#all of this is my own opinions about my own life

[libraryogre]

I wrote something similar to this... less aboyt unfucking specific ancestries, and more about the philosophies behind racism in RPGs.

So, recently, I've started saying "More Pratchett than Tolkien" to describe my approach to D&D (and other RPGs, but it seems to be more an issue with those who prefer older versions of D&D). But what do I see that as meaning? I've got a few points on this; mostly what I perceive as being the core parts of a "Tolkien" mindset of game worlds, versus a "Pratchett" mindset. Note that I am not ascribing these opinions specifically to JRR Tolkien, but rather than Lord of the Rings is frequently invoked as defense of them. After this, I'll avoid referring to this as "Tolkien" or words derived from that; my statement is pithy, better for a signature than discussion.

1) Racism as a necessary component

One of the primary objections to playing a "humanoid" character is that the character will face insurmountable racism; the 1e DMG says "So unless the player desires a character which will lurk alone somewhere and be hunted by adventurers", before going on to explain that one might want to play a gold dragon, because it can look human, but that no gold dragon would want to do this. The games will often include something like a "Basic Acceptability of Racial Types" table; 1e has one in the PH to cover humans and demi-humans, and the DMG has one to cover most types of humanoids in their interactions with each other; Hackmaster includes it in the PH. With this, it is argued, the game wouldn't be "realistic".

Leaving aside the conception of a world which must, necessarily, include often violent racism, it also shows a lack of imagination, or consideration of the nature of the world presented in D&D and similar games... while many different species live in the world, Good and Evil are real and quantifiable things, and there are gods who can communicate relatively freely with their worshipers on the Prime Material (if they don't live there themselves). A view where violent, unexamined racism can leave one still aligned as "Good" is one that is alien to any understanding of the word "Good" that I have, much less the definition of "Good" as laid out in the 1e DMG. "Basically stated, the tenets of good are human rights, or in the case of AD&D, creature rights. Each creature is entitled to life, relative freedom, and the prospect of happiness. Cruelty and suffering are undesirable." (p 23) How is this compatible with the idea that Good people can freely kill non-combatants of "evil" races?

A particularly evident argument of this is seen in half-orcs (and, in Hackmaster, half-hobgoblins). The 1e PH states that "some one-tenth of orc-human mongrels ore sufficiently non-orcish to pass for human." (p 17). Hackmaster has "Note that even where hobgoblins are acceptable, half-hobgoblins are mistreated and disliked by the locals. Half-hobgoblins share a special bond with half-orcs,alongside whom they are often persecuted as beastly monsters." (HM PH, 31) Despite both being specifically being called out as being non-sterile hybrids, the only consideration is that all half-humanoids will "will always have an human mother and have been born and raised in human lands" and be "The offspring of questionable parentage and violent couplings" (HM PH, 31); none will be, for example, the offspring of a mommy sil-karg and a daddy sil-karg who love each other very much. Hackmaster mentions that "The city of Prompeldia has developed a sizable sil-karg quarter that is threatening to become large enough to count as its own culture." (HM PH, 31). But all will be "The offspring of questionable parentage and violent couplings."

A Pratchett-style view of the game does not pretend that racism does not exist, but rather disputes the idea that it is insurmountable. The dwarves and trolls of Ankh-Morpork do begin with hatred, but they reach an uneasy peace when forced into proximity by the city. Sam Vimes, like many in the city, is riddled with prejudices about non-humans and the undead, but he overcomes them as he deals with them as people. Some of this is inspired by Carrot, the human raised by dwarves, who still considers himself a dwarf in many respects... but also respects all people, learning their names and treating them as citizens, not as trolls or gargoyles.

2) Race as unbending identity

"Humans with pointy ears" is frequently invoked when you have a non-human character who is perceived to act unlike their stereotype, or one of the acceptable range of stereotypes. Are your dwarves "not dwarven enough?" Does he like wine instead of ale? Does he shave his beard? Is he a dagger wielding tunnel rat, instead of a chain-mail clad warrior with an axe? You're playing a short human, not a REAL dwarf.

This also tends to get invoked when dealing with traditionally hostile non-humans. An elf or dwarf might violate their racial alignment, but a good orc? Unheard of. It's argued that it is impossible for any of the "humanoids" to be other than their Monster Manual entries, despite that never really being written anywhere, and several counter-examples, especially from 2nd edition (such as the Monster Mythology deity who prizes his good bugbear converts). Gary Gygax, revered by many old school gamers, even stated "The old addage [sic] about nits making lice applies", referring to noted proponent of genocide John Chivington's statements about Native Americans. As I have argued before, Dungeons and Dragons owes a lot to Westerns, and the attitude towards humanoids in a game tends to mirror the attitude towards Native Americans in contemporary Westerns; in Chato's Land (1973), you have a half-Indian protagonist, while Dances with Wolves (1990) presents the Native Americans as the sympathetic characters.

One objection to having the possibility of non-evil humanoids is the idea that a DM may use these as "gotchas"... "You killed all of these orcs but they were secretly good so now you're all evil!". But this argument fails, in my opinion, as one could also use that as an argument against DMs... "We found a vorpal sword in a crypt guarded by a skeleton with no legs!" It is always possible for a bad DM to make a bad game.

A more Pratchett-style game recognizes that the stereotypes exist, and may be the norm, but they are not the only way characters of that race can be played. Pratchett's dwarves are uniformly male-presenting, with beards and axes and iron boots, with one's actual sex being so concealed that the beginning of a dwarven courtship is "find out if the person is the correct gender." In Feet of Clay, however, we're introduced to Cheri Littlebottom, a dwarf woman who doesn't want that. She wants dresses and jewelry, lipstick and high heels welded to her iron boots. It is noted to be unusual. Other dwarves react with disgust... but it also doesn't make her impossible to exist as a character. Other examples include trolls who join the watch, vampires in the Überwald League of Temperance who abstain from intelligent blood, and golems who buy their freedom to become their own selves.

3) Only certain races are proper.

Some of this ties into the distinctions drawn between humans, demi-humans (elves, dwarves, gnomes, and halflings), semi-humans (half-elves, half-orcs, half-hobgoblins), and humanoids (orcs, goblins, gnolls, etc.). In the older game mindset, players should only be humans, demi-humans, and semi-humans; anything else is too weird or outlandish. For this, I will set aside the humanoids; I feel the objections to them are largely addressed above. This is addressed to what are often seen as the more exotic races... dragonborn, warforged, tabaxi, and the like.

The older mindset tends to describe these are unnecessary. I've even had someone describe the non-evil drow, minotaurs, and other uncommon races described as "played out", as if the dwarves with beards and axes griping at the elves of the forests isn't itself cliche at this point. The small stable of relatively human races is seen as a bonus... provided they don't go outside "appropriate" for their species, that they're human-like is enough. Orcs and humanoids are rejected as above, but there's also examples like Lizardfolk (who have always been Neutral, if cannibals) who are part of the world, but considered too out there for PCs.

The Pratchett-inspired game eschews this; while golems are unusual in Ankh-Morpork, and certainly powerful (more powerful than you might want in a low-level game), Warforged are a similar idea, but rendered playable. Tabaxi represent a different kind of character than "short and resistant to magic in some way". Dragonborn evoke the namesake of the game, again providing a different sort of character to play. That these exist don't invalidate the options to play elves, dwarves, and halflings. A Pratchett-inspired game will have a more cosmopolitan approach to races, both in terms of racism (as above), and in terms of options.

Unfucking Dungeons & Dragons

The concept of some humanoid or near-humanoid species being naturally inclined to evil is a racist one, and, unfortunately, a prevalent one in Dungeons & Dragons, exacerbated by the fact that these “evil species” are frequently the “ugly” ones. Drow are a particularly glaring example - “made black because of their ‘evil’”?! Fuck you - but the duergar - “the slaves … learned only to enslave, really makes you think don’t it” - and the orcs - “they feel the CALL to evil in their Gruumshy HEARTS” - are also super not good. (There’s also a fair degree of ableism, with “insane” monsters - in such cases, I honestly think “unaligned” would be a better description for “too far gone to understand morality”. Evil implies a choice.) Honestly, I wouldn’t mind so much if these weren’t supposed to be naturally-occurring species - always evil demons or fey are fine, because they’re made of magic and stories, although care should of course be taken not to make them look like naturally-occurring species - but elves are really just fragile pointy-eared monkeys, and they have excuses. However, these evil humanoids are also genre staples and often quite aesthetically good. To that end, I offer the Unfucking D&D Guide, which provides what I think are solutions to this problem. (It should be noted that I am whiter than plain yogurt, so my ideas should be taken with a grain of salt and definitely not take precedence over the ideas of non-white folks. If I’ve said something fucked-up in this, please let me know and I’ll fix it.)

Duergar. Keep the “enslaved by illithids, made grim & psionic” bit, toss the “learnt evil from them” part. The duergar are joyless, or can appear so - you can play them either as gloomy and fatalistic or as eccentric and unreasonably concerned with “corruption” - but despite whatever mood they possess, make sure that they are thoroughly dedicated to making sure the horrors of the Underdark stay in the Underdark, and are as righteous and honorable as their hill and mountain cousins.

Derro. The derro are an “insane” species; I bring them up only because I saw them confused with duergar in one post about racism in D&D. Their lore has not been constant - the current lore is “dwarves enslaved by illithids, tortured into madness, and now they’re eeeeeeeevil”, which is ableist, not racist - but their metatextual origin is among the detrimental robots, or Deros, of pulp author Richard Sharpe Shaver’s stories (or possibly delusions). “Born from the dreams of a mad author” would actually be good lore if you can make that author a tragic sufferer of schizophrenia in a time before it was understood rather than an ~*~eViL mAdMaN~*~, but in any event, change their type to construct, fey, or fiend, and, most importantly, don’t take them seriously. The derro are pulp villains, and their evil is grandiose and nonsensical. They ought not to be seen as realistic; they ought to be seen as Snidely Whiplash, Commander Claw, or Heinz Doofenshmirtz. “Reasons” are for other genres.

Drow. Return drow to their mythical roots as trow, nocturnal hunters, tricksters, and magical artisans dwelling in the hollow hills. There’s high and wood elves; dark elves can find a niche. Lolthite culture is good villain fodder, but make sure that you can handle an “evil religion”, and make sure that all types of elves participate.

