupt stops, sentence fragments. They influence the aesthetic experience of reading the text, and the best prose wields all these tools (and more) strategically to create the greatest aesthetic impact. If someone is specifically trying to make their prose unobtrusive to the semantic content of plot and character being conveyed, they are surrendering aesthetic control.

Part 2: Does it contribute meaning?

It's one thing to craft a beautiful sentence, but if it's beautiful simply for the sake of being beautiful it can often come across as needlessly indulgent. (The purple prose criticism, though in my experience most truly purple prose is aesthetically bad.) The best prose is also contributing to the meaning of the work through its aesthetics. The most obvious way this is done is through tone. Tone is how a story feels, and in many ways is far more important to a work than plot or character. A horror story has a certain tone. A comedy has a certain tone. To an extent tone can be conveyed via plot (i.e., a story where people are murdered will innately have a different tone than one in which they are not), but most of the heavy lifting on this front is done by the prose: a dark, oppressive atmosphere will put a reader on edge, even before someone is slashed in the attic.

Beyond tone, prose can provide insight into character (especially in free-indirect discourse, AKA close third person, which is extremely popular in contemporary literature) or theme. Symbolism, metaphor, various other literary devices can be used to this effect, or even simply more mundane elements like sentence length. Cormac McCarthy wrote two novels about brutal, violent journeys through utter waste lands - Blood Meridian and The Road - but the vast differences in the prose of those two novels make starkly different statements about what that violence means. Blood Meridian being a work of excess, of hedonism, while The Road is a work of restraint, of emptiness, of lack. And this is even with both works doing many of the same of McCarthy's goofball punctuation gimmicks.

I don't think anything I said here is very deep or difficult to grasp, and in other artistic mediums correlated concepts are taken for granted. In film, if you want to convey information in the easiest-to-understand method, then just do shot-reverse shot as two characters talk. It's simple, basic, and if what the characters are saying is interesting, nobody will notice. But the best films use blocking, dynamic camera angles, and varied shot length and composition to subtly make statements about character, setting, tone, and theme, while also simply looking more aesthetically pleasing. That's what prose can do for a work of literature. And the truly best prose stylists, the people pushing the boundaries of what can be done with language, will come up with prose compositions that I would never even expect.

[mrcompass]

Fun facts about Tetsuya Watarigani.

Tetsuya's given name means “wisdom,” “philosophy,” or “sage.” (哲 tetsu); "Tetsu" is also the Japanese word for "iron", a metallic element. His surname means:

渡 (watari / wataru) – “to cross,” “to traverse,” “to go across.”

蟹 (kani / gani) – “crab.”

In the japanese dub he is often called by his surname.

Tetsuya is the first character to defeat Gingka (by episode order in the show), although he cheated.

He is also the first character to wear a cape. Other characters, most notably villains, also wear capes—such as Ryuga, Damian, Aguma, and Rago. Coincidentally, Gingka battled all of them and suffered a loss or had someone close to him hurt by one of them.

Tetsuya's hair looks similar to algae.

He is the first and only character for whom we see both parents on screen.

Tetsuya is also the second character to appear as an infant, after Kyoya.

We also see multiple stages of his life, from babyhood to adulthood, as he has a cameo at the end of Zero-G.

Tetsuya is the first character to have a mode change involving the spin track. However, in the series, it was portrayed differently from reality—Mad Gasher can extend its performance tip, and later the CH120 track extends far beyond realistic limits.

After he lost to Taraba his Gasher was scrathed making a frowing face which is also visible in Tetsuya's cape.

He is the first character to have a Gasher Beyblade. The original name of Gasher was Cancer, representing the constellation of the same name. It was changed in the Western dub, likely to avoid association with the disease.

Tetsuya’s Mad Gasher was upgraded to Dark Gasher in episode 28 by Daidoji’s machine, making him technically the first character to have an evolution/upgrade of his Beyblade, long before Gingka or Ryuga.

He is one of the three characters which used the machine, at least that we know of, as the twins Reiki and Dan had also their beys upgraded.

At the beginning of Fusion, he was considered somewhat part of Gingka’s group of friends despite refusing to change and continuing to cheat.

The Garcia family—notably Selen and Enzo, who also have Gasher Beys—use disloyal tactics to win. Selen even reminded Madoka of Tetsuya when she battled Masamune.

Madoka seems to dislike Tetsuya, and this is understandable since he kidnapped her. She was even somewhat relieved that Cancer wasn’t a winter constellation; it is actually a spring constellation, just like Leone.

Coincidentally, Tetsuya briefly and somewhat took Kyoya's spot as the leader of the Face Hunters.

Kikura Gen from Zero-G seems to be Tetsuya’s counterpart, as both have sea creature-themed Beyblades, are comedic characters, and rely on their spin track in battle.

Though Tetsuya appears weak, his Dark Gasher is a good stock combo thanks to its heavy Energy Ring and the CH120 track, which is excellent for attack combos.

Tetsuya is the third character to have the Dark Fusion Wheel, and like the previous ones—Dark Wolf and Dark Bull—his Beyblade has a direct connection to Daidoji and the Dark Nebula.

Tetsuya shares some similarities with Johannes: both are early villains in a season, obsessed with animals (cats/crabs) related to their Beys, have extendable spin tracks, and can be comedic even while behaving dangerously toward others.

In the Japanese dub, he often ends his sentences with "kani," the word for "crab."

He mimics a crab’s pincers with his fingers by making a V-shape, which is also a gesture commonly associated with victory.

Fans often group Testuya with Tobio and Ryutaro as a trio, even though they never appear together in the anime or manga. In response to a fan request for a name for this group, series creator Takafumi Adachi dubbed them "Death Stream Scissors".

Interestingly, they battled together with Masamune in the movie to take down Helios.

The characters he battled the most are Kenta, Gingka and Osamu since he battled all of them three times. However Tetsuya technically fought Gingka in two more duels, because he divied one battle in a best out of three after he lost the first one.