Goblinoids and trolls. Make them fey, and abandon Tolkien for Rossetti and folktale. Goblins make cruel bargains; hobgoblins attend faerie courts; bugbears hide in closets and create electricity from feed on children’s screams; trolls lurk under bridges and love riddles. As fey, they’re not evil, simply alien and lacking in empathy towards mortals.

Gnolls. If you use the Volo’s lore, change their type to fiend and be done with it. If you want to have them be natural humanoids, go read Ursula Vernon’s Digger for the best-written hyaena-furries in literature and base gnolls off that once you’re done crying.

Kobolds. Kobolds are already draconic cleaner wrasses in lore; there’s no reason that metallic dragons can’t enjoy them as well and influence some populations to good.

Illithids. The mind flayers certainly have great potential as villains. However, there is nothing about their psychology that impels them thither. Their biological requirements could easily be met by feeding on those close to death, whom I might imagine would willingly donate their brains as food or tadpole incubators in exchange for a painless death and the surety that their memories would live on in the illithid. Also, create food and water spells exist.

Ogres. Ogres are wilderness-dwellers who prefer to maintain their personal territories through fear instead of actual force of arms; the idea of the monstrous, anthropophagous ogre is a deliberate sham. They are actually capable of great heroism, even if they aren’t exactly the sharpest tools in the shed and okay to be honest I started out trying to build up to a Shrek joke but I think I’d take this over canon lore.

Orcs. Orcs are an easy fix; all you need to do is remove Gruumsh from the equation and they don’t have a bullshit “call to evil”; in Eberron, without objective gods, the people of the Shadow Marches believe that half-orcs are the proof that orcs and humans are one people, so there’s even in-game precedent for orcs as members of society.

Yuan-ti. There are two ways to do this. One is to dump all the lore and just have sexy snake cults, although don’t dress them like Asian or Aztec stereotypes like a lot of the art does. (The 3.5 Monster Manual yuan-ti pureblood looks like she’s constantly accompanied by an inappropriate bamboo flute riff, I swear to Istus.) A sexy snake cult (and I am including malisons, abominations, and anathemas in the term “sexy”, not just purebloods) should be fun for everyone.

The other way is to keep their personalities and dump everything else, because if you keep that, you get truly excellent villains. I mean, these fuckers. How dare they drag something as pure as snakes into their Ayn Rand bullshit. Villain yuan-ti should be something transformed from willing or deluded humanoids (histachii raise the sacred snakes and the children of the yuan-ti, who possess their parents’ original race at birth). Couple that with the fact that since snakes very definitely have emotions, yuan-ti logically should as well, which means that they only think they’re above emotions. Now you have Objectivists roped into a magical pyramid scheme, which should offend no-one who doesn’t deserve it. You can mourn for the beings they once were, or just laugh in their dumb faces. Also, the sexy ones all look like Ayn Rand.

[jaehaeryshater]

The King Come Over and his bride Ygritte Firekissed

art by : @shripscapi

Look at my King dawg we’re definitely getting through the Wall!!!

For the last month and a half, I have been working closely with Liesl to design concepts for Jon as King Beyond the Wall and Ygritte as his Queen. Personally, I’m not invested at all in Jon becoming King of the Seven Kingdoms despite him being my favorite character. He’s not very connected with the South and I don’t feel that it’s his birth right or anything, even being the son of Rhaegar. I am significantly more interested in him becoming King in the North, but my interest in Freefolk culture has led me to be far more invested in the idea of him rejecting Southron society as a whole and becoming King Beyond the Wall (this isn’t necessarily mutually exclusive to being King in the North later on).

The motivation for Jon becoming King as opposed to Mance stems from a theory that has been around since AGOT has come out: that the Others will only treat with/negotiate with a Stark. In the prologue of AGOT, when the Others are speaking among themselves before killing the Watchmen, what if they were confirming with each other that Waymar Royce was not a Stark and that they could go ahead and kill him? All in all, it doesn’t really matter if this is true, but rather that this is a plausible rumor that could easily have been passed down among the Freefolk which could lead Mance to conclude that Jon as a leader would give the Freefolk the best chance of survival. It’s not very hard, at least in my opinion, to imagine an AU like this, since survival is the most important thing to the Freefolk during the events of ASOIAF. But is it plausible that under these circumstances that Jon would abandon his Night’s Watch vows? I think so if he can be led to believe that only Stark blood could defeat the Others, but that is not the only factor. Jon Snow is insecure about his bastard status, plain and simple. He’s always lived in the shadow of his Robb, though he loved him. He’s wanted Winterfell, though he didn’t want to nor had any intention to take it from Robb. But he’s known since he was a small boy that he could never Winterfell and that would never inherit anything because he was a bastard. Jon also has thoughts, at least in passing, that Ned loved Robb more than him. He perceives Ned as having been more proud of Robb, of looking at him differently than himself. He’s seemingly always believed this, but there is a sort of confirmation of Jon’s feelings when Ned allows him to join the Night’s Watch without much preparation on what the Watch is actually like. Fully me making assumptions here, not something Jon has explicitly thought, but it’s unlikely that Ned would have sent Bran off at 14 to the Watch without much warning of what it was like, had Bran not become paralyzed. While we never get this exact thought process from Jon, in my opinion it fits into his psychology and insecurity. All this to say, if Jon is offered to be a figurehead, King, a title equal to his brother, but without taking anything away from the Starks or from Robb, that would almost certainly scratch that itch in him. It would be of his own merit, and there would be people behind him that don’t care that he’s a bastard, don’t see him as less than, and are willing to accept him for who he is. Not to mention that it also lets him feel like a hero and as if he is saving something far more precious than himself. And it probably doesn’t hurt that he would be able to remain with Ygritte as well.

We know from the descriptions of Mance and Dalla, as well as from being told directly by the former, that the King and his wife dress like all the other Freefolk, in thick furs. While the Jon and Ygritte arts from above are not particularly ostentatious by Southron standards, they are in obvious contrast to how Mance and Dalla are dressed. My idea was that Jon, having lived South of the Wall in a Lord’s keep all of his life, brought his own ideas to the Freefolk and added a distinction between a King and all other men. Nothing like in King’s Landing, all changes are inspired by his experience at Winterfell. I tried to think of what was achievable by the Freefolk, that would be difficult enough that it can’t be easily replicated for everyone else, but also keeping in mind of what could be done relatively quickly seeing as the Freefolk are focused on migrating South and saving themselves from the Others. The cultures I took inspiration for the clothing from are the Byzantines, Russians, Incans, Aztecs, and Mongolians. I wanted more “open” and flowy clothing, as opposed to more closed off and excessively modest clothing of 1300-1500s Europe that most of Westeros is based off of. Ygritte is still wearing furs, but they are dyed and there is weirwood embroidery in symbolism of the Old Gods and flame embroidery to symbolize her being kissed by fire. Her jewelry are simply clay beads that have been powdered blue. I didn’t want to give her any jewels as I felt it would be too difficult for the Freefolk to cut them directly and just overall would be against the spirit of the Freefolk. However, getting the blue on the clay like that still would be expensive and take a lot of time. I tried to keep the main color scheme surrounding gray as obviously that’s House Stark’s color. Jon’s clothes are similarly nice, with my main concern being him looking intimidating. I want the furs around his shoulders to be black because I wanted to call back to his time in the Night’s Watch without him keeping his psychical cloak, because I’m sure the Freefolk would not want him to do that. The furs are massive and make his shoulders look far larger, in an effort to make him look more intimidating, especially on a battlefield or in negotiations. He also has weirwood embroidery and his sigil is on the front of his outfit (my original idea was for him to have a flag with his heraldry on it, in which case the sigil would have looked far different, with a full length direwolf). There’s a white wolf on one side and either a crow or eagle on the other side (up for interpretation, both are relevant to Jon and one is one of the animals that can be used a symbol of the Freefolk) and the flame in the middle to represent Ygritte. The sigil is more than about Jon, after all, as it’s for the entirety of House Whitewolf, the House he founds. I thought the name fit far more in to Freefolk culture than something like Whitestark or something along those lines. Ygritte was supposed to have sewn on the sigil herself, and was very adamant about it, and that is meant to be why the thread is uneven and more visible than it ought to be. She’s not very good at the craft!

As I indicated before, crowns are not something common to Freefolk. That would be something else Jon would implement. Ygritte’s crown is very much like a hat, very casual. The beads are nice but obtaining them wouldn’t be unheard of, and holly most likely would not be particularly hard to come by. The reason I gave her a crown with holly is that during Christmas in the Tudor period and even before during pagan celebrations, people would go out into the woods and find holly and ivy to decorate their houses with. Holly was a symbol of masculine energy and ivy feminine energy. If you found more holly, it was meant to indicate that the man would rule the household for the year, and if you found more ivy then the woman would rule the household in the coming year (this was a way to “tell the future” not a rule lol). I liked the holly better for Ygritte so I’m just saying the Freefolk had the opposite belief. Jon’s crown is made of weirwood, which was important to me as I feel like his connection the Old Gods is also important as it is something that him and Freefolk both use to guide them. It ties them together. That being said, a weirwood crown is often used for Bran so I did not want to use a design that was too similar to the one used for him. Bran’s weirwood crown usually is made of weirwood branches, however, and not weirwood bark or logs, so I feel like it’s different enough. The frozen weirwood sap, as far as I know, is also unique to this design. There’s also some ivy to parallel with Ygritte’s holly.

The remaining bits and bobs I wanted to explain are the blue rose and then the face paint. The blue rose is obviously something associated with Lyanna Stark, who is widely accepted to be the mother of Jon Snow. I originally wanted to give him a rose somewhere, whether he was holding it or it was in his embroidery, but I forgot to ask during sketching, and then it was too late. But Ygritte holding the blue rose isn’t just about Lyanna. It’s also about Bael the Bard, a most likely fictitious person (or at least, the tale is fictitious, though I personally choose to believe it’s real) that went South of the Wall posing as a bard. He impressed the Lord of Winterfell so much that he granted Bael anything he wished; all Bael asked for was the most beautiful flower in Winterfell. This was granted for him, but the next morning he had stolen the Lord of Winterfell’s only child, a girl, and had left the flower in her bed in her place. He hid in the crypt with her for a year and they had a son together. Bael eventually went back North of the Wall and eventually Winterfell, having no other heir, passed to Bael’s child. Under this story, Jon is descended from Ygritte’s idol (maybe idol is stretching it, but she really likes him), Bael the Bard. Not only him, but all the Freefolk including Ygritte, according to her story. Following the story’s premise, Jon also poses as Bael and Ygritte as Winterfell’s daughter, with Jon joining her home under false pretenses and “stealing her”, as she calls it. So the blue rose has significance regarding both the Starks and the Freefolk. The face paint is inspired by tattooing done by cultures indigenous to North America. Indigenous Americans are not the only groups to use facial tattooing, the Vikings were famous for it as well, but Viking facial tattooing had more patterns based on shapes rather than lines and dots. I didn’t like the shapes so much, but the chin tattoo was one was that observed in all sorts of different cultures. Usually the chin tattoos with the line were on women in indigenous America, but I found some on men in other outside cultures. The dots I didn’t see outside of Native American culture and the claw marks on Jon’s cheeks I found mainly among Vikings. Because these all are an amalgamation of different cultures, we did them as face paint instead of tattoos because it seemed disrespectful otherwise. Not enough research went into it to be a proper representation of any one culture so paint was a better bet than a permanent body modification that is sacred to a number of cultures. The only thing that was meant to be a tattoo was the chin tattoo, which like I said, actually is from an amalgamation of cultures. Among the Freefolk (in this AU), dots on the cheeks are widespread, one of cultural mainstays of their people, and are generally a sign of peace, whereas the claws are meant to look intimidating and is applied to look like blood (Ygritte applies it for Jon) and is specifically used for military leaders. I really wanted to drive home the point that the goal with Jon’s whole look is to look fearsome.

I have so much more to say about Jon as King Beyond the Wall, how he negotiates with the Wall, the different rules he sets in place, how he sets up being King as a hereditary title once his daughter Bael is born, etc etc, but then I’d be here all day and approximately one person total read through all this. Oops! Ask in my inbox if you have any questions because I would love love love to answer them. All in all, shripscapi (Liesl) is so talented and she worked incredibly hard for me. She was extremely accommodating and changed as much stuff as I wanted. She never complained about the million times I decided something was not quite right and she sent me so many updates. I would recommend working with her to just about anybody. It was very cool what she was able to achieve and I got it in time for the holidays so I can enjoy my winter themed pfp on twt. So thank you from the bottom of my heart Liesl, and I hope everyone showers her with compliments because she deserves it. I also hope that people that don’t enjoy Ygritte very much can still appreciate the art and the concept of Jon as King Beyond the Wall. Hopefully I’ve gotten across how much I love and care for these characters to a chronically online degree and nobody accuses me of mischaracterizing them because that would make me!!!! very sad!!!

Bonus Jon with weirwood leaves:

[unboundprompts]

Hello! Can you help me and/or give me examples of how to write a pre-teen? Specifically a slightly mature for their age but still socially-awkward, selfless, empathetic, extroverted 10-year-old

How to Write a Pre-Teen

Voice and Language

Simple but specific vocabulary: Pre-teens might not use very complex words, but they often know and throw in some “big words” they’ve recently learned or mimic words they hear adults use. Don’t overdo it, though—they’ll often misapply or half-understand these terms, which can create natural, humorous moments.

“It’s totally, like, a catastrophe that I forgot my project.”

Expressive dialogue: Pre-teens are enthusiastic and often exaggerate. They can also shift quickly between emotions, from excitement to frustration.

“That was the best movie ever!” might turn into “Actually, I mean, it was kinda boring in some parts, but, you know, overall…”

Thoughtful yet blunt: Kids this age often haven’t fully learned the “filters” adults use. They can be direct and say things that are surprisingly insightful or unexpectedly honest.

Thoughts and Perspective

Developing identity and opinions: They’re beginning to form their own beliefs but still echo the views of family, teachers, or friends.

“Mom says people should never lie, but I wonder if little lies are okay if they help people feel better…”

Questioning and introspective moments: Pre-teens are curious about life, relationships, and “big ideas.” They may ask questions, but sometimes keep their deep thoughts to themselves, exploring them internally.

“If friends are supposed to be there for each other, why do I feel alone even when they’re around?”

Struggle with abstract concepts: At this age, they’re just beginning to understand abstract ideas like justice or friendship but often approach them in straightforward, literal ways.

Behavior and Actions

Impulsivity and energy: They might shift quickly between activities and emotions, getting distracted or excited without much control over it. They may also blurt out ideas or act before thinking, especially if they’re extroverted.

For instance, a character might immediately jump up to help someone even if they aren’t sure what to do, or they might “borrow” something without fully considering the consequences.

Physical awkwardness: Pre-teens can be a bit clumsy as they’re still growing into their bodies. This can lead to endearing, awkward moments.

They might knock something over, trip over their own feet, or feel self-conscious in ways that show they’re still figuring themselves out physically as well as socially.

Friendships and Social Dynamics

Navigating social rules: Pre-teens are very aware of social “rules” but may not fully understand them. This is an age when they care a lot about what their friends think, but they’re also just beginning to question these dynamics.

A pre-teen might want to befriend the “cool” kids but feel conflicted when they realize their values don’t align. Or they may try too hard to impress friends and feel self-conscious afterward.

Conflicted loyalties: Friendships are often intense at this age, and they might struggle with conflicting feelings if friends argue or if they feel left out.

“I really like hanging out with Sarah, but I know Emma doesn’t. Maybe if I can make them both laugh, we could all just… get along?”

Small gestures: Pre-teens often show they care in understated ways, like sharing snacks, giving a small gift, or cheering someone up when they’re down. For a socially-awkward pre-teen, these gestures may come out clumsy but sweet.

Insecurity and Self-Awareness

Self-consciousness mixed with bravery: Pre-teens often fluctuate between trying to fit in and wanting to stand out. They might do something brave but then doubt themselves or quickly retreat if things don’t go as planned.

For instance, a character might volunteer to speak in front of the class only to feel panicked once they’re in the spotlight.

Hyper-awareness of themselves and others: They’re beginning to notice how others perceive them and may get flustered easily or worry about little things, like if their clothes look okay or if they sounded silly.

“I shouldn’t have laughed like that… I bet everyone thought I sounded so weird.”

Joking as a defense: Pre-teens often use humor to cope, covering up their awkwardness or discomfort by making jokes.

Reactions to Conflict and Emotion

Quick emotional shifts: They might go from laughing to frustrated to embarrassed in just a few minutes. They feel emotions intensely and may have outbursts or react strongly to things adults might dismiss as minor.

Heroic ideals vs. real-world disappointments: Many pre-teens have an idealized view of right and wrong, fairness, and heroism, and they may be disappointed when things don’t align with these ideals. They’re just starting to understand that people aren’t all good or all bad.

“I don’t get it… why would she lie about something like that? Friends are supposed to be honest!”

[fruitsboots]

I'm a nail technician and here's a big list of headcanons about the kinds of clients the TOS Enterprise crew would be!

Kirk:

-shows up on time for appointment but sometimes has to cancel super last minute.

-doesn't bite his nails but picks at them and his cuticles. not enough to bleed or anything but enough that most of his appointment is cuticle work.

- "Cut them short" my guy there's no free edge.

- holds still, uses arm rest appropriately, doesn't stiffen his hands. no polish, just buffed smooth. jokes every time that next time maybe he'll go with a hot pink.

-asks a lot of questions and chats at the beginning of the appointment but ends up getting a little bored by the end.

-always tips very well but doesn't rebook, he'll call you.

Spock:

-doesn't make appointments, just shows up sometimes on slow days and asks to use certain supplies.

-does his own nails and keeps them very nice and neat. nail beds to die for. Nails grow very fast.

-On occasion has been talked into a dark polish and will let someone else do that for him (he's not very good at the application).

-sits a little too stiffly like he's concentrating. speaks when spoken to. doesn't linger long, the smell gives him a headache.

-doesn't tip but you’re not sure if he knows he’s supposed to.

McCoy:

-calls and asks if there’s time for a walk in then shows up later than he tells you but usually has a good excuse.

-Hands are dry as hell from washing them a lot. Worst, driest cuticles. Always gets a split on the edge of his pointer finger.

-Sits too far away from the table, at an angle, hunched, wrists on the armrest and elbows locked. Has to be asked to scoot arms forward a million times.

-Is annoying to work on technically, but fun to chat with. Always turns into a complaint session but in the best way. Wants to know the drama in your life and gives opinions.

- Closes eyes and tries not to doze off during the hand massage. Wipes off all the lotion that he desperately needs.

-Tips alright and always says he’ll come back soon but you know it’ll be another 4 months.

Uhura:

-has a standing appointment every 3 weeks and is never late, sometimes she’ll bring you a drink and apologizes when she doesn’t.

-Did her own nails for a long time and keeps them well manicured between appointments.

-Will (properly!) remove her own gel polish before appointments to save you the trouble.

- Tends to go for lighter, pearlescent shades. Always asks what you have that’s new but then picks one of her go-tos.

- Loves to look at nail art but doesn’t usually get it.

-Super bubbly during appointments, very patient, sits perfectly. Always enthusiastic about the result and gives lots of praise.

-Tips well and takes business cards to give to people.

Chapel:

-Not really supposed to get her nails done but does anyways. Doesn’t have super regular appointments but usually books with Uhura when she does.

-Usually shows up with chipped polish from last time that desperately needed removed 3 weeks ago.

-Gets light/sheer colors.

-Sometimes will book for a gel manicure and then tell you she doesn’t actually want polish this time even tho she needs it. Nice nails beds but they are thin and peel a bit without anything on them.

-Apologizes for no reason multiple times. Thanks you as if it were an inconvenience to do her nails? 

-After a few appointments, she loosens up a bit. Tips decent.

Sulu:

-has gotten his nails done like five times just for fun.

-Keeps them short, not much cuticle work. Why are you here??

- Will get a couple “masculine” designs and isn’t picky about them. “You just do whatever you think will look best :) “

-genuinely fun to have as a client but needs some direction on how to sit etc. can talk about anything.

-Didn’t tip the first time bc he didn’t know and felt bad so he always does, but it’s not much.

Scotty:

-how can one man have so much grease under his nails?

-Has a standing appointment once a month for just a nail trim but should be more like every two weeks.

-Asks questions about nail equipment (UV lamp, e-file, etc).

-Talks a bit during the appointment and then stands around after chatting. Always tips like 2$ but sometimes brings baked goods, etc.

Chekov:

-wanders in with a bruised nail and is like “what can you do for this” nothing dude.

-Leaves and comes back later to buy a gift certificate to give to a girl.

[bringthekaos]

Alrighty, here we go. Act III.

Mostly Jayce and Viktor centric, but with some wider thoughts as a whole thrown in. As usual, this is all my opinion, you’re free to disagree with me. Just don’t be a dick.

I am torn. I’m appreciative of the visuals and the JayVik crumbs (even though Christian Linke’s comments post-show have soured it to queerbait for me). But mostly I am disappointed. And I so badly didn’t want to be. I had such high hopes (and that’s probably my fault. I expected too much). They completely massacred Viktor’s character. There was such beautiful setup in season one of his background as a Zaunite living in Piltover. So much of his lived experience came from that—the oppression, the inequality, the xenophobia, the inaccessibility. It formed his opinions and his values, and that’s why he was so adamantly anti-weapon making. That’s why his number one goal was always to help the people in need down in Zaun. They showed us that he was a tinkerer and a builder, that he valued the ingenuity in machinery. They gave us that cute little boat from his childhood and the fucking Hexclaw.

Viktor was supposed to be a Zaunite champion. He was supposed to embrace Techmaturgy as a direct opposition to magic/Hextech. He was supposed to undergo his transformation into the Machine Herald of his own volition, with his own agency and bodily autonomy (yes I know it also stemmed from severe depression and one could argue that it messed with his decision-making, but still… he did that shit on his own). And there were so many opportunities to go this route in Arcane, and it would have worked!! If Viktor augmented his hand and his leg, but it cost Sky her life, he could realize the cost of magic, and turn to Tech. He could have been exiled back to Zaun, where he was supposed to be, and then the shitshow really could have unfolded—having one of Hextech’s creators now working for the other side.

And I know they had to change it so that he could be a bigger part of the overall narrative, as his original lore was rather disconnected. But there were much cleaner ways to go about it than disrespecting his entire character arc by turning him into a grimdark edgelord ethereal magic Jesus who no longer notices or even seems to care about the oppression and class warfare going on in his birthplace. Like. I’m sorry, him “curing” Salo? OG Viktor would have taken one look at a representative of the very oppression he stood against and blown him to kingdom come. (And yes, I also realize that he did it in Arcane because he was “under the influence” of the Hexcore, which only wanted to “infect more people.” But that’s another problem I have. This was never really made all that clear. And watching him go from “we will not be building weapons, that’s not why we invented Hextech/there is always a choice/we were meant to improve lives, not to take them” to making him turn human beings into weapons?? I don’t care that they tried to salvage his character by suggesting he wasn’t in control, it still undermines everything about him. And GOD, original League Vik had so much DEPTH. He was a hypocrite, he was still partly human and so he retained pieces/parts of all the things he preached against, which made him a wonderful contradiction. And he had a sense of humor and whimsy too! He enjoyed sweet milk, he cracked dry jokes and was sarcastic as fuck. He had a personality! And now he’s just… empty space man blinded by forced apathy.

And I think all of this is part of a larger problem—they wanted to use Arcane as a stepping stone to future shows, and as such, the class warfare and systemic oppression plot from season one was completely abandoned. They tried to solve it with “well they have to band together to face a bigger enemy.” Which in my personal opinion is a cheap cop out. There are always bigger fish, that doesn’t change the fact that Zaun has been living in Piltover’s filth with Piltover’s boot on their neck for generations. They’ve suffered injustices most of us can’t even comprehend. And then suddenly we’re supposed to believe they all band together to face this threat, stand side by side with their oppressors because Jayce made one speech about it? With no proof? And then all they get from the deal is one Zaunite seat on the council? And they’re okay with that? I never expected the show to solve systemic oppression, but I also didn’t expect them to abandon it this spectacularly.

The Noxus/Black Rose plot was clearly thrown in to set up future shows, and to show Netflix/investors/whoever that this massive financial investment has a future. And it destroyed the Piltover/Zaun story. I think this could have been a totally isolated story just about Piltover and Zaun, and been completely successful. In fact, I would have definitely watched future projects despite them not taking place in the setting of Arcane. And I’m not at all saying I don’t like Ambessa and Mel. I was very intrigued by the story of a warmonger like Ambessa facing her comeuppance, not just for her warmongering but for her affair with a damn MAGE. And her daughter trying desperately to break the mold her mother has set for her, while also struggling with who she is and these new, incredible powers she has. That shit is juicy as hell, and honestly should have been its own show. But throwing it into Arcane in season 2 with absolutely no hint of the Black Rose or its impending approach (beyond “the people who killed your brother don’t think the score is settled”) in season one, it just felt like the aforementioned cop out to get Piltover and Zaun to get along. And in doing so, they steamrolled Viktor to make him a bigger player in the narrative.

Did I like the final astral plane scene with Jayce and Viktor? God, yes. Is it one of the most beautiful confessions of love and eternal devotion I think I’ve ever fucking seen? Also yes. But it kinda feels like a bandaid on a bullet wound. I got the love I always knew remained between Jayce and Viktor, but I paid for it with Viktor’s entire character. Not to mention Christian Linke keeps pouring salt in the fucking wound, denouncing JayVik and “bromancing” them, and then also suggesting in one interview that Jayce and Viktor are actually fucking dead, and in another that Viktor will be back in future projects (with no mention of Jayce, which suggests that they’re turning him into Sky 2.0 and that he’s dead but Viktor isn’t). And that completely undermines the entire ending of season 2’s “intrinsically entwined/always you/in every universe.” And I know, I shouldn’t listen to this dude’s opinion on the matter, he’s not the only one making this thing, and honestly it was the easiest unfollow/mute of my life. But how hard is it to just shut the fuck up and let people enjoy things? To not comment one way or the other, let people think what they want, and rake in your millions in the process? Haven’t you ever heard of rainbow capitalism, my guy?

Ugh. I’m very sorry for being so negative, I didn’t want to be. I still love the show, and I’d still like to keep writing JayVik, even though it’s just been made near-impossible (I’m actually really glad that I never finished Oasis now, cuz I can go back to that and expand it well beyond what I originally planned cuz… it’s all I have left). I’m just mourning my cyborg wife, and the fact that goddamn SMEECH had what Viktor was supposed to. Hopefully the more time goes on, I can reconcile these changes and embrace them, cuz I love this fandom, I love this ship, and I don’t wanna lose it.

Anyway, I will still be sharing art and memes and posting analyses, because you can like a piece of media and still be critical of it.

[spark-of-teal]

“How much do you hate me today, Gem?” Pearl asked, feeling the smile on her face as she adjusted her seat on the camel.

“A lot!” Gem snapped.

“Dang it, I was hoping to trick you,” Pearl said blithely, “and you’d say something like- you know-”

“Do you know why, though?”

Taken aback by the anger in her friend’s voice, Pearl asked, “What?”

“I have reasons today,” Gem said, signalling for the camel to start walking across the bridge. Pearl wrapped her arms around Gem’s waist, and for the first time in all the times she’d done it, it felt uncomfortable. “I’ve reflected.”

“You’ve reflected?” 

“Yeah!” Gem said, her voice surprisingly thick with hurt. “Do you remember last session, when you thought you put your eye into the portal?”

“We weren’t even there for-” Pearl began to protest, but Gem cut her off by stopping the camel and yanking Pearl’s arms off of her waist. She twisted around to face Pearl. 

“Did you even look me in the face during our- our murder camel…happenings?” Gem’s eyebrows twitched further down as she messed up her speech.

Pearl wanted to laugh at Gem tripping over her words, but the look on Gem’s face squashed any positive feelings she could’ve had. “Y-yeah! It was such a good time, it was-”

“And you remember what my face looked like?” Gem pointed with a trembling hand to her left eye. 

Pearl felt herself quickly falling into the hole she’d dug, and searched desperately for what Gem could be referring to. “Yeah!” She remembered Gem’s clothes turning yellow and then red, and…a left arm the color of the void, and… “Oh. I forgot about…”

“Okay.” Blinking rapidly, Gem turned around and began the camel’s walk again, faster this time. “And then other than that, you 2v1 me! And you- you know about holding grudges across seasons. You know about that.”

Now Pearl felt her own anger flare up. “I didn’t 2v1 you Gem, let’s put this straight. I let Scar do it, I watched.” She searched for something to hold onto that wasn’t Gem, and settled for the not-incredibly-optimal grip on the camel’s sides. She felt herself closing her eyes as the camel climbed up a hill.

“No no no. I remember specifically-”

“I hit you once!” Pearl raised her voice, heated with indignance.

“Hitting me once!” Gem raised her voice in return. “That’s enough! That set your dogs on me!”

“It was one little basic whack!”

“It was not a regen-based season!”

“And I sat the dogs down, Gem! You had so many hearts!”

“Once was enough!”

Pearl quickly calmed herself, trying to salvage the conversation. “You were gonna live. You were fine. You see? Look at that. We’re thriving.”

Pearl could hear the breath Gem took. She could hear the shakiness in it. “I’m just saying,” Gem said, turning the camel back to her base, “I’ll forgive you if you actually 1v1v1v-whatever me. And not 2v1.”

Pearl felt a laugh slip out, and she could see Gem’s arms tense in response. “Well at that point, that seems like we’re trying to kill each other. That seems against the point, no?”

“Yeah, we have to die, Pearl, that’s the game.” 

Pearl’s heart was racing as she stumbled over her words in response to that… morbid opinion. “That’s the- that’s not- that’s- that means I can only- that means there’s only resolution after the season ends, is what you’re saying!”

The exasperation in Gem’s voice made Pearl’s throat tighten. “We can die six times! We have time to die!”

“I can’t die six times!” Did Gem not care about Pearl’s life at all? Just for the sake of some morally correct 1v1?

“You can die once!”

Pearl reached for something to lighten the situation. She hated fighting, especially with Gem. In an attempt to make a joke, she went for, “1v1 me right now, Gem.” Terrible joke.

Gem appeared to be taking it seriously, stopping the camel to think. “Right now? … Alright.”

“Not really!” Pearl laughed nervously. “You were too- you were too all into that, you were like, ‘yeah let’s- let’s do it! Yeah, let’s get it!’”

“I mean…” Gem’s voice was calm and serious. Pearl never liked when it did that. “It’s high stakes for you, but I mean, we’ve PvP’d on Hermitcraft, it’s about 50/50 who wins and who loses.”

Pearl spluttered, and everything inside her was screaming run away. So she climbed off the camel and walked away. “Fine. I’m gonna go get on Impulse’s camel, because Impulse actually treats me right.” What was she saying?

“What, you don’t want to 1v1 me? You’re scared?” Gem called after her. Pearl turned around. Where a playful smirk would’ve usually been, a disappointed frown sat instead. “If you win, you go green!”

“I know.” Pearl looked at her feet. She couldn’t help the pit in her stomach whenever she imagined fighting Gem, imagined the disappointed look on Scott and Cleo’s faces if she would lose and go red. Looking up and forcing cheer into her tone, she continued, “But I’d rather catch you when you’re unawares!”

Gem’s face twisted. “You’re still not honorable!”

“I’m very honorable!” Pearl protested. “It’s all part of traps!”

Gem flipped her camel around and walked away. “You don’t want it.”

Want what? Her forgiveness? “I do!” Pearl ran after the camel. “Gem?”

But she kept walking.

Gem sank to the floor inside her rebuilt barn, leaning her back against the stone. She missed the wood. But nothing good on this server ever stayed, did it? That's how it worked. Things burn, and then get replaced by something else.

Even if Pearl didn't, Gem knew that. She knew to cherish the precious things. And even if Pearl couldn't, Gem could remember everything clearly. Very clearly. She remembered opening the portal.

She’d been digging down forever, ender eye clutched in her left hand. She’d built bridges above the silverfish to avoid them, she’d pictured the awe in everyone’s faces when she told them everything.

Gem lay on her front and reached down toward the portal. She stretched her arm as far as she could, and finally, finally set the eye where it belonged. There was a deep rumble, either heard or felt or both, and the lava beneath her slowly turned into a black abyss, with distant hints of green.

“I did it,” she breathed. “I did it! I opened the End gateway!”

Then her hand turned numb.

It started at the palm but quickly spread to her fingertips, then up to her wrist. It was a cold, empty shock. It felt like it was dissolving every bit of her, right down to her bones, until there was nothing but air left. She tried to pull away, but her hand was stuck on the eye. All she could do was watch as the void crawled up her arm, onto her shoulder, up her neck and into her eye. Her skin turned pale and purplish, then that same black abyss crept in, slowly spreading up and up until it reached her eye and she felt pain, burning pain.

Screaming, she wrenched her hand away from the eye and covered her face. Only her right eye was crying. 

It was probably only a few minutes she sat there, holding her face and rocking back and forth, but when the burning finally went away, it felt like hours. She looked down at her shaking hand. It was cold and lifeless and alien.

No one would be in awe anymore. They’d be scared.

But Gem had known someone who wasn’t scared. Pearl had treated her kindly, complimenting the “new look” and reveling in Gem’s tales of danger. Pearl was loyal to her. At least at the start.

Even if it meant everything to Gem that Pearl was by her side, apparently it meant nothing to Pearl. Gem meant nothing to Pearl.

So Gem sat lost in her thoughts, rubbing her left eye over and over again, until she heard Joel shriek for her help. Giving Pearl no more thought, she grabbed her sword and ran outside.

[autemka]

Sigh… guys. HALF of my inbox if filled with.

Can I tickle Ruru?

Hey Ruin Would like to be tickled with feathers?

Can my OC tickle Ruru GRNTLY OF COURSE!!

Tickle Ruru

You. Making ME to close my inbox and be silent for couple of weeks. Because I feel uncomfortable with this asks. Ya wanna know why I feel that?

Because my Animatronic Characters has a little piece of ME. MY emotions, MY Joy, MY personality that experienced through life and adding to that my characters having their own thoughts and opinions about people they talked to and they might CHANGE IT.

Right now I feel myself like months Ago, when people asked can they Tickle ME.

Ruru: "I don’t know about other people… like strangers."….. probably wouldn’t like it.. I don’t know them well enough like my family.

I thought I made myself clear, and Ruin as well. Well now I think not CLEAR enough.Sure you may think it’s my fault that I made and created settings for Ruin Eclipse that way before, he is clingy, he is shy, touch starved. Yes that’s my mistake. Now it is ALL about Ruin.

I saw few arts with Ruin being tickled and I love them, but I know these people and I’ve looked through their blogs, if I’m comfortable with what they do I don’t mind at all.

At least I hope I was heard by that. I’m upset that people want only Ruru being Tickled and asked that he is adorable and so cute. It’s true. He is. But now… it’s too much. Hope you think about what I’ve said.

[sapphic-kpop-fics]

yunjin nsfw alphabet??

A = Aftercare (what they're like after sex)

Jen is a big kind softie we know this so she helps clean you up if needed and then cuddles you for hours.

B = Body part (their favorite body part of theirs and also their partner's)

Her legs and Her fingers, they have one thing in common: Long, need i explain

She’s a boob girl, change my mind. Oral fixation on your chest.

C = Cum (anything to do with cum, basically)

Loves tasting you more than anything and will eat for out for hours simply so she can taste you.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

Wears your clothes when you’re apart and she has to touch herself to get off

E = Experience (how experienced are they? do they know what they're doing?)

Yes 100%

F = Favorite position (this goes without saying)

Yunjin needs you to ride her every week for her mental health (her words)

G = Goofy (are they more serious in the moment? are they humorous? etc.)

This is the Huh Yunjin we’re talking about, the goofiest human alive, of course that translates into your sex life, nights in bed definitely involve a lot of giggling

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

Not fully shaved but well kept, girl dyes her hair every month of course it doesn’t match

I = Intimacy (how are they during the moment? the romantic aspect)

The most romantic and loving human being ever, expect 100% romance

J = Jack off (masturbation headcanon)

She will if you’re apart from each other for too long but prefers having you, if she does she’ll usually call or text you during because she simply needs you in some form to finish.

K = Kink (one or more of their kinks)

She strikes me as the type to like choking you, like I said she likes her fingers especially wrapped around your neck. Also a praise kink, loves being told she’s fucking you good.

L = Location (favorite places to do the do)

Your bed so she can easily have her way with you but the shower is also a favorite of hers especially pressing your soapy body against the wall as she fucks you.

M = Motivation (what turns them on, gets them going)

Literally just being in your presence and looking at you, anytime you’re around she’s immediately turned on. A lover girl for real. But especially when you compliment her and her talents.

N = No (something they wouldn't do, turn offs)

Doesn’t want to hit you or hurt you too bad, maybe some spanking but anything on the face is off limits. Also anything you don’t want is something she doesn’t want.

O = Oral (preference in giving or receiving, skill, etc.)

Oh, god of pussy eating. Have you seen that face? Those lips? Incredible. Makes you finish is minutes. Gets pussy drunk often and eats you out for hours no matter how sensitive you are.

P = Pace (are they fast and rough? slow and sensual? etc.)

Usually fast and rough however she gets romantic and slow often making sure to switch things up.

Q = Quickie (their opinions on quickies, how often, etc.)

Enjoys them when really horny at the wrong times or in between music shows but she likes to go 3 rounds minimum which isn’t very quick.

R = Risk (are they game to experiment? do they take risks? etc.)

Will try anything you want to try but makes boundaries clear.

S = Stamina (how many rounds can they go for? how long do they last?)

She can last a while usually though she has moments where she cums in minutes. Definitely has big stamina when it comes to rounds, as I said 3 minimum but sometimes she fucks you for 5+ hours.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

Absolutely, a few probably. Specifically a strap (we all know my thoughts on strap Yunjin 🤤)

U = Unfair (how much they like to tease)

The biggest tease usually, unless she’s being intimate and romantic then she gives you whatever you want.

V = Volume (how loud they are, what sounds they make, etc.)

She strikes me as a not loud in a volume way but just talks a lot (girls a yapper we knew). Little sighs and moans are the most she makes when receiving along with heavy breathing.

W = Wild card (a random headcanon for the character)

Loves cockwarming (well strap warming but also when she’s wearing it, that is her dick for sure.)

X= X-ray (let's see what's going on under those clothes)

As we can tell from pictures, legs/thighs are insane (a great place to ride), boobs….if I speak.

Y = Yearning (how high is their sex drive?)

Very high. Will fuck you anytime you ask.

Z = Zzz (how quickly they fall asleep afterwards)

Pretty quickly but makes sure you’re okay and taken care of first, cleaning you up and helping you put on some clothes before you both pass out.

[meironie]

An Ode to the love and grief in Arcane: an open letter from a fan who survived genocide

(English is my third language)

I was able to flee Khartoum after the first bomb on April 2023, despite being injured, and carrying my disabled sister and trying to keep my sick grandmother safe.

Arcane is so special to my heart and I want to share what I felt watching it.

As I saw some fans feeling disappointed/sad over some plot choices. And by no means I'm saying those opinions/critiques are not valid, nor do I think it shouldn't have been more worked on.

But maybe a chance to see this show through different lenses

Ofc spoilers for S2

"Peace can't be accomplished without sacrifices, For the Prophet has to lose what he dearest loves."

After finishing the last act, I want to say that what the fandom is seeking—besides more time—is a deeper understanding of real life. For people who grew up in similar circumstances—through wars, famines, fear, loss, pain, hope, and grief—you learn that many questions are left unanswered. Many people will have to be forgiven, many lives mourned and forgotten, and yet only one or two individuals might live to carry those memories forward.

What I sense from many discussions about the finale is that people—especially in the West—need to see this story as one that reflects the complexities of real life. The emotions you feel for these characters were, and are, experienced by real people somewhere, somehow. Instead of feeling ashamed or sad, reach out to those around you—those like us—and ask how they are feeling. It will give you new perspectives on many things.

Even in your own life, this is a great chance to try to understand your heart and soul, beyond the skin limitations

Characters like Ekko, Vi, Jinx, Caitlyn, and Isha didn’t have the time or opportunity to heal everything. Those who survived will have to carry their grief, celebrate their victories, and learn to love themselves within this new version of reality, even if it feels fractured.

So yes, you’re not going crazy for feeling that there are gaps in the story. Trauma, pain, grief, and leadership are inherently imperfect. As we’ve all come to realize, nothing good comes from expecting a perfect world.

[rottenpumpkin13]

......... so could we perhaps get a bit of genzack? just a few things to chew on? :3c

Sorry this took forever, but I woke up this morning and went "I GOT IT!" so it is now time to be not normal about GenZack 🥳

The way I see it, Zack is bright and sunny, but there's something volatile lying dormant beneath his positivity, just as Genesis is composed but hiding a lot of bite beneath his dramatics. They bring out the raw and ugly parts in each other, but they also share the same dreams and lust for life, creating a tension that neither knows quite how to handle.

"one thing leads to another" in an AU where it's 2004 and nothing bad has happened, and now they're:

• Golden Retriever Boyfriend x Black Bird Boyfriend.

• Comic books boyfriend x classical lit boyfriend. They absolutely get each other to give their favorite books a try, and it usually ends in "this comic book dialogue is rubbish" paired with "how am I supposed to read this? It doesn't even have pictures??"

• Quoting famous Poets x quoting cartoons. It's Genesis quoting fine poetry and Zack countering in his own way, then Genesis pretending to be annoyed but secretly he's hiding his smile behind his wine glass.

• Zack hyping Genesis up when he gets dressed up, proudly (and loudly) showing him off— he'll whistle, he'll sneak an arm around Genesis' waist, and keep repeating "doesn't Genesis look look awesome?? He's my boyfriend, you know :)" to literally anyone who'll listen.

• Zack pays attention to even the smallest things Genesis says X Genesis taking everything Zack says seriously.

• Financially irresponsible boyfriend x rich boyfriend who buys him things.

• They spar aggressively, and Zack wins frequently. Zack has a knack for catching Genesis off guard during training. After one sparring session, Genesis began complaining, and then Zack to threw him over his shoulder and ran off laughing, ignoring Genesis' protests.

• Genesis calms Zack's ADHD spirals, like when Zack gets overwhelmed or restless, Genesis sits him down and reads to him while holding him gently until he settles down. Zack tends to fall asleep in his arms.

• Zack matches Genesis' dramatics, except to him they're completely valid concerns, he doesn't brush them off and lets Genesis rant to his heart's content because he may or may not look really hot when he's mad.

• In fact, where Angeal or Sephiroth might disprove of Gen's temper, Zack empathizes entirely. Once, when Genesis ranted about a perceived insult, Zack grabbed a hammer and said "just say the word!" which managed to completely disarm Genesis, who's anger dissipated into laughter.

• I think the sweetest part of their relationship is Zack working hard to understand Loveless, reading not only the books but Genesis' annotated notes. The look on Genesis' face when Zack counters one of his tirades with a flurry of Zack-ified opinions is priceless.

• Genesis makes it a point to make the first two letters of every word of the emails he sends Zack bold, because he learned bionic reading is easier for people with ADHD.

• Their shopping trips are a blend of Genesis selecting fine wines and artisanal cheeses while Zack tosses in energy drinks and chips. It's Genesis' "Do you need six types of gummy worms?" Vs. Zack's "As if you're gonna use that truffle oil!"

• Their fights can be intense and explosive, with their opinions often clashing. Genesis thinks Zack can be too naive while Zack thinks Genesis can be hard-headed. Although Zack is usually the one to end the argument by walking up behind Genesis an hour later, right before bed, and pulling him into a hug.

Genesis: What do you think you're doing, Puppy? I'm still mad at you. Zack: Okay cool, but can you be mad at me in bed while you cuddle me? All that yelling made me sleepy. Genesis:

[aria-greenhoodie]

You asked and ye shall receive. Aria,why do you use birds to symbolize Abigale's inner turmoil?. Besides the obvious surname thing. Also you apparently have more thoughts on the Muse art? 👀,explain?.

So obviously yeah, “Blackwing” is such a bird surname. BUT THATS ONLY THE SURFACE!

Birds are so often used as symbols of freedom, creatures untethered by laws of the land due to their ability to fly. In the same way, I imagine Abigale as being similar; free, not having to abide by the laws of her land as much as others did. In order to explain I think I have to dive into my version of Abigale’s backstory a bit…

(Warning: I’m going off what I know about 1800-1900s American Society. I’m no historian, but I’ve tried to keep things as believable as possible. I will say I’m pretty confident in that believability thanks to my feminist history class I been taking this semester.)

Born in the early 1880s, the Blackwing family was wealthy, yet fairly unknown. Calling it a “family” before Abigale’s birth would be a stretch in many’s opinion, being made up of just Mr. Atticus Blackwing and Mrs. Chastity Blackwing. Chastity tragically passed in childbirth, leaving Atticus to raise Abigale all on his own. He became fiercely protective and supportive of the young Abigale, a tiny spitting image of his late wife.

Abigale was always an insatiably curious child. At first, Atticus tried to teach her how to be a lady, to be domestic, to cook and clean and dote on her future husband, but quickly realized he was woefully unequipped for teaching a subject he knew nothing about. What’s more: Abigale HATED her womanly lessons. Instead, Atticus decided to let her learn something she actually was interested in; inventing.

Abigale loved to tinker, to create. The mechanical was a fascination of hers from the moment she saw it. Atticus as an architect had some mechanical knowledge, but not to the level Abigale’s insatiable desire to learn needed. But what engineering school would allow a woman in? At this point in the late 1800s, women were nearly always snubbed in inventing spaces, most universities not even offering engineering degrees for female students.

And so, Abigale’s “twin brother” Abraham Blackwing was created. A pseudonym for Abigale, under which she would don Atticus’s old clothes from his boyhood and attend a prestigious engineering school. Her father even falsified documents like Abraham’s birth certificate to make him appear like a legitimate person. It was risky, as crossdressing was a punishable offense by law back then, but Abigale was willing to take that risk if it meant she could learn.

Between her rich father supporting her every decision and passion, and her alter-ego, Abraham, to fall back on, Abigale had a lot of freedom growing up. When her father died of an illness just before she graduated, he left “Abraham” everything, which of course meant that Abigale could “live with her brother” and hold a bank account under his name. She was truly given every opportunity for freedom, more than any woman of her time.

And then, Bill Cipher enters her life.

She’s plagued by the triangular demon ip every night in her dreams, but she refuses to succumb to the shape’s demands. As tempting as building a machine like an inter-dimensional portal was, she knew better than to trust a man who wouldn’t explain his motives. When Abigale asked why Bill wanted this portal built, he couldn’t give her a straight answer, and that was enough proof to know he was no good.

After weeks of restless nights and aggravation, Abigale finds a peculiar ad in the paper, written by a certain Thurburt Mudget Waxstaff III…

On some level, she has to thank Bill for entering her life as much as she has to curse him for it. If he had never decided to torment her specifically, she never would have met the rest of the Anti-Cipher Society. Abigale THRIVED in the society, delighted in inventing new ways to ward off Cipher, collaborating with her dear Jessamine to create specialized weaponry, learning self defense from Horace, gossiping with O’Pimm, spending night after night explaining the mechanics of how her inventions worked to Thurburt so he could whip up a stellar sales pitch… she had never felt more alive! She was flying high, much like a bird on the wind.

And then the conference happened.

Thurburt was institutionalized, right then and there. Abigale watched the asylum workers from backstage with mounting horror. Worst case scenario for Thurburt, he’d be locked in a cell or sent out west at some work camp, but for Abigale? If the asylum workers got ahold of her, she knew they’d think her hysterical. Treatments for “insane” men were often much kinder than treatments for women in those times. Deeming Thurburt insane would send him to a locked cell, but he would at least be allowed to remain himself. Abigale had heard of women like her, eccentric unmarried women, “frivolous women” as they were often called, being scooped up by doctors and spat back onto the street with their entire personalities wiped. A hammer and a well placed nail up the inside of one’s nose could do heinous things. Abigale would sooner die then let them take what made her HER away.

So she ran. She tried to take Jessamine with her, but she refused to leave Thurburt. For six days Abigale hid in the society’s underground bunker, terrified of venturing outside, not knowing what happened to her companions besides Thurburt. She only ventured out on the seventh day because she had run out of food.

She couldn’t go back to her house, when she tried to scope it out, she saw the asylum workers already knocking at her door. She couldn’t stay in the bunker, it was only a matter of time before it was found. She was desperate for a way out, to keep herself free.

And here comes Mr. Northwest.

See, the thing about birds is that while they make excellent symbols of freedom, they also make excellent symbols of being trapped. Birds can be put into cages, forced to sing or speak for meager treats, and lets not forget that at that time most birdcages were anything but spacious and comfortable. Most captive birds of the time were expected to die quickly, only purchased in order to sing prettily for a short while before their tiny little hearts stopped beating. Birds are as much a symbol of freedom as they are of captivity, of being trapped, of the LOSS of freedom.

Abigale never wanted to be a wife, but what choice did she have? Mr. Northwest offered her a way out if she married him. Her choice was thus: escape the state with Mr. Northwest as her husband, or stay in town and eventually be found and promptly lobotomized, erased of any trace of her real personality.

She chose the former.

Better to live in a gilded cage, twittering for scraps, then to be gutted and stuffed on som taxidermist’s wall…

Right?

As for the muse stuff most of my trout process I already told you in the notes of the original piece lol

[kseniyagreen]

Some thoughts about Li Lun's arc and the meaning of the drama.

Life is full of contradictions, and my relationship with FoF has its contradictions too. Not all moments feel right, especially on closer inspection. And this is actually a very common story with works heavily laden with the author's idea. Under this thought that the author wants to express, some plot lines inevitably bend and the character arcs are distorted.

But I want to point out one thing that - in my subjective opinion - is missed when people talk about the lack of development Li Lun's redemption arc.

The point is that Li Lun doesn't have a redemption arc because there shouldn't be one in the entire concept of the drama - not just Li Lun, no one has one. This drama is fundamentally not about redemption at all.

Li Lun's problem is not that he is wrong about people. He actually sees people quite accurately. In a sense, he sees the world more clearly than others - it's not for nothing that he has a "true eye". And that is his tragedy.

Because the message of the drama, clearly voiced in another context, is "he sees things with his eyes but does not see with his heart".

Having received the true eye, he gained the ability to see reality as it is - with the darkness of human hearts, with injustice, separation, the inevitability of death. But reality as it is is unbearable - that is why we dream, and that is why the theme of dreams occupies a central place in the drama.

The theme of the sea of suffering reminded me of a poem by Yosano Akiko:

"They told me that the road I took

would lead me to the Sea of Death;

and from halfway along I turned back.

And ever since, all the paths I have roamed

were entangled, and crooked, and forsaken."

Not only Li Lun, but all the characters from the very beginning are moving towards the sea of death, and this is the main content of the drama.

Having realized that reality has no meaning - what can you do? Stomp your feet and break toys like a child - what Li Lun did. Drown in despair and crawl towards the cemetery - what Zhao Yuanzhou did in the beginning. Adapt to this cruel reality to the point where you cannot die because you no longer really exist - what the main villain did and Li Lun tried to do.

Or you can try to create your own meaning in this meaningless world, contrary to laws and logic - which I see as the message of the entire Zhuo Yichen's arc.

So, returning to Li Lun, the point of his arc was not to atone for sins or sacrifice himself for the greater good. But to realize that there are still things that are important to him in this world, even if they are broken, and there are things that are more important than physical survival.

How organically and logically this line was drawn in the drama is a debatable issue. I must admit - I also miss something in Li Lun's line. As well as the fact that in general the drama often forcibly pulls the characters' lines under the cruel rule of this world "a demon can truly be himself and follow his heart only on the threshold of death." The authors sometimes didn't try hard enough to justify such a radical situation.

But I still love this drama - more like a poem than an adventure story. Poem about death and dreams and person's will that is trying to pull this impossible dream through the reality of death.

Sometimes, in order to wake up in reality, you need to accept the death of a dream. But if a dream becomes more valuable than reality, if you are ready to hold on to it at the cost of your physical existence - sometimes you die with it. But sometimes a dream lives on after you. And sometimes a dream shared with others changes the world a little and gives you a chance to survive in spite of fate.

[khaire-traveler]

Hello there! I'm very new to hellenic polytheism and came across a question that I am not sure how to approach. I would be really grateful if you could let me know your thoughts on this (please don't feel obligated or anything, tho. I know I am just a random person asking a random question 🫣). So, for a while now, I've been getting more into greek mythology and from there into fandoms that depict the deities (e.g. Epic the musical which I love a lot). Would you say it is inappropriate to seek out fanfiction or fanart (especially those including ships) in those fandoms, or should I refrain from doing that as it would be disrespectful? Or are there limits I should be aware of? Thank you so much should you choose to answer this 💜 (I apologise for missing paragraphs. I am not sure how to do those on mobile.) (Also, is there a right way to end these kinds of letters/messages/questions? Like a way to express my gratefulness?) (Sorry if none of this makes sense. I always get anxious messaging strangers, but I couldn't find answers anywhere, so I thought I'd just ask🫣)

Khaire, Melie!

Ah, yes. The age-old question. How sinful is fanfiction, exactly? /joke (wanted to start this off light-hearted)

In all seriousness, I'll start with this: If you want to know how the gods feel about it, ask them. There is no better answer than the one that comes directly from the source. I understand the nerves around asking this question; some Hellenic Polytheists feel VERY strongly about it, and honestly, seeing their strong opinions has made me doubt my own interests in such media. Remember that some rando's opinion online, however, isn't the law, regardless of how strongly they feel about it or how desperately they want you to do exactly what they're doing. Opinions are opinions; facts are facts - they are separate things. Personally - and this is MY opinion -I think never engaging with modern media depicting the gods is a little too strict of an approach, and by following that, I feel that a lot of people are banning themselves from engaging with fictional media that they might enjoy. Each piece of modern media about the gods is a creative interpretation of Greek mythology, and people have been doing this kind of thing with other religions - that they don't believe in - for AGES. It's entirely normal, even if it is kind of annoying sometimes. Now, some retellings, games, shows, etc. genuinely take things too far, in my opinion, and warp the mythology so completely that it might as well be a different story entirely. I'm bordering on a tangent, so I'll move on.

Modern media about the gods isn't an inherently abhorrent, evil thing that should always be avoided, however, but personally, I do draw the line of engagement at shipping.

First and foremost, live your life the way you want to. Engage with your practice however you wish. I'm not the law-maker of this religion - no one is - and while I might disagree with someone's approach, I'm not going to shit all over them for doing things differently from myself. Now, into my opinion. I don't think shipping gods - be it from a modern form of media or not - that you worship is appropriate, personally. In my experience, it will blur your actual perception of those gods. I've seen it happen over and over again that people confuse the fictional representation of their God in media with the actual god, then feel the need to distance themselves from the media in order to regain something they feel that they lost. Like I said, you do whatever you wish, but I find it's just better to avoid the awkwardness of shipping entirely.

If you want to read fanfiction about the gods in fictional media, go for it, but I'm not personally a big fan of that. I don't know how the gods feel about it; I can't speak for them (no one can). For all I know, they could be reading the fanfiction themselves and laughing their asses off, who knows? But as a worshipper, I'm not personally comfortable with the idea of reading it. Again, do what you want with your life. If you want to read some spicy fanfic of one god with another, I'm literally not going to stop you, but make sure you're able to separate the fictional characters from the gods you actually worship before you do so - that's my advice. Too often, people end up conflating the two. When a fandom or fanfiction begins affecting your worship, practice, or even just the way you view the gods, that's when it's a problem.

I think the community has been torn on the topic of modern media for a while. Some people love it, while others utterly despise it, and you'll notice that answers will vary from person to person. In my opinion, these pieces of media become problematic when they swarm the fuck out of a small religious community that already struggles to be taken seriously. An example of this is what happened with Lore Olympus a while back. When the comic got popular, a ton of people would swarm and attack worshippers of Apollo online, calling them all sorts of extremely vile things, all because of a comic that literally wasn't even mythologically accurate. In my opinion, fandoms can get out of control sometimes, and when you're engaging with one based around the gods, I advise you to just be careful and aware. For some people, fanart and fanfiction of the gods are extremely uncomfortable, similarly to if someone were to ship Buddha with Jesus in the regard that it just...feels weird for people who actually worship those figures. Other people could care less, being able to fully separate the fictional characters from the gods they worship. Base it on your comfort, and the comfort of your gods.

I hope this helped to give you my perspective. I'm not going to tell you what is or isn't the right choice because honestly, different people will give you a different answer, and I'm anything but a religious authority. You're allowed to do as you wish, but I will always advise you to tread with caution and check in with yourself about how it feels for you personally. Reach out to your gods and directly ask them (such as through tarot, or another form of divination), "Hey, how do you feel about me engaging with this?" Asking directly is ALWAYS a good idea, in my experience. Take care, Melie. 🧡

[sopphic27]

Fun Fact: A lot of the Stolas antis compare him to Valentino off all people

H. How. What show are these people watching.

Okay so, this has been sitting in my drafts for a while, but let's get down to it. This post got wildly out of hand.

TL;DR: Valentino and Stolas have some superficial similarities, but Valentino is an abusive overlord who gained his power through exploitation and uses it to be abusive, meanwhile Stolas was incidentally born into his power and at worst is ignorant but well-meaning. Their behavior onscreen and interactions with their subordinates and their partners is night and day.

Valentino: a human sinner who is an overlord, so he owns countless souls of other sinners. He "employs" others demons as erotic dancers, adult film actors, and sex workers. I say "employs" in quotes, because I get the feeling that a lot of these people don't necessarily get a choice. He's blatantly manipulative, physically and sexually abusive, and generally just an asshole. For the sake of this comparison, I'm going to focus on his relationship with Angel Dust.

Stolas: a hellborn Goetia prince, he is said to have legions to command and share his knowledge with, and he canonically and on screen has a staff of servants, security, etc made up of (that we've seen) imps and hellhounds. His staff seems to have standard jobs such as serving meals, delivering messages, cleaning up, and whatnot. We don't know much more about them, however. He's socially anxious and awkward, very intelligent, and he behaves publicly in a very regal and reserved manner expected of a prince. In private, however, he seems more friendly and polite to the people he interacts with, with the exception of people he dislikes (e.g. Stella, Striker, Andrealphus). I'll focus on his relationship with Blitz pre-Apology Tour for this comparison, but I'm also going to address his interactions with his staff.

Before anything else, I'm going to call Angel and Blitz their "partners" even though that's not technically accurate. I'm not actually suggesting that Val and Angel are in a relationship or are each other's partners, same for Stolas and Blitz, but I don't have a better word for "the other person in the relationship".

So what are their similarities?

Both Valentino and Stolas are of higher status than their partner.

They are both demons that have magical abilities while their partners do not. (Comparatively. Angel Dust may have some abilities, but we haven't really seen him display them beyond some glowing eyes)

They're both much more powerful than their partners, physically, magically, and socially.

They have some sort of contract with their partner (Pre-Full Moon)

They both have a lot of employees and staff working for them.

They have red eyes.

They're, um. Skinny? I'm running out of similarities.

So I would say that they do have a number of superficial similarities, but I want to dive in to these similarities a little deeper.

Stolas was born into his status as a prince, so was Blitz as an imp. Say what you want about the social hierarchy in Hell, but they do live in a society, and imps are basically the bottom of the pyramid in Hell. The point is, Stolas didn't choose to become a prince, he just is. Valentino, however, had to climb to achieve his status. He died and manifested in Hell same as any other sinner, but he managed to climb the ladder, made deals to own other sinners' souls, amassed power, and after however long, became an overlord. To each their own, but in my opinion, this means that he chose to become an overlord by exploiting other sinners, just like any real life business mogul. Don't get me wrong, I'm not a monarchist, but being born into power and taking it by choice are still very different.

Similarly, their magic is very different. We haven't seen much magic from Val, but we know that he has a certain amount of power over Angel, he produces that pink liquid with unclear properties, and we know from other overlords that he probably has more abilities that we haven't seen. We have seen a few displays of Stolas's power, though. He can use telekinesis, create portals, possess people, turn people into stone with a look, etc, and he can transform into a giant owl monster. So yeah, he's crazy powerful. But again, Stolas was born into his power, he's a Goetia prince, he inherited and honed his magical abilities through study and practice. Overlords seem to gain a lot of their power by owning souls, though this isn't actually totally clear. Regardless, Valentino has power over Angel as a direct result of his contract owning his soul.

So both of them have definite power differences with their partners. The key difference, however, is how they use this power imbalance in their relationships. Valentino literally owns Angel's soul, he uses his power over Angel to control him, manipulate him, force him to do things, abuse him, etc. He is blatantly physically abusive to Angel, we see him hit Angel, drag him around, push him down, grab him by the neck, and yank on his chains. He's also very psychologically abusive, he threatens him and his friends, insults and demeans him, and holds his contract in front of him to remind him of their deal and make Angel feel helpless. He's just awful.

Stolas is very very different in how he treats Blitz and their relationship. I mean there's the obvious, he is never physically abusive toward Blitz. And before any of the Stella sympathizers come at me, he's never been physically abusive toward her either, he just BLOCKED her hand as she attempted to strike him. If you ask me, it seems like she has probably done that before! He never intentionally demeaned Blitz, he never tried to hold their agreement over his head, he doesn't even seem to have forced Blitz to do anything sexually against his will. Plus he's a fucking bottom. He is aware of their difference in power, but he never intentionally abuses it. The only times he's ever insulted Blitz were either teasingly (e.g. "Oh and your memory is so perfect? What's [Moxxie's] phone number? Exactly.") or after he had already ended their arrangement and was upset with him (e.g. during their argument in Apology Tour). Even then, it really comes off as him pointing out Blitz's flaws and his hypocrisies after Blitz broke his heart. If you were to compare the beginning of Apology Tour to any scene between Val and Angel, the difference is crystal fucking clear.

And let's talk about their contracts. Valentino, as previously stated, literally OWNS Angel's SOUL. It's written in ink and legally and magically binding. Literally. Whatever deal Angel made with Valentino is basically irrelevant since at the point in the show that we see, the only thing he really gets from Valentino is a job. He used to get housing, it seems, but he gave that up to live at the hotel. I don't think he gets any kind of protection, but that's just speculation on my part. For Angel, it seems like there is no way out of his deal with Valentino, only Val can release him, and he doesn't want to because Angel makes him money. Stolas and Blitz have basically a verbal agreement, made over the phone. "Favors for favors." Stolas lets Blitz use his grimoire, the spell book given to him to perform his royal duties, something that he's definitely not supposed to be lending out to anyone, let alone an imp. Blitz needs the grimoire to be able to get to Earth, which is the most important aspect of his business in killing living people. Stolas also needs the grimoire for his job, but he lends it to Blitz for all but one day of the month. In return, he asks Blitz to spend the night with him so they can have sex. Blitz agrees to this arrangement, very willingly, and in my opinion, he gets the better end of the deal, especially considering the fact that he seems to like fucking Stolas. Now, by definition, this arrangement lowkey makes Blitz a prostitute. He is exchanging sex for the ability to run his business. But this arrangement is not written down anywhere, it's just an agreement between Blitz and Stolas while they're both happy with their end of the deal. Eventually, however, Stolas doesn't feel happy with it anymore because he's developed genuine feelings for Blitz and is uncomfortable that he feels like he's exploiting Blitz. So he calls off the arrangement in the hopes that they can start a new relationship on equal footing. He gives Blitz the Asmodean Crystal, arguably a better tool for Blitz's business than the grimoire was because it's easier to use, and they no longer have to exchange sex for the grimoire. He gifts the crystal to Blitz, no strings attached, and tells him that he cares for him and wants him to stay. Even when the conversation goes south, Stolas doesn't take back the crystal or even indicate that it's something that he would do. It's Blitz who's then uncomfortable because he feels like he needs to be doing something to "earn" the crystal. But that's his baggage, and not the point right now. The point is that in Val and Angel's contract, Val has the more favorable end of the deal, and he's the only one who can end the contract between them, and he probably won't. In Stolas and Blitz's arrangement, Blitz had the better end of the deal, and either of them could have backed out of the deal, but ultimately Stolas chose to end it, and he made sure that Blitz didn't suffer any consequences to his business as a result of their deal ending.

Now moving away from the relationships with Angel and Blitz, both Val and Stolas have employees, lower status demons working for them. Val's employees are mostly sinners whose souls he (or one of the other Vee's) owns, and then there's Kitty, the off-brand Robo-Fizz. Based on how he treats Angel and the other actors and people around him, I think it's fair to say that he's not a very kind and considerate boss. He's physically and verbally abusive, he's controlling and demanding, he's short-tempered and violent, and he clearly has no respect for scheduled work hours since he calls Angel in whenever he fucking wants. We don't see Stolas interacting with his staff as much, but what we do see is pretty standard for how a royal might treat a servant, with a neutral and stoic attitude. He's not necessarily friendly to his staff from what we see, but at least he's not actively abusive. I mean compare how Stella treats the imp butler and how Stolas does.

She grabs him by the arm and throws him full force at the wall during an argument with Stolas, while also dehumanizing him (de-demonizing?). He shows up again a little later in a state. Poor guy. The worst he ever gets from Stolas is this:

Not great, but definitely not as violent as Stella. My interpretation of Stolas with his imp staff is that he's at worst negligent and careless with them, but he's not nearly as intentionally violent.

And I was joking about the physical similarities, the majority of the cast have red eyes. I'm not even taking shots at Vivzie's character design.

I don't know how this got so long, I just had a lot of thoughts.

[queenvhagar]

You know, I think one of the reasons why Rhaenyra was so incompetent in handling political matters is because she never had to play the game of thrones properly. The premise of the game is that if you make a mistake, you die, and as long as you win, you have one more day of life. But our pampered princess could make mistakes, create scandals, and disrespect whoever she wanted, whenever and however she wanted, without any problem because her dear father was there to save her, mitigate the damages, or protect her. That's why, when Viserys dies and she has to take control, she fails. She can't control her husband; her few political victories were thanks to her husband, son, or Hand, and when she takes the capital, she doesn't know how to handle the people properly, and they rebel against her. She has a council full of incompetents who care more about their own interests than hers, and she doesn't know how to get rid of them because she's afraid of losing their support. Yet, the fans TB claim that she was going to be a legendary queen when, most likely, her Hand, husband, and advisors would have made the important decisions, as happened with Viserys. What do you think?

The problem with Rhaenyra comes down to a couple things, in my opinion.

First, she's never really meaningfully had to play the game of thrones due to her unique position in society as a Targaryen dragonrider, the king's favorite princess, and heir to the throne. This leads her to be sheltered from real world consequences to her actions. It reminds me a bit of the line from Succession about how their father made them a playground and they think it's the whole world. She lives in an incredibly privileged bubble, and within that bubble, protected by her father, she is emboldened to act how she likes with little thought or care to how others perceive her and how her actions would be interpreted by others. Once she marries Daemon, he becomes another reinforcement to that bubble. He encourages the idea that people should fear them and submit to them. Within their bubble, and due to their unique positions as Targaryen dragonriders with the king's favor, he suggests they make moves in the political game that silence dissidents and inspire fear. However, still these actions in the "game" are somewhat divorced from the actual game of thrones that others are playing, where if you lose you die.

And second, and in this I see her paralleled with Cersei... Rhaenyra thinks she's smarter than she is and that she can play the game better than anyone else. It's the classic Targaryen superiority complex coupled with privilege. She sees her unique position of power and uses it to "get away with" a lot of things. She knows she has influence over the king, and she uses it. She knows she has Daemon, and she uses him (as he uses her). But once again, the moves she's making are in this protected bubble. And even though she thinks she's truly getting away with all of the things she is, for good and for the long-term, the reality is really something different. Back to that quote of thinking the playground was the entire world... Rhaenyra thinks she's being clever in passing obvious bastards as trueborn heirs. She thinks she's being clever in leveraging her father's and Daemon's favor to her benefit. But she's not. She's detached from the political reality of the world. And by the time she's set to be handed the grand prize from her dad, there are actual real barriers to getting what she wants, because she finds that others have played the game better than her, and she's absolutely blindsided and shocked that this is the case. Because she never had to really, meaningfully play the game before, and she really doesn't understand how the real game is played and what the stakes are. She truly thought she was playing the real game perfectly for so long, and then she discovered that the actual game she needed to play was different and that others had played it better. Her actions during the Dance are her attempting to grasp the reality of the real game of thrones and failing to play it well, demonstrating her incompetence and resulting in her loss of power.

[alexanderwales]

Save the Cat!: the short review

I liveblogged this book (anything tagged #save the cat on this blog), but this is the actual review of it.

Save the Cat! by Blake Snyder is a book about screenwriting, and it's very specifically about screenwriting spec scripts in order to get huge sales for movies. Blake Snyder worked mostly with family films, PG affairs, and sold a pretty large number of scripts, most of them by sticking to a formula. He knew a lot of people in the business, and his ethos seems like it was their ethos (though I should probably read a few other books for comparison before making any sweeping generalizations).

Blake Snyder is a hack screenwriter, but he's a hack's hack, and aside from a few completely unwarranted barbs at films which were more commercially successful and societally important than anything he would ever end up doing with his life (he died in 2009), he seems to understand who and what he was. He's writing screenplays to sell those screenplays for the highest possible dollar amount. He calls his screenplays "product". He cares about good story only in the sense that he wants whatever producer or actor is reading the script to think that it's hot shit.

Some of this is probably an act, Snyder playing up some version of himself like a good writer would. He contradicts himself at certain points, and reveals that he doesn't walk the walk quite so cleanly as the rest of the book would have us believe. He's brash, in a way that I found charming.

He's also irritating, because I fundamentally disagree with this approach to making art, and maybe that would be fine if I could just say "eh, we have very different goals" but he also doesn't seem to understand his own system very well, nor does he seem eager to explore it, and he's constantly just saying stuff without regard to whether or not it's true, or makes sense. I get the feeling that the book was written in a bit of a rush, something to work on while beating out scripts, rather than being a labor of careful love. That it took off was either his marketing talents or just that its paint-by-numbers specifics are really appealing. There are pieces that I would have pegged as being written by GPT if the book didn't predate LLMs by a wide margin, especially some examples that make no damned sense and his rambling-but-formulaic way of imparting lessons.

A lot of the examples are also kind of eye-rolling, but I cut him a little slack, because it's hard to write about writing, and giving examples of tricks you use is one of the hardest parts. You kind of need the reader to have read/seen the thing in its entirety, because if you give the brief version, with no investment or background, it just seems lame. Some of this is also Snyder, who worked mostly in 90s PG family movies: those examples are always going to be a bit cringe.

This book is the #1 book in Amazon for screenwriting, and so far as I can tell, has been the top book for screenwriting since it came out twenty years ago. It's a bestseller. As a writer, I think it's kind of crap, both because it pushes formula and because I think that it's not likely to result in very good scripts. I think you can tell a good story using this formula, but once you've mastered the formula and understand how all the pieces are supposed to move together along with the principles of storytelling, you won't need the formula. The book also does a bad job on principles of storytelling, at least in my opinion, dancing around them rather than laying them out in a clear and concise way, and especially in the middle it's poorly structured, which is somewhat ironic given how much Snyder seems to lean on structure.

I have never written a screenplay, much less sold one. Going into 2024, I told myself that this would be the year to give it a go, and I've been writing a comic, which is much closer to screenwriting than prose fiction. Maybe 2025 is going to be my year to actually sit down and hammer out a screenplay, but I can't say that I expect to take too much from this book.